series

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Recently, I don’t exactly know why, I was overtaken by a concern that because of the impending merger of Paramount and Warner Bros., Olivier Assayas’ 2022 series adaption of his own film “Irma Vep” would be removed from the HBO Max streaming platform. With no official physical release, the series — starring Alicia Vikander as a Hollywood movie star making a project in Paris — could be effectively vanished from existence.

This is sadly inevitable, though some superfans have gone to extra-legal measures to ensure otherwise (not that we would ever endorse this). Most famously it’s happened with the original “Star Wars” trilogy. Billed as the “Grindhouse Edition,” these are discs of the first three “Star Wars” films sourced from scans of original film prints before the digital fixes and polish of the more recent official releases. Reengaging with these works in this way, scratches and all, is (I’m told) a strong reminder of why they hit so hard in the first place, similar to how it might be to reread a text in the original language instead of a more recent translation.

‘Indiana Jones’ marathon

Harrison Ford and Karen Allen on the set of 1981’s “Raiders of the Lost Ark.”

(Lucasfilm Ltd.)

The same deep understanding of genre filmmaking that went into the original “Star Wars” also went into “Raiders of the Lost Ark,” the first adventure of the character of Indiana Jones. Directed by Steven Spielberg from a script by Lawrence Kasdan and story by George Lucas and Philip Kaufman, the film is playful, thrilling and self-aware. It is made with such care, attention to detail and sense of fun that I remember how disappointed I was to discover not all movies would be like this.

There have of course been diminishing returns with the more recent run of Indiana Jones sequels, but the first three installments all have a real spark. And so the Secret Movie Club will present “Raiders,” 1984’s “Indiana Jones and the Temple of Doom” and 1989’s “Indiana Jones and the Last Crusade,” all on 35mm at the Million Dollar Theater in DTLA on Sunday in celebration of Father’s Day.

In her original review of the first film, Sheila Benson described that while watching it, she felt “a rush of gratitude which almost brought tears of contagious joy and — not to be corny about this — the strength of the film’s positive vision. If this is an era in which the heroic is lacking and the mediocre threatens us from every side, then ‘Raiders,’ which has no pretensions to importance, which is unabashedly wide-eyed and exaggerated and true blue but somehow cherishes the best in life and filmmaking — is a high-water mark.”

Plenty of jokes could be made about the movies having settled into what might be thought of as part of the dadcore canon: action-adventure movies that play well on TV and maybe you can take a short nap and not miss anything. So be it.

From one master to another

Cary Grant and Eva Marie Saint in Alfred Hitchcock’s 1959 thriller “North by Northwest.”

(Sunset Boulevard / Corbis via Getty Images)

Filmmaker Guillermo del Toro has been making waves of late for his strong public stance against the use of AI in feature filmmaking. But it is worth remembering that he is also a deep and incisive thinker about older movies, a true fan, which makes his upcoming appearances at the Academy Museum a special occasion.

Del Toro will present five films by Alfred Hitchcock — 1946’s “Notorious,” 1943’s ‘Shadow of a Doubt,” 1959’s “North by Northwest,” 1953’s “I Confess” and 1972’s “Frenzy” — along with delivering a lecture on each of them. To see one great filmmaker reflect with such depth into the work of another is just remarkable. This is some genuine only-in-L.A. type stuff.

Comedy + politics = good fun

A scene from the 1976 movie “Car Wash.”

(Margaret Herrick Library / Academy of Motion Picture Arts and Sciences)

A raucous comedy set around the location of the title, “Car Wash” is also a sharp, politically minded satire about labor and money. Directed by Michael Schultz from a screenplay by Joel Schumacher, the film has an extended ensemble cast that includes Richard Pryor, Franklyn Ajaye, George Carlin and many others.

In his original review Charles Champlin compared “Car Wash” to films such as “American Graffiti” and “Nashville” and called it “light but not foolish. … The experience is exhilarating.”

A 50th anniversary screening at the Academy Museum on Saturday of a new 4K restoration will include a panel with Schultz and actors Bill Duke, Antonio Fargas, Melanie Mayron, Garrett Morris and Pepe Serna.

Collision report

James Spader in the 1996 movie “Crash,” directed by David Cronenberg.

(Jonathan Wenk / Fine Line Features)

The controversy that surrounded David Cronenberg’s “Crash” when it premiered at Cannes in 1996 and received a U.S. release in 1997 tended to overwhelm the actual movie. Shockingly explicit, the film is about a secret underground world of people who create a sexual fetish out of car crashes. An adaptation of the novel by J.G. Ballard, Cronenberg’s movie explores the cinematic obsession with sex and violence.

Over time, “Crash” has been evolving from a seemingly cursed object dogged by scandal into something that audiences can come to appreciate and admire — even if it is not a movie you can ever exactly fully understand. Part of Cronenberg’s brilliance is how enigmatic and unknowable his work can be: strange, inviting and enveloping while refusing easy or direct analysis.

The movie is playing twice locally this week, on Saturday at Vidiots in partnership with the Cinegogue, with special giveaways and exclusive merch, and again on Monday at the Academy Museum in 4K. Who will be brave (or perverse) enough to go twice?

A different view of Rio

Milton Gonçalves, center, in the 1974 movie “The Devil Queen.”

(Kino Lorber)

A drag queen (Milton Gonçalves) rules the criminal underworld of Rio de Janeiro in Antonio Carlos da Fontoura’s 1974 gangster drama “The Devil Queen,” an unlikely mix of camp aesthetics and gritty violence. Among the film’s many fans is Kleber Mendonça Filho, the filmmaker behind the recent Brazilian hit “The Secret Agent,” who referred to “The Devil Queen” as “bloody, nasty and full of personality.”

The movie is playing in a new 4K restoration at the Lumiere Cinema in Beverly Hills.

A musical melodrama returns

Raul Julia, left, and Teri Garr in Francis Ford Coppola’s 1981 movie “One From the Heart.”

(Rialto Pictures / American Zoetrope)

We have talked before about Francis Ford Coppola’s “One From the Heart,” a movie of such delirious audacity that it nearly ruined the filmmaker‘s career. A throwback musical about two lovers who break up in search of more excitement, the film stars Teri Garr, Frederic Forrest, Nastassja Kinski and Raul Julia.

On Saturday the film will screen at the American Cinematheque’s Aero Theater in a 70mm print for the first time in L.A. since 1990. The event is being dedicated to Dean Tavoularis, Coppola’s longtime production designer, who died in April. For “One From the Heart,” Tavoularis re-created the Las Vegas Strip on a studio back lot.

New this week

• Amy Nicholson is not a fan of the new “Toy Story 5,” writing in her review, “Pixar has continued adding shades to the same plot outline like a child with a box of 128 crayons (or a company clinging to its billion-dollar idea).”
• Glenn Whipp cast back into the “Toy Story” universe for a highly personal ranking of his 10 favorite “Toy Story” toys.
• Two gay teenage boys attempt to survive a supernatural entity and conversion therapy in Adrian Chiarella’s debut feature “Leviticus.” Jen Yamato spoke to the filmmaking team.
• I spoke to writer-director Michael Sarnoski about his new “The Death of Robin Hood,” starring Hugh Jackman in a subversively revisionist telling of the last days of the medieval bandit.

ASHLEY Cain was secretly sacked from a BBC job last year for being ‘drunk on set’.

The star, 35, has come under-fire this week after historic tweets were exposed in which Ashley made degrading comments about women and suggested blurring the lines of consent during sex in worrying messages.

The posts were made by Ashley between 2013 and 2015 after he first rose to fame in footballing and his appearances on MTV show Ex On The Beach.

The Guardian has compiled a range of messages, posts and concerns relating to Ashley’s behaviour in the past – which has since led to him being dropped by the BBC.

Last night, the publication detailed new allegations that Ashley was secretly sacked from filming a BBC documentary in June of last year for being ‘drunk on set’.

The TV personality, who had already begun to work with the BBC on their documenary series, Into The Danger Zone, had been picked to host, Sin City: The Real Las Vegas.

VETTING FAILURE

Ashley Cain’s show axed by BBC after ‘unacceptable’ posts about women

TWEET SHAME

Ashley Cain under fire as posts calling women ‘s**ts’ & sex video row resurface

He was flown out to Nevada to film the show but concerns were raised about his conduct.

Appearing to be drunk during filming of the show, the production was suspended and Ashley was ultimately dropped from the project.

Another presenter was then chosen to front the programme instead.

Nonetheless, the incident went largely ignored as Ashley returned to filming with the BBC earlier this year for the second series of his Into The Danger Zone series.

However, following The Guardian’s reports, that series has now been axed and won’t be making it to air.

The BBC revealed they had no plans to work with Ashley again in the future after admitting that their “vetting” process before hiring talent had “failed”.

A BBC spokesperson told The Sun:  “The posts by Ashley Cain, albeit from many years ago, are completely unacceptable.”

“The BBC has clear requirements around vetting and social media checks, which are undertaken by the production company. In this instance, the process clearly failed and we are investigating why. We are continuing to strengthen our processes to ensure everyone working for, and on behalf of, the BBC meets our values and standards.”

“We have no plans to broadcast the new series of ‘Into the Danger Zone’, and no future projects with Ashley Cain.”

The Sun has contacted a representative for Ashley Cain for comment.

Ashley’s comments and behaviour – which largely took place over 10 years ago – first began to emerge after he took part in the very succesful first series of MTV show Ex On The Beach which propelled him to national fame.

Derogatory terms allegedly written in 2014 and 2015 include “sl**s”, “b***hes” and “psychos”, while he said he’d like to “choke slam” and “spit in the face” of Love Island star Jessica Hayes while commenting on the ITV2 reality show.

The Guardian reports that other misogynistic tweets saw him say he wanted to “talcum powder pimp slap these b***es already!” while watching a Channel 4 documentary and demean women by writing: “I DO NOT.. I repeat I DO NOT think EVERY girl is a slag! There are some absolute PHENOMENAL women out there.. They’re just a rare commodity.”

In 2015, Cain was accused of recording Rachel Roftis, 33, during sex and sharing clips to Snapchat without her consent — something he strongly denied.

The pair met at a club in Bexleyheath before spending the night together in a hotel.

Roftis told The Guardian she “screamed” at Cain when she realised the footage had been shared publicly and the incident has “massively affected her relationships with men. She doesn’t trust anybody really now.”

The notoriety from the posts, which saw Cain brand himself the “Snapchat King” and rack up 60,000 views, led to an appearance on short-lived ITV Daytime show O’Brien where he boasted of being a “play boy” and sleeping with 15 girls a week.

Of his attitude towards women, he said: “If you are a lady, I respect you. But if you don’t respect yourself, how can you expect me to respect you?”

Coronation Street’s Cilla Battersby-Brown star Wendi Peters has joined a new star-studded BBC detective series

A new BBC detective series sees two Coronation Street favourites join the cast.

The Hairdresser Mysteries, created by Jim Cartwright, has issued a first look at the nostalgic 1970s set crime drama and confirmed its star-studded cast.

A synopsis for the upcoming six-part show teases: “The Hairdresser Mysteries is an original, homegrown drama and a nostalgic nod to the 70’s which sees a high-end hairdresser, Lily Petal (Sally Phillips), opt out of the competitive city scene to buy a small village hairdressers at the top of a cobbled street.

“Everyone tells their hairdresser everything and soon she becomes the hub of her new village’s secrets and revelations. Using her own brand of uncannily developed hairdressing intuitive, empathy and understanding, Lily begins to solve the mysteries of the village.”

Coronation Street legend Wendi Peters will play Gloria Crudd in the series, who is another newcomer to the village hoping to make a fresh start with her ice cream parlour but soon finds her old life catching up with her.

Wendi, 58, is best known for playing Cilla Battersby-Brown in Coronation Street from 2003 to 2007, she returned to the cobbles once again in 2014.

In a first look of the new series, Wendi looks worlds away from Cilla as her character Gloria has a pastel pink copper coloured curly beehive hairdo adorned with jewellery pieces.

However, Wendi isn’t the only Coronation Street star in the new series as she is joined by fellow Weatherfield favourite Charlotte Jordan who is playing Clary Coombs – Lily’s ‘bright and analytical assistant and the Watson to her Shear-lock Holmes’.

Charlotte, 32, is best known for playing Daisy Midgeley on the cobbles from 2020 to 2025, where her character was involved in several huge storylines including the hard-hitting acid attack plot.

Joining the two Coronation Street favourites is Bridget Jones’ Diary legend Sally Phillips who plays the lead character, hairdresser Lily Petal, who opts out of the competitive city scene to buy a small village hairdressing salon at the top of a cobbled street.

You star Ben Castle-Gibb will play PC Adam Watson – an eager young copper in the local village who falls head-over-heels for salon assistant Clary.

Meanwhile, Ackley Bridge star Sunetra Sarker will play Wincey Evans – the village’s local chit-chatter with a reputation as a known gossip, while Clive Rowe plays Lonnie – the flamboyant manager of the local charity shop, and Holby City star Guy Henry plays Race Runard – the local village’s eccentric antiques dealer with a penchant for priceless teacup and saucer sets.

The Hairdresser Mysteries comes to BBC One and BBC iPlayer this July.

If you want personal stories of survival, family trauma or just how to get over a breakup, look no further than adult animation. Even better: Sometimes these shows do all that and are still funny. We’ve rounded up some of this season’s best examples in the genre.

‘Genndy Tartakovsky’s Primal’ (Adult Swim)

Set in an anachronistic world where prehumans and dinosaurs fight for survival, “Primal” is told sans dialogue and focuses on a Neanderthal named Spear (whose vocal grunts are provided by actor Aaron LaPlante) and a female Tyrannosaurus rex known as Fang. It’s raw, bloody and, somehow, tear-jerking.

“There’s drama, there’s violence, certainly there’s a bit of lightheartedness … we’re not trying to do it like a live-action thing, but we’re trying to get cinematic,” says creator Genndy Tartakovsky. “And because it’s dramatic and there’s no dialogue, we’re leaning into the visual storytelling of it all. This makes it seem a little bit more sophisticated.”

Tartakovsky says he even tries to make “the blood spurts look beautiful and designed”: “We’re not doing it for shock value.” The show also added the escaped female slave Mira (voiced by Laëtitia Eïdo) at the end of Season 1 because the creator felt it worked for the story.

‘Kevin’ (Prime Video)

Talking cats are not new to animation. But this one is going through the very human roller coaster of a relationship rebound and self-discovery.

Joe Wengert co-created “Kevin” with ex-girlfriend/series voice actor Aubrey Plaza as a cathartic thought experiment about their actual pet cat, Kevin. (Jason Schwartzman voices him in the show.)

“It’s more fun to write for the animals,” says Wengert, whose credits include Netflix’s animated “Big Mouth” and Fox’s live-action “New Girl.” “They have another level of crazy.”

The show also doubles as therapy.

“I’ve always been too into my relationship and I sort of neglect my friends,” he says, adding that “I’ve always wanted to write something about that, but it’s kind of sad when it’s a human man. It’s less sad when it’s a cat.”

‘Long Story Short’ (Netflix)

Raphael Bob-Waksberg, who also created Netflix’s “BoJack Horseman,” knows his beat is animated shows that are both funny and thought-provoking. He says the difference with “Long Story Short,” in addition to it being about humans and not an anthropomorphic horse, is that it has “sadness we can relate to.”

“Here, we see characters sad in the way that we are sad and we go, ‘Oh, this is not a cartoon exaggeration of our sadness.’ This is exactly the same as our sadness,” Bob-Waksberg says.

In order to keep the show from being a total buzzkill, the writers will craft scenes like an intense conversation between adult siblings about fertility treatments in the midst of the chaos and the bizarre costuming of a child’s dance concert.

He says you can do this in live-action, but it would have to be something in the Tina Fey-Robert Carlock style like NBC’s “30 Rock” or Netflix’s “Unbreakable Kimmy Schmidt,” which are known for rapid-fire bits.

“Usually in live-action, when you think about dramedy, your head goes to like, well, not too funny and not too dramatic. And my shows are kind of the opposite,” he laughs.

‘Mating Season’ (Netflix)

Like another show Andrew Goldberg co-created, Netflix’s “Big Mouth,” “Mating Season” is about sex and relationships. But, because it’s not about kids, it can be less metaphoric. And, because it’s about a group of Gen Z-ish forest animals, it can almost seem … cute?

“It feels less voyeuristic than with people,” Goldberg explains of “Mating Season.”

Goldberg, who loves nature documentaries like Netflix’s “Life on Our Planet,” says they opened the second episode of “Mating Season” with a parody documentary because “we wanted to remind people as much as possible that, yes, these are cartoon characters. But these animals are real, and they’re out there, and they’re going about their lives.”

He says the writers were also inspired by dating shows about humans such as Netflix’s “Love Is Blind” and Peacock’s “Love Island,” because “we really discovered, as we were writing the first season, how much the show was a romantic comedy.”

‘Strip Law’ (Netflix)

“Strip Law,” about a Las Vegas lawyer attempting to live up to his late mother’s legacy, is a David and Goliath story, in which Adam Scott’s Lincoln Gumb and a ragtag crew attempt to defeat the powerful and nefarious attorney Steve Nichols (Keith David). It’s also a send-up of legal procedurals, with Lincoln’s cases including a fight over who’s the real Santa Claus and a custody battle that devolves into a theological debate. Even the season finale is a meta masterpiece that’s told from the points of view of Lincoln’s rival attorneys.

“It would be disingenuous to say we weren’t at least a little trying to weird people out,” creator Cullen Crawford laughs.

Crawford cut some of his teeth on CBS’ “The Late Show With Stephen Colbert,” but says he switched formats when he got burned out writing jokes about President Trump. He says that, at least in the comedy world, “a good animation writer will be a good live-action writer and the other way around, to an extent, as long as you understand the mediums.”

The “Love Island USA” production team is mourning the loss of executive producer James Barker, who died last week while on set in Fiji.

“Love Island USA” producers ITV America and Peacock confirmed Barker’s death in a media release shared with The Times on Monday. The announcement said that Barker died after “an unexpected medical emergency” but did not provide additional details, including the day of his death and a cause of death. Barker was 40.

“James’ unimaginable loss has been deeply felt across not just the entire Love Island USA production, but throughout all of ITV and Peacock,” the television companies said in a joint statement. “He was a beloved and greatly valued member of our collective family whose kindness, talent and dedication left an indelible mark on all of us and everyone who had the privilege of knowing and working with him. We extend our heartfelt condolences to James’ family, friends and colleagues.”

Barker began his tenure on “Love Island USA” in 2020, first working as a story producer. He has worked as an executive producer on the series for the last three seasons and was also a member of the producing team on “Love Island” companion series “Love Island Games” and “Love Island: Beyond the Villa.”

Barker, according to Monday’s statement, also oversaw the hit series’ pop soundtrack. For an interview with Rolling Stone in 2025, Barker recalled watching the original British “Love Island” series and how pop music supplemented the on-screen romances and heartbreak: “I think that is where my brain immediately said, ‘One, this is amazing, and more shows should be like this.’ And two, ‘How do I work on “Love Island”?’”

Barker also noted in the interview that he drew inspiration for the “Love Island USA” villa sound from his pre-TV career as a nightlife DJ and spoke about the process of hand-selecting music from established pop acts and up-and-coming artists.

“In the past, there was such a stigma about reality shows that a lot of artists didn’t want their music associated with reality shows. And that’s starting to turn around now,” Barker told the outlet. “[Artists are] more and more seeing, well, one, the financial aspect of having your music synced in these kind of shows, and also just the wide reach of viewers.”

Before “Love Island USA,” Barker was a producer on reality series “Pawn Stars,” “Counting Cars” and “Forged in Fire.” He later served as a story producer on “Queer Eye,” “Cosmic Love” and “Are You My First?” Outside of his TV work, Barker often performed as DJ Chaotic at gay bar C’mon Everybody in Brooklyn.

“Love Island USA,” which began its eighth season earlier this month, will pay tribute to Barker in Tuesday’s episode.

He is survived by his mother Malinda.

A VHS tape of 1993’s “The Nightmare Before Christmas” introduced brothers Roy and Arturo Ambriz to the tactile whimsy of stop-motion, an animation technique where physical objects are manipulated and photographed frame by frame to achieve the illusion of life.

Realizing that the characters on screen were figures in real sets shocked the Mexican filmmakers’ young minds and set them on an arduous path to craft their own worlds.

“If there’s something we’ve loved our whole lives it’s toys: collecting them, modifying them, playing with them, creating dioramas for them,” said Roy, 36, from under his dark shades during a recent interview at Netflix Animation Studios in Burbank.

“And for us, the most sublime moments in life are when we’re doing something artistic, whether that’s painting, drawing or sculpting. And stop-motion animation combines all of that.”

The culmination of years of tireless work and financial stress for the Ambriz siblings is the breathtaking period fantasy “I Am Frankelda,” Mexico’s first-ever stop-motion feature, which is now streaming on Netflix.

“Thankfully, no one put it into our heads that it was impossible to do this,” said Arturo, 38. “That’s why we don’t like going around saying that this is extremely difficult, because maybe if young people hear that, they might not want to do stop-motion. Don’t tell them!”

A lavish musical, “I Am Frankelda” follows Francisca Imelda (voiced by Mireya Mendoza), a young aspiring writer living in 19th century Mexico and struggling to publish her stories. Meanwhile, in the Realm of Spooks, an alternative reality that’s home to all of the fictional characters Francisca has written, Herneval (Juan Pablo Monterrubio), a winged prince, must save his parents and his kingdom. The creatures in this world live off of human fear, so they create our nightmares.

Herneval crosses into the human world to bring Francisca with him to the Realm of Spooks, so that she can write new nightmares that actually scare people. Humans have become difficult to terrify. By this point, a frustrated Francisca has decided to change her name to Frankelda (a reference to “Frankenstein” author Mary Shelley, who inspired the character). Frankelda and Herneval sing of the relationship between fiction and reality. One can’t exist without the other.

Frankelda was first introduced as part of the 2021 series “Frankelda’s Book of Spooks,” which HBO Max commissioned. In the show, the heroine shares nightmarish tales alongside Herneval, who appears not as a prince but a sentient book. The film “I Am Frankelda” is a prequel that explains the relationship between these characters.

Last month, “I Am Frankelda” screened at the Los Angeles Latino International Film Festival, where Guillermo del Toro moderated the post-screening Q&A. A longtime mentor of the Ambriz brothers, Del Toro first supported them by donating to a Kickstarter campaign to finance their ambitious 2016 short film inspired by cubist art, “Revoltoso,” about a one-eyed boar living during the Mexican Revolution.

“In that moment, it was incredibly validating to realize that if Guillermo liked what we were doing, then it made sense to keep on doing it,” Roy said.

Two years apart in age, Roy and Arturo both studied filmmaking at the Centro, a university in Mexico City. Yet directing together wasn’t always the plan.

“I said, ‘We have to co-direct,’ because the situation naturally lent itself for me, being the older one, to take on the role of director while Roy would serve as production designer. But at a certain point, I realized that the hierarchy was wrong, and that if we wanted something sustainable for the rest of our lives, it had to be a 50/50 split between us. And I mean, 50/50, Roy!” said Arturo, playfully chastising his younger brother.

“It’s more like 60/40, with me having 60% of the power,” Roy added laughing.

In 2011, not long after graduating, Arturo found himself ridden with anxiety. Over the course of his education, he’d focused on artistic excellence but hadn’t much thought about how to actually make a living out of his and his brother’s shared passion. That’s when he decided they should create their own studio, Cinema Fantasma, so as to have control of the projects they took on. Their productions for hire include the Adult Swim show “Women Wearing Shoulder Pads,” which was produced entirely at their company in Mexico City.

“It’s been very difficult because we are filmmakers by vocation, but we are businesspeople by necessity,” said Arturo. “Developing that side of things has been the hardest part, but both are indispensable.”

To wrap up the “Frankelda” series, HBO Max requested a 30-minute special. Instead of accepting that offer, Roy suggested they use the proposed budget allocated to partially fund a full-length feature film. HBO Max agreed with the caveat that the brothers would have to come up with the rest of the money needed on their own.

To finance “I Am Frankelda,” Roy and Arturo mortgaged two homes. They are losing one of them to pay off their debts, so it helps that their dream of animation is a family affair. Their parents are executive producers on “Frankelda”; Roy’s wife, Ana Coronilla, worked as production designer; and Arturo’s spouse, Irene Melis, as a director of photography.

That “I Am Frankelda” is a musical is due in great part to Roy’s love of musical theater.

“At first, Arturo wasn’t sure, but using my 60% share of the power, I convinced him that it should be a musical,” Roy said. Yet it’s Arturo who wrote the lyrics to musical numbers. Each track starts as a poem that composer Kevin Smithers transformed into songs.

A fantastical stop-motion musical period piece, “I Am Frankelda” is far from an easy sell, and that’s what makes its existence all the more astonishing. The Ambriz brothers’ creative pursuit of the unpopular and the unfeasible has bonded them with Del Toro.

Mexican filmmaker Guillermo del Toro, pictured, interviewed “I Am Frankelda” directors Roy and Arturo Ambriz on May 30 during the film’s screening at the TCL Chinese Theatre as part of the Los Angeles Latino International Film Festival.

(Jill Connelly / For De Los)

“He is our most important mentor and the person we admire most in the world, and we also share many of the same interests,” Arturo explained. “That’s why when we saw ‘Pan’s Labyrinth,’ it was like when the glass slipper fits Cinderella. It was exactly what we loved: monsters, war, the cruelty of the human spirit, fairies and period settings.”

“Did you just call yourself Cinderella?” Roy interjected with the mischievous smirk typical of a younger brother trying to ruffle some feathers.

“Yes!” Arturo said quietly but without hesitation.

Every time they hear Del Toro speak about his interests, the Ambriz brothers discover a new well of references and “cultural protein,” from authors to painters.

“Guillermo is someone who actively champions the work of others, which I believe is the right way for an artist to be,” Arturo said.

When they finished “I Am Frankelda,” the brothers sent it to Del Toro, eager to hear his thoughts. As soon as he watched it, Del Toro called them.

“We spoke with him for hours, and he told us everything he saw, obviously with great tact, sharing both the good and the not-so-good,” Roy recalled. “But most importantly, he kept telling us that we had created something unprecedented. He insisted that we would pull through, even though we had ended up with a lot of debt.”

The version of “I Am Frankelda” that premiered at film festivals in 2025 is not the same one that will be available on Netflix. Based on Del Toro’s thorough feedback, the filmmakers recut the film and even animated new scenes. They playfully refer to this new cut that audiences will see globally as “The Grandfather Cut,” to honor Del Toro’s influence.

That “I Am Frankelda” was picked for distribution by Netflix is also Del Toro’s doing, the brothers said. It was the veteran director who suggested the film to the streaming company.

“I Am Frankelda” debuted in Mexico last October to an incredible reception, in part thanks to the fandom the characters had amassed via the episodic series.

“We receive fan art and fan fiction every day. People send us photos cosplaying the characters or of their ‘Frankelda’-themed quinceañeras. We’ve even bought bootleg merch at Mexican markets and on Temu or AliExpress too,” Roy said.

“We’ve bought ‘Frankelda’ socks from there that are of terrible quality, but all the more beautiful because of their bad quality,” he added.

“Of course, there are haters, too, but a large segment of the audience really identified with Frankelda as someone who perseveres, as someone who refuses to let her detractors hold her back. It’s been really beautiful watching that fandom grow,” Arturo said.

Another conviction where they align with Del Toro is their disinterest in engaging with artificial intelligence.

“AI is the antithesis of stop-motion. We’re not even remotely interested in it, because we do stop-motion to enjoy the artistic processes,” Roy said. “We created the studio for painting, drawing, sculpting and writing. Whatever happens with AI doesn’t really matter to us.”

Their second feature, “The Ballad of the Phoenix,” a medieval fantasy, is already in the works.

Few people do simmering panic as nimbly as Sarah Goldberg.

In her role as Dr. JoAnne Felder, a performance psychologist tending to the mercurial psyches of the billionaire man-children of Silicon Valley on the new AMC satire “The Audacity,” Goldberg careens from serene to slapstick as she tries to keep a lid on her increasingly unruly life.

It is the latest in a string of enviably layered characters for the Vancouver native, including her Emmy-nominated breakout turn as aspiring actor Sally Reed on the HBO contract killer dramedy “Barry” and the coolly calculating portfolio manager Petra Koenig on the network’s drama “Industry.”

“I’m definitely learning some large tech and finance words that I didn’t know,” she says with a laugh about her recent wealth-adjacent roles on a Zoom from London, where she makes her home. “I’m not sure if I’ll retain them.”

Given the accolades, it seems likely Goldberg only needs to memorize her lines and the rest will follow.

While she has given a distinctive performance in each of her roles, one of several threads tying the characters together is a moment when fear, rage, excitement, ambition or all of the above collide but must be contained. While that discipline sometimes devolves into delicious displays of apoplexy — witness Goldberg’s incredible, expletive-littered elevator meltdown in “Barry” — the 40-year-old actor is more often the face of diplomacy while telegraphing cortisol levels in the red beneath her placid exterior.

“As a blond Canadian, I really ran the risk of being the girl next door,” she says of her attempt to dodge typecasting onscreen after cutting her teeth onstage in London and New York in the mid-2010s. “I didn’t want to be the girl next door … maybe the girl next door with bodies in the basement.”

While the only bodies to be found in JoAnne’s basement on “The Audacity” are her eavesdropping son and his friends, the London Academy of Music & Dramatic Art (LAMDA) graduate has accomplished the mission of subverting what might have been a perky ingenue image with the role. (One she will continue, since the series has already gotten a Season 2 order.)

When the ethically challenged therapist starts dabbling in insider trading thanks to info gleaned from her patients — including bold tech names Duncan Park (Billy Magnussen) and Carl Bardolph (Zach Galifianakis) — the slippery slope awaits.

Goldberg with “The Audacity” co-star Billy Magnussen.

(Ed Araquel / AMC)

“I think that she started her career with a desire to help people and somewhere along the line she’s become incredibly jaded and she’s exhausted by being the most intelligent person in the room and yet having no material wealth to show for it,” says Goldberg of her character, whose struggles extend to motherhood of son Orson (Everett Blunck) and marriage to child psychologist Gary (Paul Adelstein).

It does not help that JoAnne is surrounded by people who have no trouble sliding headfirst down the slope as if it were an Aspen trail.

“She’s working with people who have so many houses that if one burns down, it doesn’t matter, and yet she’s struggling to keep the roof over her own head. So somewhere along the line she starts making these little contracts with herself thinking, ‘In this sea of moral bankruptcy, is my tiny little transgression really so bad? Or is it even justified?’ But these little small pacts start to snowball. You can see somebody torn between their better judgment, their core instinct, their humanity, and someone who is so frustrated that they’re stepping toward a kind of nihilism.”

That sense of inner conflict appeals to Goldberg, who says she knew instantly that she had to play JoAnne when she read the script by showrunner Jonathan Glatzer. “It’s rare for me to go out and be like, ‘I have to play this role!’” she says, adding with a laugh, “I can be quite passive. I can be quite Canadian in the American market. I felt like he’d found this incredible line of satire with pathos, which is my favorite kind of style.

“I’m always interested in playing characters on the precipice of losing their moral compass and which way they decide to go,” she continues. “And if JoAnne has anything in common with Sally from ‘Barry,’ because they’re such different characters, it’s that. … I love that Jonathan’s given JoAnne very mundane relatable problems in a world where the scale is so off and there’s a lot that the average person can’t relate to in that bubble.”

Goldberg has also been busy creating her own bubble, writing, producing and starring in the Canadian-Irish series “Sisters” — which just concluded its second season on AMC — with Irish actor Susan Stanley, her best friend since their LAMDA days. The odd couple sibling comedy finds Goldberg playing Sare, a buttoned-down Canadian who goes to Ireland to find her long-lost biological father (Donal Logue) and discovers shambolic half-sister Suze (Stanley).

“I was pretty shocked at how hard it is to get something made,” she says of the series’ six-year journey to screen. “And then to be in a leadership position where you’re inviting everyone to dinner and you’ve got to make sure there are three courses and being responsible for everybody’s well-being — it was wildly challenging, but absolutely thrilling.”

While she prepares to return to JoAnne’s world in Palo Alto — her hometown of Vancouver serving as a double — Goldberg feels very fortunate about where she’s landed.

“I’ve been so lucky at this stage in my career to work on scripts that I feel are really saying something and characters that I feel are morally complex and also to be in the business at a time where female characters are more complicated.”

LAS VEGAS — Carolina spent the first part of the Stanley Cup Final surviving, finding ways to overcome deficits and play a high-scoring game that didn’t fit the Hurricanes’ typical style.

But when it came down to doing what it takes to win the Cup, the Hurricanes’ defense put its stamp on this series, shutting down the Vegas Golden Knights and not letting up.

The Hurricanes held Vegas to five total goals in Games 4 and 5 and used a suffocating defense in a 3-0 shutout in Sunday night’s clinching Game 6 to win their first championship in 20 years.

“That’s a lot of years,” said Carolina center Jordan Staal, who received the Conn Smythe Trophy as playoff MVP. “It’s amazing. This is something I’ve been going after ever since we got the first one. You want to win it again and again and again. What a feeling, what a battle. The boys were grinding today, my goodness. So many individual efforts just to keep the puck out of our net. It was an amazing ride. I’m just so proud of these guys.”

Carolina Hurricanes players celebrate after defeating the Vegas Golden Knights to win the Stanley Cup on Sunday.

(Ethan Miller / Getty Images)

Brandon Bussi, whose entrance late into Game 3 helped turn around the series for Carolina, recorded his first career playoff shutout in stopping 22 shots. Jackson Blake had a goal and assist, and Taylor Hall scored just 3:47 into the game to set the tone. Nikolaj Ehlers added an empty-net goal.

“Your mind wanders the last couple of days and wonder what it may be like out here (on ice after winning) and it’s better than I could have expected,” Hall said. “My career has taken a lot of different turns, but to end up here with this group of guys and to do this is amazing.”

The Golden Knights, who made an unlikely run just to reach the final, struggled badly to muster any kind of offense in Game 6 and went 18:37 between shots on goal in the second and third periods. Playing in their third Cup final, this is the first time they have been shut out.

This clinching game was what many observers expected the series to be like between the defensive-minded teams, but each side watched leads of two-plus goals disappear in the first three games.

Now, the Cup belongs to the Hurricanes, led by coach Rod Brind’Amour, who also captained Carolina to its 2006 title.

This was the first game of the series that Vegas goalie Carter Hart didn’t allow four goals in a game. He finished with 20 saves.

Carolina Hurricanes forward Nikolaj Ehlers celebrates after scoring an empty-net goal in the third period against the Vegas Golden Knights on Sunday.

(John Locher / Associated Press)

The Hurricanes began to assume control of the series after falling behind by the score of 4-0 in Game 3. They came back force overtime, and though the Hurricanes lost, they outplayed the Golden Knights from there on out.

Reflecting the do-or-die situation for the Golden Knights, they made several lineup changes, with Brett Howden replacing the injured William Karlsson at second-line center. Mitch Marner could have moved there, but remained at right wing.

Original Golden Knight Reilly Smith made his Cup final debut at third-line right wing, and Braeden Bowman made his playoff debut at fourth-line right wing. Kaedan Korczak replaced Dylan Coghlan on the third defensive pairing.

This title is a testament to Carolina’s resilience as a franchise that kept coming close to winning the Eastern Conference, but couldn’t quite get through until now.

Brind’Amour made sure the Hurricanes kept getting back up after losing in the conference final twice in the past three years and three times in their current eight-year playoff run. The talent was clearly there, but there was always a stumbling block.

Not anymore.

After dispatching Montreal in five games to make the final, the Brind’Amour-led Hurricanes then faced perennial power Vegas and took care of business there too. Now, he will get his name on the Cup for the second time.

So will 37-year-old Staal, who also won the title in 2009 with Pittsburgh. He planted himself in front of Hart and dared the Golden Knights to knock him out of the way. Staal scored in each of the first five Cup final games, the first time that has happened.

The Hurricanes got off to a fast start with a goal just 25 seconds into Game 1, only to lose 5-4 on a late goal from Tomas Hertl. And the Golden Knights were on the verge of taking complete control as minutes ticked down in Game 2 while holding a 2-0 lead and appearing as if they would take a two-game advantage back home.

Then, it all changed. Carolina showed a fight that not only brought the Hurricanes back into the series by rallying to win 4-3 in overtime on Seth Jarvis’ one-timer, but would serve as their signature throughout the series.

That was especially true the following game when the Golden Knights took a 4-0 lead into the third period and the Hurricanes seemed to have no answers. Brind’Amour even appeared to wave the white flag by removing goalie Frederik Andersen and replacing him with Bussi.

Carolina Hurricanes coach Rod Brind’Amour hugs Jordan Staal after the team’s Stanley Cup win on Sunday.

(Ethan Miller / Getty Images)

But the Hurricanes weren’t simply trying to get to Game 4. They sent a message, going on a remarkable rally to force overtime. Though Carolina lost, it was inflection point, with Bussi backstopping a team that was only growing stronger. Carolina then went on to win the next two games and moved within a victory of the championship.

The Hurricanes got it done against the Golden Knights team that was on a heater after John Tortorella replaced Bruce Cassidy with eight games left in the regular season. Vegas then went from third in the Pacific Division to first, knocked off Utah and Anaheim in six games apiece in the playoffs and shockingly swept Presidents’ Trophy-winning Colorado to win the West.

Now, the Golden Knights have some notable questions to ask, including at the top of the list whether to make Tortorella a full-time coach. He didn’t have any guarantees of coaching in Vegas beyond this season, but getting to the Cup final is a good argument to run it back.

Golden Knights management will make the final call on that, and they don’t always follow league norms.

Anderson writes for the Associated Press.

An award-winning crime drama that boasts a stellar cast including Sherdian Smith and Stephen Graham has been dubbed as ‘one of the best dramas around’

A gripping and compelling BBC crime series that has been dubbed “one of the best dramas around” is now available to watch online.

Originally airing in 2010, Accused includes 10 individual episodes spread across two series, each following a different character on trial and how they came to be accused.

The first series stars the likes of Christopher Eccleston, Mackenzie Crook, Coronation Street’s Tina O’Brien, Peter Capaldi, and Naomi Harris across six hard-hitting episodes.

It was followed by a second series in 2012, with Sean Bean, Stephen Graham, Olivia Colman, Sheridan Smith, and Anna Maxwell Martin among the stars joining the cast.

Created by Time writer Jimmy McGovern, Accused was a smash hit and bagged a BAFTA TV nomination for Best Drama Series in 2011, with Juliet Stevenson also receiving a nod for her performance in episode three.

Two years later, Olivia Coleman won Best Supporting Actress for her role in series two at the BAFTA TV Awards and also the Royal Television Society Programme Awards, while Sean Bean won Best Actor at the International Emmys.

The gripping anthology series, available to watch on ITVX, also received rave reviews from critics, earning a score of 7.9 out of 10 on IMDb. One viewer praised the show and said, “Blown away. I can’t believe it took me so long to find this series!!!

“This is what happens when top writers and some of Britain’s most impressive actors emotionally involve themselves in making great drama. What a theme! That on paper, through the courts, there is simply a charge and a decision, without the truth behind the whos, whats, whens, and whys. One of the best dramas to date!

Another agreed: “Absolutely outstanding. Can’t recommend this series highly enough. Each episode, bar one, is a separate story, and every one is outstanding, brilliantly acted, and scripted. Stellar cast under brilliant direction- you can’t go wrong. Trust me.”

A third penned: “Very well done. This is a very well-done show and at times difficult to watch because of how real it seems. The performances are incredible, as is the writing.

“You understand these characters in a way that is rare and sometimes disturbing. As I said, this is not easy viewing, but it’s certainly worthwhile.”

Watch all episodes of Accused on ITVX

Summer, and all the vacation days and potential travel that implies, is upon us. And whether flying internationally or taking time off at home, you can’t beat a good British crime drama as the ultimate self-soother (especially in summer when the U.K.’s inevitable drizzly city streets and windswept moors can provide at least visual relief from the heat). The genre is varied, the casts inevitably fine and justice almost always prevails. So here are 15 shows, new and old, to watch. (And if that’s not enough, you can find 15 more here.)

‘Young Sherlock’ (Prime Video)

Will we ever tire of reimagining Sherlock Holmes? Not anytime soon, apparently. Created by Matthew Parkhill and developed by Guy Ritchie (who directed two episodes), this version gives us a college-aged Sherlock (Hero Fiennes Tiffin) banished to the role of Oxford University porter by his fed-up older brother, Mycroft (Max Irons), who hopes to put the arrogant young rip on a steadier path. Alas, before you can say “Sir Bucephalus Hodge” (the Oxford bigwig played by Colin Firth), young Sherlock is up to his flat cap in murder and mystery, which he is determined to solve with the aid of his new best bud — wait for it — James Moriarty (Dónal Finn). An over-the-top romp that proves, if nothing else, the near-miraculous elasticity of Arthur Conan Doyle’s iconic creation.

Mark Gatiss stars as Gabriel Book in “Bookish.”

(PBS)

‘Bookish’ (PBS)

Speaking of Holmes, “Sherlock” co-creator and co-star Mark Gatiss is up to it again, this time in the leading role. In post-World War II London, Gabriel Book (Gatiss) runs a secondhand bookshop, above which he and his beloved wife, Trottie (Polly Walker), live. But all is not what it seems, as Jack (Connor Finch), the young orphan ex-con they take under their wing, soon discovers. Gabriel apparently did something so important during the war that he is now the neighborhood’s go-to crime solver (with a letter from Winston Churchill to ensure VIP access). He also has a personal stake in Jack’s reclamation, which gives the series a fascinating and pathos-filled LGBTQ-history subtext.

Rishi Nair as Alphy Kottaram, left, and Robson Green as Geordie Keating in the 11th and final season of “Grantchester.”

(PBS)

‘Grantchester’ (PBS)

The sacred meets the secular in this long-running pairing of a young vicar with a worldly police detective in the titular idyllic Cambridgeshire village during the 1950s and ‘60s. In Seasons 1-4, that vicar is Sidney Chambers (James Norton), a jazz enthusiast plagued by memories of WWII who offers unsolicited insights to gruff and initially ungrateful Det. Inspector Geordie Keating (Robson Green). Friendship inevitably blooms, and when Sidney leaves the scene (and Norton the series) at the end of Season 4, many hearts (including Geordie’s) are broken. But subsequent replacement vicars — Will Davenport (Tom Brittney) in Seasons 5-9 and Alphy Kotteram (Rishi Nair) in Seasons 9-11 — each find their way to Geordie’s side, bringing their own charms, detectival insights and personal woes. The final season premieres June 14.

‘Touching Evil’ (BritBox)

DI Dave Creegan (a young Robson Green) is brought in to help DI Susan Taylor (an even younger Nicola Walker) of the Organized and Serial Crime Unit solve a series of abductions that Creegan comes to believe have been committed by a serial killer. The relationship sticks and the pair goes on to track down all manner of nasty killers with a combination of unconventional techniques and good police work. Green’s Creegan gets top billing, and a deeply resonant personal story, but seeing Walker (who would go on to star in so many fine series, including the terrific crime dramas “River” and “Unforgotten”) play a finely tuned second fiddle is great fun too.

‘Karen Pirie’ (BritBox)

For fans of Scottish crime drama (see also “Case Histories,” “Shetland” and “Dept. Q”), Det. Inspector Karen Pirie (“Outlander’s” Lauren Lyle) is a refreshing historic cases hero. Smart, ambitious and dogged, she is not burdened by a dark past or traumatic pain or the generally dour outlook that plague so many of her peers. Based on the books of Val McDermid, the series is set on the Scottish peninsula of Fife (the first season involves the picturesque town of St. Andrews) and all the gloriously broody scenery that implies. Murder mystery plus vicarious international mini-break.

‘Sister Boniface Mysteries’ (BritBox)

This cheeky spinoff of the iconic “Father Brown” puts a sweet-faced Catholic nun (Lorna Watson) at the center of all manner of murder in the fictional 1960s Cotswolds town of Great Slaughter. Sister Boniface is, of course, not just any nun. Having served as a codebreaker at Bletchley Park during WWII before entering the convent, she holds a PhD in chemistry, which makes her the perfect, if most unlikely, forensic specialist. (She also rides a red Vespa and serves as the convent’s vintner.) Unflappably brilliant and sincere in her vocation, she proves that faith in action can be both serious and great fun to watch.

‘The Bletchley Circle’ (BritBox)

Like Sister Boniface, Susan Grey (Anna Maxwell Martin) served her country as a codebreaker, but she is finding post-WWII life a bit more, well, boring. Forced back into the traditional roles of wife and mother, Susan tries to make do until a series of murders suggests to her a pattern unnoticed by the police. Gathering her former and still formidable colleagues who are also languishing in a sexist world, she creates, for two marvelous seasons, her own private crime unit. (See also, the one-season spinoff, “The Bletchley Circle: San Francisco.”)

‘Sherwood’ (BritBox)

When truculent Gary Jackson (Alun Armstrong) is murdered by an arrow outside his home in Nottinghamshire, near Sherwood Forest, Det. Chief Supt. Ian St. Clair (David Morrissey) is quick to put down any Robin Hood references and look instead at the town’s 30-year-old but still roiling divisions over the U.K.’s 1984-85 miners’ strike. Based on real events, “Sherwood” is both a murder mystery and a contemplation of the damage done by class-based strife and longheld grudges, often based on misinformation. With an incredible cast, including Lesley Manville, Kevin Doyle and Lorraine Ashbourne, it is deeply moving drama that illuminates the personal price of social divisions. Season 3 premieres this year.

Lesley Manville as Susan Ryeland and Timothy McMullan as Atticus Pund in “Magpie Murders.”

(Nick Wall / Eleventh Hour Films / PBS)

‘Magpie Murders’ (PBS)

Season 3 of “Magpie Murders” — titled ”Marble Hall Murders” — is also set to bow this year, so now is a good time to catch up on the previous adaptations of Anthony Horowitz’s Susan Ryeland novels, which both satirize and honor the murder-mystery genre. Ryeland (Lesley Manville) is a book editor whose most famous — and tiresome — author, Alan Conway (Conleth Hill), has just turned in his final murder mystery called “Magpie Murders.” Only the last chapter is missing and Conway has just been found dead at his country home. So it’s up to Ryeland, working with Conway’s literary detective Atticus Pünd (Tim McMullan), to figure out what happened, both in real life and in the book. This mystery-within-a-mystery launches two vivid characters, Ryeland and Pünd, working separately and together to solve crimes, sometimes in two different timelines.

Bill Nighy as headmaster Alan Lockwood, from left, Sharon Small as Det. Sgt. Barbara Havers and Nathaniel Parker as Det. Inspector Thomas Lynley in “The Inspector Lynley Mysteries.”

(Alex Bailey / BBC)

‘The Inspector Lynley Mysteries’ (BritBox)

The many, and voluminous, novels of Elizabeth George are being adapted in “Lynley,” a new series that has its charms. Still, I’m sticking with the older version, which ran from 2001 to 2008. Over six seasons, the unlikely partnership of Det. Inspector Thomas Lynley, eighth earl of Asherton and generally natty guy played by Nathaniel Parker, and his distinctly working-class and perpetually disheveled sergeant, Barbara Havers (Sharon Small), creates a classic odd-couple mix that allows some actual insight into issues of class and gender. But mostly, they make a great detective team, often using their differences to their advantage. The mysteries range far and wide over the U.K., from gritty streets to posh country homes, and 24 90-minute episodes are enough to keep you going all summer long.

Derek Jacobi in the title role of “Cadfael” in 1995.

(ITV)

‘Cadfael’ (BritBox)

Though the oldest series on this list (1994-1998), “Cadfael,” based on the books of Ellis Peters, remains a classic and constant recommendation. The great Derek Jacobi plays the titular 12th century monk who was once a soldier of the Crusades. Now a botanist and apothecary, Cadfael aids the local sheriff in solving all manner of crimes committed in and near Shrewsbury Abbey during England’s 15-year civil war known now as the Anarchy. Though the series does not delve as deeply into the politics of the time as the novels do, it creates an uncertain world in which violence runs rampant. Mercifully, there is a monk who knows his stuff, and if Jacobi isn’t enough reason to watch, the costumes and landscape are pretty great too.

‘No Offence’ (BritBox)

Joanna Scanlan was punk rock long before her turn in “Riot Women,” especially as the wildly frank, slightly raunchy, take-no-prisoners DI Viv Deering in this blackly funny depiction of the wayward Friday Street division of the Manchester Police. They are not misfits exactly — Deering knows what she’s doing as does her team, including the ambitious Det. Constable Dinah Kowalski (Elaine Cassidy), the self-doubting Det. Sgt. Joy Freers (Alexandra Roach) and Paul Ritter’s wise-cracking Randolph Miller (OK, maybe he is a misfit) — but they are much more recognizably human than most TV coppers. We know they’ll get their man, but it will take some time, and more than a few hilarious and heartbreaking misfires.

‘Inspector George Gently’ (Acorn TV)

After the murder of his wife, Inspector George Gently (Martin Shaw) leaves London’s Metropolitan police force in search of a more peaceful life in 1960s Northumberland. But as anyone who has seen “Vera” could tell him, Newcastle Upon Tyne is far from peaceful. Still brokenhearted, Gently finds himself solving crimes, and trying to teach his sergeant John Bacchus (Lee Ingleby) to be an honorable man in a time of shifting social mores and political upset.

‘Whitechapel’ (Hulu)

Come for the Jack the Ripper overtones, stay for the always great character actor Phil Davis (“Trying,” “Vera Drake”). He plays old-school Det. Sgt. Ray Miles, a member of an East End squad that is less than thrilled by their new guy, opposite the smooth and ambitious Det. Inspector Joseph Chandler (Rupert Penry-Jones), who shows up to his first crime scene in a tux and doesn’t appear to understand that this is the East End. But with what seems like a Ripper copycat on the loose, everyone needs to put aside their preconceived notions and figure out what’s going on. The series is wildly atmospheric with plenty of gallows humor and more than a few truly loopy plotlines, but great fun with Davis managing, as ever, to sell even the most preposterous scene.

James Norton as Henry Alveston, from left, Matthew Rhys as Darcy and Matthew Goode as Wickham in “Death Comes to Pemberley.”

(Robert Viglasky / PBS)

Death Comes to Pemberley (PBS)

This adaptation of P.D. James’ sequel to “Pride and Prejudice” is a miniseries, and just three episodes long, so this might be a bit of a cheat. But if you haven’t seen it, you should. Elizabeth Darcy (nee Bennet) (Anna Maxwell Martin) and Fitzwilliam Darcy (Matthew Rhys) are happily married and planning a ball. Sure, a couple of servants see a ghost in the woods (where Elizabeth encounters a suspicious woman), and Col. Fitzwilliam (Tom Ward) clearly wants to marry Georgiana (Eleanor Tomlinson), who doesn’t seem too keen, but what of it? Then Elizabeth’s sister Lydia (Jenna Coleman) shows up uninvited and hysterical; her still-caddish husband, George Wickham (Matthew Goode), had an argument with his friend Capt. Denny (Tom Canton), and the two vanished into the woods where shots were subsequently heard. Once again, Mr. Darcy must do what he can to protect the dreaded Wickham, and in doing so all manner of secrets are revealed. Jane Austen meets Agatha Christie with a cast either writer would kill for.

In this week’s episode of The Envelope podcast, Riz Ahmed talks about drawing on his own experience for “Bait,” his Prime Video series about a British Muslim actor whose life is upended when he’s rumored to be the next James Bond.

Kelvin Washington: Hello, everyone, and welcome to the next episode of The Envelope. Kelvin Washington, Yvonne Villarreal, we have Mark Olsen. And Mark, I’ll stay with you for a second. You had a chance to speak with Riz Ahmed, who is the creator and the star of “Bait,” which centers around the idea of who could be the next James Bond. So then, dang it, I’m asking you two the same question: Who could be, should be the next James Bond? Is there somebody or somebodies that you’ve thought about for a while and said, “Well, that would fit, that could work”?

Mark Olsen: It was recently announced that they have begun the casting process to replace Daniel Craig in the beloved and long-running James Bond franchise. And there have already been at least one sort of confirmed person, the actor Tom Francis, auditioned. But then there’s a lot of other names being thrown around, like Callum Turner, Jacob Elordi, Aaron Taylor-Johnson. Kind of everybody about that age bracket you could think of. You know, it’s funny, in the last movie, “No Time to Die,” Lashana Lynch was given the number 007, so she was not James Bond, but she was 007. And I always thought, actually, in the last couple of movies, that Léa Seydoux would make a perfect [00 agent] — she’s cool, she feels kind of dangerous. She would have seemed to me like a great person for that kind of role. But then also, that’s obviously not James Bond. So who knows who it could be. Yvonne, what do you think? Do you have anybody in mind?

Yvonne Villarreal: Can it be a toss-up between you two? How would you fare?

Olsen: I don’t know if I’d pass basic training.

Washington: They have doubles, OK? They got stunt doubles and CGI and AI for all of that and for you, OK.

Villarreal: It’d be like the Leslie Nielsen version.

Washington So it’d be like 007 with a question mark: 007?

Villarreal: More seriously — not that I don’t take you two seriously as candidates — I would throw my enthusiasm around Jonathan Bailey or Damson Idris.

Washington: I’m gonna one-up your Idris and just go [with] the obvious, Idris Elba. It’s been sitting there for the last 15 years or so.

Villarreal: That’s why I didn’t [say that], because I’m like, “It’s been sitting there and they still haven’t.”

Washington: But sometimes it just makes sense. Sometimes it’s just sitting smacking you in the face, or shooting you with a silent 9mm — whatever he uses, James Bond. It just makes sense, and to be honest, it’s one of those, he’s probably passing [on the role] because you wanna have a franchise you can hold on to for 20 years with a particular actor, give or take, and he seems like he’d be probably too senior for that at a certain point. The podcast, the conversation behind what really happened there is going to be fascinating because, to your point, it just seems like the momentum was building for it and it didn’t happen. So it would be interesting to hear what actually comes out of that. But those are my are my guesses right there.

All right, Mark, you had a chance to speak with Riz Ahmed, obviously the creator and the star of “Bait.” Fascinating to me, just the concept of the show as a whole.

Olsen: Riz Ahmed is someone who, he’s so thoughtful about his own career, but also his place in the world. And so he does such a great job with this show and taking this idea of like, “Could an actor like Riz Ahmed, could he be James Bond? Should he be James Bond? Why not?” And so the show is just so thoughtful and finds all these really inventive ways of exploring that idea. He’s playing a little-known actor who it becomes public that he’s auditioned for the role and that throws his whole life into tumult both within the industry, with sort of like online hate towards him, but then also with his own family. And the show is also meant to be kind of a real love letter to the South Asian communities of London. Riz in the conversation talks about how they went out of their way to shoot in parts of London that you don’t normally see. So the show, it’s just so inventive and fun in a lot of really terrific ways.

Washington: Well, let’s hear more of your conversation with Riz now.

Riz Ahmed.

(Christina House / Los Angeles Times)

Mark Olsen: On the show, you play an actor who auditions for the part of James Bond. It leaks to the press, and then his whole world turns upside down. For you, is the premise of the show predicated on the idea that someone like you would never get that part, or is it that, of course you should get that? Which end of the telescope are you looking at it from?

Riz Ahmed: Kind of neither, really. The premise of the show was something a bit more emotional than that. The James Bond thing came right at the end, to be honest, of the creative process. Really, the heart of the show is the idea of auditioning. James Bond really serves as a symbol in the show, a symbol of aspiration, pinnacle of achievement in this industry and also of alpha masculinity and all this kind of stuff. And so it’s really the idea of trying to be that guy, which on some level, we’re all trying to be this kind of preferred version of ourselves, right? We’re all performing. We’re actually all always auditioning. So it’s about that feeling, [which] I think extends outside this industry. We’re doing that on LinkedIn or social media, on this podcast right now. We’re performing a version of ourselves. When actually the true version of ourselves is kind of messy, chaotic and vulnerable. So it’s that distance between the public and private self that I was really interested in, and James Bond just served as an aspirational symbol of that public way that you would love to be seen.

Olsen: But Bond, because of the specific cultural baggage that comes with that franchise, did you feel like it fit thematically with what you were trying to do?

Ahmed: Oh, perfectly. It was a godsend. It was like one of those moments where it’s like, “OK, so we want to do something about, like, aspiring to be anything but yourself. We want to do something about feeling like life is one big audition, but we need something that encapsulates success and cultural acceptance.” And it was like … Of course: Bond. And because the process of making this show was one of pulling so much from my own personal life, there was a moment or two when my name was mentioned in that conversation. I mean, along with, you know, everyone and their dog. But it was an interesting kind of thought experiment, it was an interesting, as I said, kind of vessel to place all of the themes into. And so when that idea came about, it was like, “This is perfect. We can talk about everything we want to talk about using this symbol.” We’re like, “OK, now how are we gonna get it?” And everyone told us Barbara Broccoli would never let us use it. Rightly so, she was very protective of this IP. But I wrote her a letter, sat down with her, showed her the scripts and she understood. She understood that it’s not really about Bond. It’s a show about self-love, and she really kind of vibed with that. Shout out Barbara Broccoli, thank you for letting us use Bond exactly how we wanted to.

Olsen: You recently hosted the new “SNL UK” and in your monologue, you made this joke that you don’t just play intense roles, that there’s this image of you that it’s all that you do. Did you purposely want to make “Bait” as a way to break you out of that perception?

Ahmed: It wasn’t that careerist and calculating, to be honest. I was just trying to make something that was authentically me. And I think the people who know me know that I’m a lover of comedy. My first rap song was a comedy rap song. I got banned on British radio back in the day because it was a quite an acerbic kind of satire. And actually it’s funny because I think that’s an American perception of me. In the UK, nine times out of 10, when I get stopped is for a British comedy I did called “Four Lions.” Which is like a kind of cult classic British movie. It’s a very British comedy. That’s like me, that’s like how I am in real life. And so when I wanted to make my own show, it just stands to reason it would be a reflection of my taste. So the overall frame was comedy, but I kind of have quite a maximalist sensibility. I want to have my cake and eat it. So I also wanted it to be a spy thriller and a family drama and quite surreal and psychological thriller and all of these elements kind of put together, but the frame of it all, I would say, is comedy. And yet it was really actually important to us that we tried to defy genre and defy categorization in that way.

Olsen: Did you feel like this was a role that, like, nobody was going to give you, like you had to write this for yourself?

Ahmed: It wasn’t so much out of a kind of frustration or a desire to create work for myself or break out of a pigeonhole or anything like that. Honestly, I just tried to make something as honest and authentic and vulnerable as possible, if that doesn’t sound too eye-rolly. I guess I reached a point in my life as a creative where I realized, actually, performance isn’t about putting on the mask, it’s about taking it off. It’s about sharing with the world who you are, sharing your privacy and your insanity. And if you do that, people will connect with it because it’s honest. And if you name your pain and your craziness, there’s something healing in that for yourself and others. I had kind of gotten to that place in my life. And so I wanted to kind of follow that through to a place that felt quite scary and pull on the most personal aspects of my own neuroses and my life and my neighborhood that I grew up in — so many locations are literally where I’ve grown up. So many moments in the show I pulled very directly from my life experience. My character has a panic attack at the end of Episode 1 at this particular music venue in North London. I had a panic attack in that venue in North London when I was supporting Wu-Tang Clan. My character is approached by MI5 and MI6. They say, “Hey, you’re a rising actor, do you wanna work with us, help with messaging?” That happened to me specifically once I started to become a bit more well known. There’s just so many things that kind of came from that place, and it was all based on this idea of like, “If I wanna make a show about a character who needs to learn how to take off the mask, then I need to do that as well.” And we kind of had a mantra in the room, which was like, “If it feels scary and it’s true, do it.” And there were times when I didn’t want to do it, definitely times when I wanted to kind of hide, but I just increasingly have this feeling that if you can offer up a part of yourself, then that’s one of the most liberating things you can do as an artist. And also for an audience, it just feels honest. That’s where you can connect most with people, if you’re willing to share that vulnerability.

Olsen: What was the writing process of the show like for you? Was there a moment where you had like a whiteboard with a list of awkward things that had happened to you?

Ahmed: That whiteboard would be very, very big, very, very large. Let’s say we’ve got a lot left in the tank if we ever do another season. The writing process was a learning curve for me, never having been in an American writers’ room system before. Hugely grateful to my co-showrunner, Ben Karlin, who’s got himself a really eclectic background. He’s one of the founding writers of the Onion, the satirical website. He has this track record, “The Daily Show With Jon Stewart” and “The Colbert Report,” but also “Modern Family.” And so I wanted someone who had that eclectic background, and we had a writers’ room that was similarly very eclectic. We had stand-up comedians. We had novelists. We had playwrights. We had experienced TV writers. We had U.S. [people], we had UK people. I just knew that I wanted this to feel quite eclectic, and as I say, kind of genre-bending. And so I wanted that breadth. So actually the writing process for this was like, “How do we make this feel as chaotic and messy and unpredictable as possible?” That requires a crazy amount of craft. And there were a lot of late nights, there was a lot of hair being pulled out. And it was, I think, one of the most intense periods, more so than the shoot, even. It was just trying to figure out what this show was. And I came to this realization, which is, Shah Latif, my character, is having an identity crisis. He’s trying to work out who he is. So it stands to reason the show should also be trying to work out what it is. The show needs to be having an identity crisis. So then we gave up on this mission of trying to make it feel coherent and consistent. And we said, “Of course, he’s an actor trying to work out who he is. Every episode should be a different genre. We should have our James Bond-goes-to-the-gala-in-a-tux episode. We should to have our Bollywood-proper episode. We should have our Linklater walk and talk. We should have our Greengrass does a spy thriller.” So we really deliberately and really defiantly tried to embrace the identity crisis of the character in how we told the story. And when we did that, everything fell into place. We would stop trying to straitjacket this into something more predictable.

Olsen: And what was it like for you to be filling this role of not just actor but also writer, producer, showrunner? How did you feel about taking on all those roles?

Ahmed: I felt scared. I felt out of my depth. I felt like I needed the help of people much smarter than me. Luckily, I had that help. And more than that help, their patience. I continually said, “No, we’ve got to go back and do it again. We’ve got to rewrite that episode. We’ve gotta redo this whole section,” as it felt so personal to me. Not just because it’s my personal experiences, but because there’s a world that hasn’t quite been put on screen before in this show, and I felt a tremendous sense of responsibility and emotional connection to that world and these characters. So at times it felt overwhelming. ButI’m of this philosophy that usually when you’re making something, you kind of end up feeling how the character is feeling. The character feels out of his depth, feels overwhelmed, feels like he does not quite know what he’s doing, it stands to reason I should feel like that. If I really feel like I’ve got it all worked out and I’m in control, we’re doing something wrong. So as far as possible, I tried to remind myself that that was a sign of almost being in touch with the material. At least that’s how I tried to talk myself off the ledge, man.

Olsen: Can you just talk to me a little bit about the title? As I understand it, “Bait” is UK slang?

Ahmed: The title actually has many different layers to it. I always say this is a show that’s hard to sum up in a sentence, but it’s really easy to sum up in one word, and that word is bait, because it has like five or six different meanings. So one key meaning is British slang. It means really blatant and in your face. So if you’re blowing up someone’s spot, you’re baiting them up. You’re being really kind of, “Look at me, look at me,” you’re being bait. So that speaks to Shah Latif, the character, and his attention seeking. But bait also means, online, trolling. It also means, in Urdu, your loyalty or your allegiance. It also mean in Arabic, in Hebrew, home. And it also, in literal meaning, it’s something used as part of a trap, which speaks to the spy thriller element to the show. So all these different layers to the word bait correspond to a different layer of show, correspond to each different episode. That’s exploring that meaning. And I wish I could tell you we had this all worked out upfront, but we struggled with the title for so long and it kind of like hiccuped itself up into the ether in a late-night kind of hair-pulling session. We realized, “Oh, my God, that’s it. That’s exactly what it should be.” So yeah, the title I think encapsulates how we’re trying to explore these different genres and all the different narrative threads in the show.

Olsen: All the things that your character of Shah Latif is going through trying to move forward in his career as an actor, remaining true to his community and his sense of self, how much of those are your own issues? Are there things that you feel like you’re on the other side of now? Are those things that you’re sort of constantly trying to figure out for yourself?

Ahmed: Of course, like this idea of searching for your identity in a world that either commodifies it or punishes it, that’s something I relate to. But I also kind of feel like that’s something we all relate to. There’s a lot of me in Shah Latif, but I actually think there’s a lot of Shah Latif in all of us. This idea of feeling as though you’re not enough. This idea of trying to cultivate a public version of yourself because you’re ashamed of the private version of your self. I think that’s such a universal feeling right now in this performative culture that we live in. We all wanna be looked at, but we don’t wanna be seen. And somebody once told me that the distance between your public and private self is the amount of shame that you carry. I think it’s true, more or less. I’m not saying you shouldn’t have a private life and some things shouldn’t be kept private. It probably should. But in a kind of deeper sense, I think there’s a truth in that. So I wanted to make a comedy in this playground of shame because it’s something that I can relate to, but I just had a sense that this is a very universal feeling.

Olsen: How much of these are issues or things you were going through in your career maybe five years ago, 10 years ago? What are the the sort of top-line things that you feel like you’re struggling with now?

Ahmed: This is where it becomes a full-blown therapy session. I would say that there was a period of time when I was just really desperate to be in the room. And now I’m in a place where I’m really excited to try and build my own room. And that, in a way, is a journey that the character goes on. I think it’s a journey that I’ve gone on, and the show, in a way, is a culmination of that journey. You know, it was just such a privilege to be able to create a playground and bring together this kind of ensemble. I don’t think there’s ever quite been a brown ensemble like this on screen before and [to] showcase all that talent and create that sense of family and specificity. And yeah, as I said, kind of build my own room rather than asking for a seat at someone else’s table. So I think that journey is one that I’ve been on and one that, I think, the show is exploring.

Olsen: There are these title cards throughout the series that give you these neighborhoods and locations, and I don’t know London super well, but like, it feels like it’s a very specific version of London. What was the importance of those locations for you?

Ahmed: The shows that I really adore and the ones that really inspired me on this journey are ones that are unapologetically specific. The Holy Trinity in my mind was “Atlanta,” “I May Destroy You” and “Fleabag.” These half-hour shows that are super personal, but also super specific in the world they’re exploring, whether they’re a city like Atlanta or a certain kind of Black London, or a very particular kind of white, middle-class British family in “Fleabag.” And so I wanted that unapologetic specificity. I wanted it to be a love letter to my London. And so I wanted to shout out these neighborhoods that really mean something to me. But more than that, I wanted to give a nod to the spy genre with those title cards. You know, in a Bond movie it says like, “Somewhere in the Caribbean,” you know, “Mexico City.” I wanted do that with Kentish Town, with Brick Lane, with Wembley. I wanted to elevate our daily experience and those neighborhoods to that kind of grand stage and those epic stakes and say, “Actually, this is as magical, as important, as exotic, as thrilling as any of those locations within that kind of genre.” Jordan Peele, when he made “Get Out,” said, “Being Black in America is like living in a horror movie. That’s why I made ‘Get Out.’” I can add this thesis that being brown in the West is like being in a spy thriller. And that’s why we made this. So I wanted those neighborhoods to feel like those chyrons you have in a spy thriller.

Olsen: You’ve often mentioned in the past, it’s a phrase I’m very taken with, “stretching culture,” expanding the idea of what’s possible. And I’m just curious, like, how is that going for you?

Ahmed: There’s the idea that the universe is expanding in all directions at the same time. I feel like that with culture. I feel like things are getting crazier and better at the same time simultaneously at an accelerating pace. You know, that’s kind of how I feel about it. And it’s like our consciousness, right? You get a little bit crazier, even as you get smarter. It’s that kind of feeling. For whatever it’s worth, it may sound pretentious, but I kind of feel it’s important to try and anchor myself in some sense of purpose. And I think that’s the purpose of storytelling, is to kind of constantly expand horizons of who is considered human and what is considered human. And I think for me, at least in this moment in my journey, I want that to be about telling stories that haven’t been told before, portraying worlds and communities and characters that maybe we haven’t been that familiar with.

Olsen: You’ve expressed some frustration recently with the phrase “representation” — that it’s become kind of a hollow gesture. What would you like to see happen moving forward?

Ahmed: Well, I was really proud to be part of the conversation, when we were kind of collectively coining that term, right, going from diversity to representation. But I do think it’s not an end in itself. Like I said, being in the room doesn’t necessarily change anything. It’s what are you allowed to do in that room? Does the room change you, or do you change it? It’s what the show’s exploring. And so at least for me right now, the kind of representation I’m interested in is how authentically we can represent ourselves. Do you know what I mean? Like, do I have to code switch? Do I have put on a mask or do I get to take it off? That to me is, I think, the most exciting kind of knot to unpick right now. And as I said, that’s kind of at the heart of the show.

Olsen: I want to be sure to ask you about some of the other cast on the show, specifically Guz Khan. I feel like I could watch the two of you just driving around in a car together for hours.

Ahmed: I’ll send you the rushes.

Olsen: Did you two have an immediate chemistry?

Ahmed: Can I tell you, the story of me and Guz is its own bizarre bromance. Here’s how I thought I knew Guz. Guz went viral in the UK because he did a joke, kind of like [a] shout-out against Steven Spielberg, right? Because there’s a kind of dinosaur in his “Jurassic Park” reboot that sounds like a racial slur in the UK. I’m just gonna let people check it out for themselves. I’m not gonna say more than that. This is like 10 years ago, something like that. He goes viral, he starts blowing up, people start offering him his own TV show. He DMs me on Twitter and he’s like, “Bro, like, what’s the industry like? Is it like crazy Illuminati vibes?” I was like, “Yes, but the Illuminatis are actually very fun, come and join us.” And just started this banter with him, and he goes on his journey, becomes one of the most beloved comedians. I’m on set with him, shooting “Bait.” And he goes, “You don’t remember the first time we met and we spoke, do you?” I said, “I remember, you DM’d me like a crazy guy.” And he was like, “No, no. We met 20 years ago.” I was like, “What are you talking about?” I was doing a spoken-word performance in the Midlands in the UK. No one was coming to see it. It was a completely empty club. So I take it upon myself to go outside and start flyering passers-by. Down a dark alley, I see guys with some of his friends engaged in a business of some sort. His legal team have asked me to refer to it as “selling tulips.” They were selling tulips, OK? I go down to this alleyway, I hand him flyers, him and his friends. I’m like, “How are you doing there, gentlemen? Would you like to come and see me do some spoken word?” They’re like, “What the hell? We’re in their mid-tulip transaction.” He decides out of the kindness of his heart with his boys to come and watch me do spoken word at Coventry Student Union. And he said it was the first time he saw someone that looked like him doing something like that in a space like that. … Twenty years later, we’re on set together. We met when we were like 20 years old and I’d completely forgotten him, but he remembered. We have like a brotherhood and a friendship in real life. I wrote that role for him. He is someone who constantly reminds me that as an artist, your art can only be as expansive as your heart is. He’s just that guy on set you want to be around. He brings the positive energy, he reminds you this is meant to be fun. And actually, when you’re having fun, you’re feeling relaxed and loose, you do great work. He’s evidence of that. And so I just have so much love for him, but I would only say that because he’s not here. If he was here, I would be making fun of him aggressively.

Olsen: Now that to me seems like this notion of stretching culture, where you’ve had this influence on him that you kind of didn’t even know.

Ahmed: I would love it if he would say that publicly, rather than me having to tell the world that I’m responsible for his career. Thank you for saying it. If we can clip that bit, that would be great. Send it to Guz, yeah? Email that to him. I don’t know, man. I kind of feel like we’re all in this relay race, right, and we’re just fumbling the ball to one another and trying to move forward. And one of the great things about this show was being in community in that way. I think for some people, particularly in the UK, they’re familiar with the world that’s portrayed here. I think, for a lot of Americans, they’re really not. Interestingly, I’ve had a lot of Latin viewers and Latina viewers approach me saying, “That’s my family, I get that, I know what that is.” And so I don’t know, I just think it’s kind of exciting. One of the things I love most about storytelling on screen is we can bring people into worlds they haven’t been to before. That’s what I remember falling in love with when I watched “Goodfellas” and “Mean Streets” in that world that Scorsese creates. So yeah, I think as long as we’re all leaning into this specificity, doing so in community, maybe that’s how we get to stretch culture.

Olsen: In a recent profile on you, the actor Sandra Hüller, who you work with on the upcoming movie “Digger,” she said that one of the things she most admires about you is that you take yourself and your work seriously. And I think I feel the same way, like there’s an intentionality to what you do, there’s a sense of purpose to what do.

Ahmed: It sounds so boring, though, when you put it like that. Doesn’t it? I hope I don’t take myself too seriously. I guess I take it seriously that I’ve got this opportunity to try and tell stories, and I believe that they matter. But I actually hope I don’t take myself seriously, very seriously. I hope this show in a way is evidence of that. That’s Exhibit A. Yeah, you got Hüller’s testimony here and then you got “Bait” over here. Who do you believe?

Olsen: Is there anything you can tell me about “Digger”? It’s a new film from Alejandro González Iñárritu, it stars Tom Cruise, and it has quickly become, I think, one of the most anticipated movies of the year. People are very excited about it. And there’s very little known about it, is there anything you can say about it?

Ahmed: It’s funny you should say that because I spoke to Alejandro today and he gave me permission to reveal something exclusively to you on this podcast. No, not really. There’s nothing. Absolutely nothing. I actually might get assassinated for just saying that even.

Olsen: And have you seen it?

Ahmed: I feel like anything I say, there’s like a bomb on my leg that might go off. I’ll say this, it was a really unique and incredible experience. Alejandro is this crazy genius and being around that level of — Tom Cruise as well — they’re all obsessive perfectionists that have just like endless rocket fuel in them. It’s just inspiring to be around, honestly. Really, really unique. I don’t know if I’ll ever have an experience like that again.

Olsen: And then you were nominated for an Academy Award for acting for “Sound of Metal,” but you won an Academy Award for the short film “The Long Goodbye” that was based on an album that you put out. As you’ve become busier in your acting career, has it become difficult for you to still make time for your music?

Ahmed: The projects that I have out right now with “Hamlet” and “Bait” are things that I’ve built. I’m not saying this is the way, necessarily, it’ll always be, but at least over the last several years, acting is like this cherry on the cake. I’m spending all this time building these other things and writing these things and producing these things. And in a way making music is part of that. It’s like being in a writers’ room, with musicians in a studio. And one of the things that I’ve enjoyed most is bringing the development of stories together with the development of albums. “The Long Goodbye” short film is an example of that. But I mean, I joke about this to my friends, one of the main reasons I made “Bait” as a TV show is so that I could make a soundtrack. You know, I grew up on Bollywood where, in a way, the movie was just an excuse for the music. I partly almost feel the same way here. We’ve got a soundtrack for “Bait,” which I’m very, very proud of. And it’s a reflection, I think again, of that eclectic, multicultural London that I know and love. It pulls together artists from across the diaspora, from the Bay Area and the U.S. through to India and Pakistan, from Trinidad and Bangladesh and Karachi and London. And it’s something that I think kind of speaks to the genre-bendiness of the show as well. So in a weird way, as I’m developing more of my own stories, I’m able to incorporate music into that process more.

Olsen: But are you making music of your own?

Ahmed: Yeah, I’ve got two tracks on that soundtrack, for example. Yeah, one of them with a rapper who I’ve been a huge fan of for many, many years. So that was a lovely moment. His name is Casisdead, makes very kind of cinematic UK hip-hop. So I’ve got two tracks on that and yeah, I mean, watch this space. Hopefully I’ll have some more time.

Olsen: And then, this is a moment in the show, and I know it’s something that’s happened in the past, but are you still ever mistaken for Dev Patel?

Ahmed: Honestly, every time I’m mistaken for Dev Patel, I’ll take the flowers. I’m such a fan of his, personally, and he’s actually also from that very particular pocket of Northwest London where I’m from, that this show is almost a love letter to. That pocket of London has produced, if I may humbly put myself in that bracket, myself, but also Dev Patel, Jay Paul, Jay Sean and Jay Shetty. All the Jays. All of them. So I’m very proud of Dev and everything he’s doing, and he’s telling his own stories as well in a way that I find really inspiring.

The stunning victory by the New York Knickerbockers over the San Antonio Spurs on Wednesday gave ABC the most-watched NBA Finals Game 4 since 1998, the year of Michael Jordan’s last championship with the Chicago Bulls.

Nielsen data showed an average of 20.9 million viewers watched the Knicks overcome a 29-point halftime deficit to top Victor Wembanyama and the Spurs 107-106 at Madison Square Garden, the greatest comeback in NBA Finals history. The Knicks have a 3-1 lead in the series and will play Game 5 on Saturday in San Antonio, attempting to win their first NBA championship in 53 years.

Through the first four games, the NBA Finals are averaging 19.6 million viewers, also the highest since the Bulls-Utah Jazz faced off on NBC in 1998. The series is on track to become the most-watched since the NBA Finals moved to ABC and ESPN in 2002.

“The match-up is ideal from a media business standpoint, featuring the nation’s largest media market with New York, teams with robust followings and multiple all-stars, especially Wemby, the compelling new face of the NBA,” said Lee Berke, president of LHB Sports Entertainment & Media, Inc.

The Knicks-Spurs series is up 116% over the first four games of last year’s match-up between the Oklahoma City Thunder and the Indiana Pacers. But the most encouraging numbers for ABC and ESPN is the growth among younger viewers, who have become harder to reach in the age of social media and streaming. Ratings among teens aged 12 to 17 are up 138% while the 18 to 24 age group is up 147%.

ABC is also seeing spikes in viewing among women, up 121%, and the Latino audience due to its large populations in the markets of New York and San Antonio, according to Flora Kelly, ESPN’s senior vice president for audience research.

Viewing in the New York market alone is accounting for 18% of the national audience.

Este Haim, Taylor Swift, and Mariska Hargitay react during the 2026 NBA Finals at Madison Square Garden on June 10, 2026.

(Al Bello / Getty Images)

In addition to delivering highly competitive games, the NBA Finals also had President Trump and pop superstar Taylor Swift in attendance at Madison Square Garden. Both are capable of turning a live TV event into a full-blown spectacle.

“What we’re seeing is that this Spurs-Knicks series is a tremendous cultural moment,” Kelly said.

Trump attended Game 3, making him the first sitting president to attend an NBA Finals. While Trump was a fixture at Knicks games before he entered the national political scene, some commentators, such as ESPN’s Stephen A. Smith, believed the president’s insistence on attending Monday’s contest became a distraction that disrupted the home team’s momentum. (The Knicks lost the game 115-111, ending the team’s streak of 13 consecutive wins).

Swift showed up for Game 4, joining “Law & Order: SVU” star Mariska Hargitay and the other celebrities that regularly show up court side at Madison Square Garden.

Some people are still processing “Euphoria’s” evolution away from its roots as a gritty drama that explored highly mature and dark teenage experiences to, in its final season, a fever dream-esque look at adulthood that played like a full-blown neo-noir crime thriller. But another show’s creative transformation has taken the stage now.

The third season of AMC’s adaptation of Anne Rice’s “Interview With the Vampire” brings a reset to the captivating world of bloodsuckers. While the first two seasons adapt the original 1976 novel, relying heavily on the recollection of Louis de Pointe du Lac (Jacob Anderson) as he recounts his centuries-long life and romance with Lestat de Lioncourt (Sam Reid) to a journalist, the new season shifts narrative focus and perspective over to Lestat, who transforms into a charismatic frontman of a glam-rock band to publicly set the record straight. As such, the series has been retitled “The Vampire Lestat,” which is the name of Rice’s second novel. For this week’s Guest Spot, I spoke with showrunner Rolin Jones about the show’s rebranding and Reid’s commitment to the musical challenge.

Also in this week’s Screen Gab, TV critic Robert Lloyd steers us away from the usual streaming options to recommend a man’s video journal that documents his quest to travel the world by foot, while culture critic Mary McNamara suggests a new British comedy about codependent BFFs navigating the sort of tricky development that would end most friendships.

Speaking of endings to relationships, it was announced this week that “Doctor Who” showrunner Russell T Davies is exiting the series (again) seven months after Disney+ decided not to continue its partnership with the BBC to distribute the long-running sci-fi series. BBC also announced it will not air the show’s previously announced Christmas special this year. Lloyd, a longtime Whoverse follower, is a voice of calm through it all. He shares his thoughts on why the new questions swirling around the franchise don’t necessarily have to be cause for alarm — evolution is part of the show’s essence, he reminds us. Elsewhere in current events, if you’ve been curious (… sure, that’s the right word!) about the UFC Freedom 250 live event that will unfold in an oversize cage on the White House South Lawn in celebration of Trump’s 80th birthday and the country’s 250th anniversary — and will be streamed live on Paramount+ — check out our explainer about the controversy — and lawsuit — it has sparked.

Now if you’ll excuse me, I have another Matthew Rhys story to read so I can maintain my executive membership in the fan club. See you next week!

— Yvonne Villarreal

Turn on

Recommendations from the film and TV experts at The Times

@AlexanderCampbellOfficial (YouTube)

In February 2023, Alexander Campbell, then 27, set out from Sydney to walk west around the world. Currently he is somewhere around Albania, having traversed, among other places, Bangladesh, Nepal, Pakistan, Kazakhstan, Turkey and Bulgaria. He’s been documenting his progress on camera all along the way, but it wasn’t until Day 938, in Georgia, that he began posting the longer, “uneventful” videos that make his channel such a singular, meditative, even hypnotic, form of vicarious travel. Walking alone to the sound of his own footsteps, through sun, rain, sleet, snow and dark of night, over mountains and deserts, through forests and fields, he becomes a character in a peripatetic, nearly one-man show. The occasionally encountered friendly local will warn him about wolves or bears or the hunters who might mistake him for one, though he meets more dogs than people. (He calls them all “Buddy,” warily.) Titles include “I Slept in a Barn Full of Stray Dogs,” “I Got Caught in a Snowstorm With Nowhere to Sleep” and “Something Was Out There in the Forest.”) — Robert Lloyd

Jemaine Clement, left, and Nicola Walker in “Alice and Steve.”

(Lara Cornell / Hulu)

“Alice and Steve” (Hulu, Disney+)

What would you do if your ex-turned-longtime bestie slept with your 26-year-old daughter? Well, Alice (“The Split’s” Nicola Walker) 100% loses her mind. Sure, during a drunken convo at a bar, she did tell Steve (“Flight of the Conchords’” Jemaine Clement) that he could have any woman he wanted, but she most certainly wasn’t talking about Izzy (Yali Topol Margalith). Having just returned home after breaking up with her boyfriend, Izzy decides that Steve, now bunking down on the sofa, is “strangely hot” enough for a little rebound sex and then a romantic relationship. And Steve, though initially regretful and more than a little shell-shocked, decides this is what he wants too. “I really like her,” he says by way of sheepish explanation. It leaves Alice no choice but to hilariously alternate between screaming and scheming as she tries to put a stop to the proceedings even at the expense of her marriage, her career, her friendship with Steve and her self-respect.

Clement’s sad-sack charm successfully boosts the leap of faith required to keep Steve from becoming an oblivious creep, but the show belongs to Walker. Her Alice becomes a blazing embodiment of the emotional maelstrom inside every woman who is expected to somehow put on a supportive, understanding face no matter how outrageous or impossible the situation. The laughs she elicits are exhalations of shock, recognition and relief. We can’t all ditch the high road for pure, luxurious fury, but it’s mighty fun to watch someone who does. — Mary McNamara

Guest spot

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

Sam Reid as Lestat De Lioncourt in “The Vampire Lestat.”

(Sophie Giraud / AMC)

If you thought posting cryptic digs about an ex on your social media accounts as a way to cope with unresolved emotions was petty, this TV vampire may have you beat. The wild new, music-infused season of “The Vampire Lestat” (formerly “Interview With the Vampire”) revolves around Lestat de Lioncourt (Reid) on an elaborate mission to tell his side of the story after his ex-lover, Louis de Pointe du Lac (Anderson) published a scandalous memoir — with the help of journalist — that detailed their turbulent romance. In his bid to control the narrative, Lestat becomes an immortal glam rocker who launches a music tour and enlists the same journalist — newly turned into a vampire — to direct and film a music documentary about his life. The result is a flamboyant seven-episode season that blends rock-opera style performances (the season will feature 20 original songs) with personal reflections from its flashy frontman. As it enters its second week of release on AMC and AMC+, creator and showrunner Rolin Jones spoke over video call recently to discuss the show’s creative pivot and more. — Y.V.

To kick off the new season, there was an immersive premiere concert event at the historic Beacon Theatre in New York City earlier this month. Was that a surreal experience? Did you feel like a music manager?

I have a hard time talking about the work — the selling of the work, all that kind of stuff. I want to finish my edit, and then I want to like disappear at the Arctic. I knew we were doing this and I knew that there were like fans from all over the world flying in for it — some who didn’t have tickets. I knew there were people who had worked on the show from Seasons 1, 2, and 3 who got on a plane, asked for a ticket, and made a pilgrimage there. I was really moved by it. It was about as good as these things can ever be. It felt really beautiful. It felt like Vampire Church. It was pretty cool. And Sam — “surprising” is not the word because I’ve worked with him for a long time — was way better than he should have been. It’s incredible.

In this TV landscape, taking a show and giving it a new title as it enters its third season is a daring move. The series moves focus to the second book in Rice’s oeuvre. And while it continues the story of these characters, at the same time, it feels like a new show. What made you nervous about carrying out that kind of creative transformation? And what was thrilling about it?

We could start with a thrilling part because the idea to be able to go to the people who worked really hard and say, “Hey, let’s rebuild it” — that’s exciting. That part’s cool. The executing part about it is where the terror begins because most worthwhile art — you can call TV art — invariably has to have risk and danger involved in it, otherwise you’re probably performing a magic trick. No offense to magicians. But you want something that when you turn off the TV, you’re not immediately forgetting. The more risk you do, in terms of form, in terms of all that, you want to be able to feel like you can pull it off because, otherwise, they [the audience] have nothing to grasp onto. [And they say,] “You just destroyed this thing we love, how dare you!” But generally speaking, everybody — from the top of the network down to the actors who are doing it — was down for it. Mostly because, if you listen to our fandom, I think they demand it. They’re out there on a limb telling everybody “it’s the greatest TV show, and blah blah blah” and you have to deliver that for them so that they can continually confidently bombard all their friends and neighbors and say, “Watch the show.” There’s nobody who didn’t give everything [to this season]. It was a real collective leap together.

Sam undergoes quite the transformation to make this rock star vampire persona believable. What struck you about how he approached embodying Lestat this season?

I gained 20 pounds in Toronto, and that’s because I kept stuffing my face with bread, and about every three or four times I would have this big sloth of butter on bread, I’d go, “Poor Sam” because I know Sam had not touched a piece of bread. Let’s start there — 0% body fat, the dimensions on the waist. The level of dedication. He was living and breathing every second about the role and about the demands of it — sing songs, and not only sing songs, but go learn to be a musician, and go train with people who have been doing it their whole life so you can fake it. I feel very confident saying this: Anybody who watches this season and Sam’s performance will feel like, at the end, they saw one of the 10 greatest performances in the history of our medium. I think he absolutely disappeared. James Gandolfini did not sing songs, Swearengen [the “Deadwood” character played by Ian McShane] did not sing songs. Mr. White [the “Breaking Bad character played by Bryan Cranston] did not sing songs. I’ll put him [Sam] up against all of them. He’s incredible.

What if he wants to go off and be a rock star now?

He could do it.

Jacob Anderson as Louis De Pointe Du Lac in Season 3 of “The Vampire Lestat.”

(Sophie Giraud / AMC)

You have a rock band posing as vampires fronted by an actual vampire who is the focus of a documentary being directed by a vampire passing as a human. And for all this to work, the band has to be good. What was the challenge of making this fictional band’s stardom believable — the charisma, the presence on stage, the discography? It’s a tall order, in addition to making a compelling TV show.

Anytime you have seen these things, following a band, there’s so many ways it can fall flat. You can do three or four of the things you need to do, and if one of them falls apart, you’re still stuck there, going, “Eh.” We all, who are working on it, love music. We’ve all been in clubs. The first thing we did was remove the stardom for budget reasons, but also for singular storytelling — he decided to do rock ’n’ roll in the year 2025. Some basic building blocks, we need songs. So with [composer and songwriter] Daniel Hart, we bring him into the [writers’] room because it’s not only writing songs, but writing the context about when and where he’s [Reid] singing them. He has to be aware of what we’re doing in the room. We also have to be able to pivot when he has pure inspiration; he can come in with something we’ve never talked about, and go “Boom!” And it’s OK, now what do we do with this song? And quite often this year we restructured episodes because the song was beating our episode. [We had to] hire actors who can play or musicians that can act — and that’s not everybody, so that shrinks that down. Make sure when you’re in the club, or whether you’re singing the song in rehearsal, let us uglify it, embrace the mistake, make it a little dirty. We have a song this year that has some of the most beautiful orchestrations, but because of where it landed in the season and what it talked about, we ended up going with the most stripped down, bare version of it. Don’t worry, you’ll get to hear these beautiful orchestrations [at some point]. [It’s also thinking about] how do you carve out the time you need to shoot it and the playback elements of it, and what sacrifices you have to make on other set pieces that you would normally put in is a lot. But everything from the beginning was with one thing in mind: Do not suck. How can we suck less? Let’s not suck. And we just kept going over and over again with that.

At the end of the first episode we see Lestat reunited with his undead mom, Gabriella, who he has, I think it’s fair to say, an oddly intimate relationship with —

Multifaceted.

And obviously the Louis-Lestat romance is far from being over. What are you interested in exploring within those two dynamics, in particular, moving forward since they’re so central to Lestat?

It becomes immediately about him going, “Let me try to explain this … I might have just repelled 80% of you.” I’m really interested in the viewers who are really off-put by it. I want to see where they’re at by the end of Episode 7, if they trust us. And see what they’re feeling. I guess [some people feel], “Oh, you’re not allowed to do this in the TV world unless you got f— dragons and s—, but all the things that you would have thought [that the network might say], “Don’t do this,” we didn’t really have a lot of those obstacles. There was a lot of trust. The thing with the Lestat character is like it’s probably harder to cuddle up to him like you could Louis. Louis is a Faustian tale; here it’s like a Faustian tale but Elton John’s at the center of it. There’s a series of questions like “Why do you keep doing this to yourself? Why do you keep get trapped into these things?” It’s like going on odyssey, or as Jacob called it, an idiocy, with a character that is exotic and eccentric and contradictory. For us going forward, as we wrote it, every time we fell into the something that felt well-made or cool on a twist or turn level, we found we were very suspicious of it, and we were trying to make alien TV as best we could. So, what do I want? It’s less about exploring those two dynamics, although they’re richly part of this fabric. It was, how can you take them on a magic carpet ride, a very difficult one? The idea is to actually have, by the end, every single person recognize that part of themselves in him. And how can you normalize him over seven episodes? How can you deliver that to an audience?

I know you’ve been super–busy, but what’s the last thing you watched that you found yourself recommending to everyone or something that you were obsessed with right now?

A TV show I’m watching, one that I’m enjoying right now, is “Widow’s Bay” [Apple TV]— that has been very enjoyable. It’s so much fun.

Matthew Rhys’ facial expressions are so good.

Oh, he’s great, and that show just really knows what it is, and is joyfully silly, and has a great atmosphere. It’s one of the most beautifully shot things I’ve seen in a while. I’m not finished yet.

OK, before I let you go, I hope we get a concert out in L.A. at some point.

Wouldn’t that be nice? Where would you put it up? Echoplex?

Maybe the Troubadour.

What about the Greek? That would be nice.

ICYMI

Must-read stories you might have missed

RALEIGH, N.C. — Andrei Svechnikov scored twice and Sebastian Aho added a second-period goal in a breakout game for Carolina’s top-line performers, helping the Hurricanes beat the Vegas Golden Knights 4-2 on Thursday night to move one victory away from the Stanley Cup.

Captain Jordan Staal added his fifth goal in the series on a night when Carolina overcame multiple hiccups from these playoffs, from a shaky power play to being outplayed in the second period of this series.

And there had been the waiting game for Aho and Svechnikov — two roster mainstays in an eight-year postseason run — to find a better offensive groove.

It all came together in Game 5, with Svechnikov’s short putaway at the post on the power play giving Carolina a 4-1 lead midway through the third period. And unlike most multi-goal leads in what has been a wild and thrilling series, this one held up, with Brandon Bussi finishing with 22 saves in his second career postseason start.

That gave the Hurricanes a 3-2 lead in the best-of-seven series. Game 6 is Sunday night in Las Vegas, with the Hurricanes playing for the chance to hoist the Stanley Cup for the first time since coach Rod Brind’Amour captained them to the title in 2006.

It has been a tough series for Vegas goaltender Carter Hart.

(Karl B DeBlaker / AP)

Pavel Dorofeyev scored twice for Vegas, finding the net for the first time since Game 1 of the Western Conference Final sweep of Presidents’ Trophy winner Colorado. Carter Hart entered this one as the first goaltender in Stanley Cup Final history to give up at least four goals in each of the first four games, then did it again to continue a difficult series while finishing with 20 saves.

Vegas had twice before been in a 2-2 series in these playoffs, in the first round against Utah and the second round against the Ducks. Both times, the Golden Knights won Game 5 and then closed out the series in Game 6.

This time, they’ll have to win on home ice to force the series back to Carolina for a Game 7 on Wednesday night. And they’ll have to take two in a row against a Hurricanes team that hasn’t suffered consecutive losses since mid-January.

Vegas played much of the night without center William Karlsson, who was being checked out on the bench for an apparent upper-body injury. Karlsson skated to the tunnel midway through the second period and didn’t return.

How does a football penalty become a story about survival? As Bosnia and Herzegovina prepare to face Canada in their 2026 World Cup opener, many eyes will be on Esmir Bajraktarevic. Born in the US, to a family affected by the Srebrenica genocide, his journey is about far more than just football.

It’s not often that I remark on a casting announcement, much less one about “Scooby-Doo,” but the second I opened an email from Netflix, my jaw dropped.

A chocolate brown Great Dane puppy with blue eyes and a teal collar sitting on a tile floor gazed at me from my computer screen — I squealed. I mean, look at him. His floppy ears, grumpy little face and paws you just want to shake hands with. He’s perfect.

“Scooby-Doo: Origins” is the streamer’s upcoming live-action series, slated for release in 2027, featuring this mystery-solving pup. It marks the first time a real dog has played Scooby-Doo. For many viewers, their first exposure to Scooby and his gang was via the ‘70s Hanna-Barbera animated version, which aired on Cartoon Network in reruns in the ‘90s and early aughts, or the reboots on ABC and the WB, now the CW, more recently. Several live-action theatrical and TV films have been made over the years, but they’ve always featured a computer-generated dog. Yes, that means it took nearly six decades to have a real-life Scooby.

The previously announced cast includes key players in the Scooby gang: Mckenna Grace as Daphne Blake, Tanner Hagen as Shaggy Rogers, Abby Ryder Fortson as Velma Dinkley and Maxwell Jenkins as Fred Jones. Paul Walter Hauser is also slated to appear as a series regular in an unnamed role. Showrunners Josh Appelbaum and Scott Rosenberg helm the series.

According to the show’s logline, it’s a “modern reimagining of the iconic mystery-solving group of teens and their very special dog” that takes place at summer camp. Said dog may have been witness to a supernatural murder, leading the group of teens to set out to solve the case. It’s an origin story for Scooby and his gang.

While I wouldn’t consider myself a “Scooby-Doo” superfan, I am a fan of very cute dogs. I’ll have my Scooby snacks ready in case we ever cross paths.

USC loses in heartbreaking fashion

From Alan Cole: USC’s 2026 baseball season will be defined by two words — progress and pain.

Just two outs away from reaching the College World Series for the first time since 2001, USC suffered a devastating 4-3 loss in game three of the Chapel Hill Super Regional, as North Carolina rallied for two runs in the bottom of the ninth and snatched the trip to Omaha away from the Trojans on Owen Hull’s walk-off RBI double into the left-center gap.

“I’m proud of our boys,” USC coach Andy Stankiewicz said. “I’m disappointed in the results, but I’m never disappointed in our guys. They did something pretty special this year.”

Andrew Johnson did everything possible and then some to get USC (48-18) across the finish line. After already throwing 3 ⅔ innings of shutout baseball to close Game 1, Johnson went a season-high 7 ⅔ innings with two earned runs surrendered to get the Trojans to the doorstep of victory. He glided through North Carolina’s lineup for most of the day, at one point retiring 15 out of 17 batters.

He ended the super regional with 133 pitches thrown in a little over 48 hours, on top of the 145 pitches he threw across two appearances in the College Station Regional for a total of 278 tosses in 22 ⅓ innings with five earned runs given up in a heroic postseason stretch.

“The goal from the beginning of the season is Omaha,” Johnson said. “We’re definitely not just happy that we made it to supers and moved past the regional, but for it was a great season and we can be proud of what we accomplished.”

Continue reading here

Big win for Nelly Korda

From Sam Farmer: Nelly Korda watched someone else lift the trophy at last year’s U.S. Women’s Open.

This time, it was Korda — the 2025 runner-up — who did the heavy lifting.

The world’s No. 1 women’s golfer won for the fourth time in 2026 on Sunday and checked off the biggest item on her to-do list.

“To be hoisting this trophy, to hold it high and at such an iconic venue, is just a dream come true,” said Korda, the first American to win back-to-back majors since Juli Inkster in 1999.

Korda claimed her first U.S. Open title, pulling ahead on the back nine at Riviera Country Club, which was playing host to the major championship for the first time.

It was anything but a wire-to-wire win for Korda, who struggled on the tee and limped through the opening round at two over par. But she shot a pair of 67s on Friday and Saturday, then closed out the victory Sunday with a 69 on a postcard afternoon.

Continue reading here

U.S. Women’s Open leaderboard

Angels rout the Dodgers

From Liana Handler: The Angels flipped the script on the Dodgers, preventing a Freeway Series season sweep with a 13-5 win Sunday afternoon at Dodger Stadium.

Emmet Sheehan’s start only lasted 1 ⅓ innings, as he struggled to keep his pitch count low. He threw 35 of his 49 pitches in the second inning alone. Many of those went to Nick Madrigal, who battled Sheehan in a 14-pitch at-bat in which Madrigal won two ABS challenges.

“I thought the stuff was good coming in,” said manager Dave Roberts about Sheehan. “After the first inning, I just didn’t feel comfortable getting him past the 40-pitch mark in one inning. I’m not going to put this guy in harm’s way.”

The Angels third baseman drew a walk, marking the beginning of the end for Sheehan, who already allowed a single. The 26-year-old pitcher loaded the bases with another walk. Angels catcher Sebastián Rivero drove in two runs with a center-field single.

“Frustrating,” Sheehan called his outing. “Couldn’t put guys away, not efficient.”

Continue reading here

Swanson: Dodgers show courage by permanently honoring LGBTQ+ pioneers Glenn Burke and Billy Bean

Dodgers-Angels box score

MLB standings

Caitlin Clark complains too much

From Bill Plaschke: As a diehard WNBA fan and season ticket-holder, it is with great reluctance that I have come to the following painful conclusion.

I’m sick of Caitlin Clark.

As the purchaser of an Iowa jersey and consumer of all things Indiana Fever — covered their games, witnessed them as a fan, caught them on television — it is with great angst that I make the following brutal admission.

I wish Caitlin Clark would just stop whining and play.

The logo-shooting, circus-passing, shape-shifting revelation who was once arguably the most famous basketball player in the world has become rude, entitled and, frankly, not all that fun.

In her third season in the WNBA, the once-shining superstar is acting like a spoiled brat. The league’s most popular player has become its biggest lout. Her stats are decent, but her attitude stinks.

I once openly cheered as Clark raced down the court, dribbled behind her back, skated past a helpless defender, and drained a three-pointer.

Now I cringe as she bricks the trey and immediately complains to the officials, spreading her arms, shaking her head, screaming in their face.

Continue reading here

Christian Pulisic carries U.S. World Cup hopes

From Kevin Baxter: Christian Pulisic looked exhausted as he stepped from a yellow cab on the edge of Manhattan’s financial district for a promotional event arranged by his shoe sponsor.

A day earlier, he had been booed off the field after going scoreless in his final 17 games with AC Milan. And as Pulisic’s private jet made its way from Italy to New York, the club’s coach, sporting director and two other top executives were sacked.

A day later Pulisic walked across a stage overlooking the East River to cheers during a sparsely attended rally in which the U.S. roster for this summer’s World Cup was announced.

The 24 hours between those two events — some of which were spent signing autographs for hundreds of school children as a dog in a red-and-white No. 10 Pulisic jersey looked on — would be the only respite from a hugely disappointing club season and the heavy expectations of the second World Cup played on U.S. soil.

Continue reading here

Iran’s soccer team arrives in Mexico for training ahead of World Cup matches in L.A.

World Cup poses an unprecedented security challenge at a fraught moment

Memo Ochoa is driven to play his best for Mexico win during his sixth World Cup

‘Enjoy the moment.’ Americans who played in 1994 World Cup on home soil offer advice

World Cup roundtable: Who will win, who will surprise and how far will U.S. advance?

Sparks get much-needed win

From Marisa Ingemi: The quarter mark of a season isn’t necessarily a make-or-break point, but for the Sparks, it was starting to feel like it was close to it.

An 89-72 win over the expansion Portland Fire on Sunday to close a 1-2 homestand felt more necessary than the Sparks might have wanted to admit. But after struggling on the road before losing consecutive games at home against Las Vegas and Dallas amid a three-game losing streak, the Sparks needed something to go right.

Especially defensively, where the Sparks had seemingly been getting worse. They had their best defensive game of the season Sunday, holding Portland to 36% shooting — the second-lowest mark against them this season.

Continue reading here

More fouls, less flow: Sparks struggling to adjust to WNBA crackdown on physical play

Sparks box score

WNBA standings

This day in sports history

1935 — Omaha, ridden by Willis Saunders, becomes the third horse to win the Triple Crown by capturing the Belmont Stakes with a 1½-length victory over Firethron.

1958 — Mickey Wright beats Fay Crocker by six strokes to win the LPGA Championship.

1980 — Sally Little wins the LPGA Championship by three strokes over Jane Blalock.

1982 — 36th NBA Championship: Lakers beat Philadelphia 76ers, 4 games to 2.

1985 — Creme Fraiche, ridden by Eddie Maple, becomes the first gelding to win the Belmont Stakes, beating Stephan’s Odyssey by a half-length.

1986 — Larry Bird scores 29 points to lead the Boston Celtics to a 114-97 victory over the Houston Rockets and their 16th NBA title.

1990 — The “Indomitable Lions” of Cameroon pull off one of the greatest upsets in soccer history, 1-0 over defending champion Argentina in the first game of the World Cup.

1991 — Warren Schutte, a UNLV sophomore from South Africa, shoots a 5-under 67 to become the first foreign-born player to win the NCAA Division I golf championship.

2000 — Mike Modano deflects Brett Hull’s shot at 6:21 of the third overtime, ending the longest scoreless overtime game in Stanley Cup finals history and helping the Dallas Stars beat the New Jersey Devils 1-0 in Game 5.

2002 — British-Canadian Lennox Lewis retains boxing’s WBC Heavyweight title with eighth-round knockout of American Mike Tyson.

2005 — Freshman Samantha Findlay hits a three-run homer in the 10th inning to lead Michigan to a 4-1 win over UCLA for its first NCAA softball title. Michigan is the first team from east of the Mississippi River to win the national championship.

2008 — Rafael Nadal wins his fourth consecutive French Open title in a rout, again spoiling Roger Federer’s bid to complete a career Grand Slam. Dominating the world’s No. 1 player with astounding ease, Nadal wins in three sets, 6-1, 6-3, 6-0.

2008 — Yani Tseng of Taiwan becomes the first rookie in 10 years to win a major, beating Maria Hjorth on the fourth hole of a playoff with a 5-foot birdie on the 18th hole to win the LPGA Championship.

2012 — I’ll Have Another’s bid for the first Triple Crown in 34 years ends shockingly in the barn and not on the racetrack when the colt is scratched the day before the Belmont Stakes and retires from racing with a swollen tendon.

2013 — Serena Williams wins her 16th Grand Slam title and her first French Open championship since 2002, beating Maria Sharapova 6-4, 6-4.

2014 — Rafael Nadal wins the French Open title for the ninth time, and the fifth time in a row, by beating Novak Djokovic 3-6, 7-5, 6-2, 6-4. Nadal improves his record at Roland Garros to 66-1.

2015 — The NCAA approves multiple rule changes to men’s basketball for the 2015-16 season, including a 30-second shot clock and fewer timeouts for each team. The shot clock was last reduced, from 45 to 35 seconds, in 1993-94.

2018 — Golden State romps to its second straight NBA championship, beating Cleveland 108-85 to finish a four-game sweep. Stephen Curry scores 37 points and Kevin Durant, who is named MVP for the second straight finals, has 20 for the Warriors. It’s the first sweep in the NBA Finals since 2007.

2019 — Ashleigh Barty, Australia, wins the French Open by defeating Marketa Vondrousoca. The win is Barty’s first Grand Slam singles title.

Compiled by the Associated Press

This day in baseball history

1914 — New York’s Iron Joe McGinnity posted his 14th straight win beating Pittsburgh 2-0. With the win moved the Giants into first place over Chicago.

1933 — Philadelphia’s Jimmie Foxx homered in his first three at bats all off Lefty Gomez as the A’s beat the New York Yankees 14-10. Foxx had homered his last time up the previous day to tie a major league record of hitting four consecutive home runs. Bobby Lowe did it in 1894.

1940 — Harry Craft of Cincinnati connected for a home run, a triple, a double and two singles in seven at-bats to lead a 27-hit attack as the Reds pounded the Dodgers 23-2 at Brooklyn.

1950 — The Boston Red Sox beat the St. Louis Browns 29-4 at Fenway Park and set major league records for runs scored; most long hits, 17 (nine doubles, one triple and seven homers); most total bases, 60; most extra bases on long hits, 32; most runs over two games, 49; most hits in two games, 51, including 28 this game. Bobby Doerr had three homers and 8 RBIs, Walt Dropo hit two homers and drove in seven runs and Ted Williams added two homers and five RBIs.

1968 — Howie Bedell’s sacrifice fly in the fifth inning ended Don Drysdale’s record streak of 58 2/3 consecutive scoreless innings. The Dodgers beat the Philadelphia Phillies 5-3.

1969 — The New York Yankees’ No. 7 was retired on Mickey Mantle Day. A crowd of 60,096 came to Yankee Stadium to honor Mantle and watched the Yankees sweep the Chicago White Sox 3-1 and 11-2.

1975 — Detroit’s Tom Veryzer doubled with two out in the ninth to end Oakland’s Ken Holtzman’s no-hitter. Outfielder Bill North misjudged Veryzer’s hit but was not charged with an error. Holtzman retired the last hitter for a 4-0 victory.

1986 — In the longest 9-inning game by time in AL history Baltimore’s Lee Lacy went 4-for-6 with three home runs and six RBIs as the Orioles beat the New York Yankees 18-9. The game took 4:16 to complete.

1996 — Warren Morris hit a two-run homer with two out in the bottom of the ninth inning to give Louisiana State a 9-8 victory over Miami in the championship game of the College World Series.

2001 — Damion Easley became the ninth Detroit player to hit for the cycle as the Tigers beat Milwaukee 9-4.

2010 — Stephen Strasburg exceeded expectations in his much-hyped major league debut, striking out 14 in seven innings to lead the Washington Nationals to a 5-2 win over the Pittsburgh Pirates. Last year’s No. 1 overall draft pick gave up four hits, two earned runs and didn’t walk a batter, piling up the most strikeouts in a debut since J.R. Richard fanned 15 for Houston in 1971.

2012 — Kevin Millwood and five Seattle relievers combined on a no-hitter, the third in franchise history, and the Mariners beat the Dodgers 1-0. Millwood was cruising through six innings, giving up just one walk. But while warming up for the seventh he felt a twinge in his groin and was pulled from the game. Five relievers combined to finish the no-hitter, capped by Tom Wilhelmsen retiring Andre Ethier on a routine grounder to end it.

2013 — In the longest major league game in more than three years, Adeiny Hechavarria hit an RBI single in the 20th inning and the Miami Marlins outlasted the New York Mets 2-1.

2020 — MLB owners present their counter-proposal to get the season started. They propose playing 76 games, with a postseason involving 16 teams, drop the proposed sliding scale for reducing salaries — although they still seek further cuts — and also propose dropping all forms of compensation for signing free agents. The ball is now back in the MLBPA’s court.

2021 — Pirates rookie 3B Ke’Bryan Hayes, swinging a red hot bat after coming back from a two-month stay on the injured list, makes a very embarrassing mistake when he has a home run taken away for missing first base. His apparent solo shot off Walker Buehler is nullified when the Dodgers successfully appeal that he did not touch the bag while rounding the bases.

Compiled by the Associated Press

Until next time…

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

CHAPEL HILL, N.C. — USC’s 2026 baseball season will be defined by two words — progress and pain.

Just two outs away from reaching the College World Series for the first time since 2001, USC suffered a devastating 4-3 loss in game three of the Chapel Hill Super Regional, as North Carolina rallied for two runs in the bottom of the ninth and snatched the trip to Omaha away from the Trojans on Owen Hull’s walk-off RBI double into the left-center gap.

“I’m proud of our boys,” USC coach Andy Stankiewicz said. “I’m disappointed in the results, but I’m never disappointed in our guys. They did something pretty special this year.”

Andrew Johnson did everything possible and then some to get USC (48-18) across the finish line. After already throwing 3 ⅔ innings of shutout baseball to close Game 1, Johnson went a season-high 7 ⅔ innings with two earned runs surrendered to get the Trojans to the doorstep of victory. He glided through North Carolina’s lineup for most of the day, at one point retiring 15 out of 17 batters.

North Carolina’s Cooper Nicholson celebrates during his team’s ninth-inning rally to beat USC in their super regional finale Sunday in Chapel Hill, N.C.

(Laura Wolff/For The Times)

He ended the super regional with 133 pitches thrown in a little over 48 hours, on top of the 145 pitches he threw across two appearances in the College Station Regional for a total of 278 tosses in 22 ⅓ innings with five earned runs given up in a heroic postseason stretch.

“The goal from the beginning of the season is Omaha,” Johnson said. “We’re definitely not just happy that we made it to supers and moved past the regional, but for it was a great season and we can be proud of what we accomplished.”

A first inning run off a Caden Glauber balk, plus Kevin Takeuchi and Andrew Lamb’s solo home runs accounted for all the offense on a day when the Tar Heels (50-12-1) had their own star pitcher going. Atlantic Coast Conference freshman of the year Caden Glauber held the Trojans at bay for most of the game, striking out a career high 11 batters in 7 ⅓ innings.

USC coach Andy Stankiewicz talks to his players after their season-ending loss to North Carolina.

(Laura Wolff / For The Times)

Glauber’s work was enough to hold his team in the game, but USC still had a 3-2 lead heading to the fateful bottom of the ninth. After closer Adam Troy retired the first batter, a long, loud foul ball seemed to spark North Carolina.

Third baseman Cooper Nicholson crushed a ball more than far enough for a home run, but just foul into the left field corner. But the near-miss seemed to rattle Troy, who walked Nicholson after getting ahead 0-2 in the count and fell behind 3-0 to nine-hole hitter Carter French.

Stankiewicz made a pitching change mid at-bat, going to Chase Herrell. French lined a 3-2 single through the right side, leadoff hitter Jake Schaffner tied the score on a sacrifice fly and Gavin Gallaher drew a walk, bringing Hull to the plate with the series’ winning run at second.

USC appeared to survive at least with extra innings when a Hull foul ball looked ticketed for the third out, but it dropped with three fielders in the area to give him an extra life. Hull pounded his fourth double of the game, prompting mass hysteria from the 3,913 Tar Heel fans and ultimate heartbreak in the other dugout.

Stankiewicz has built his program in stages, finally making the NCAA tournament last year and then going a step further this year.

But he also knows these opportunities are never guaranteed, and it will take a lot of work to return to the super regional stage.

“It’s a step,” he said. “Things take a moment. Sometimes we want things to happen overnight as humans I guess, but sometimes it takes a moment. We’ve been at this thing for awhile now, and we feel like we’re certainly building it and folks are taking notice. Now we just can’t go backwards. This thing’s got to continue moving forward.”

A positive season, but a nightmare ending sure to haunt the Trojans until they finally return to Omaha.

The Angels flipped the script on the Dodgers, preventing a Freeway Series season sweep with a 13-5 win Sunday afternoon at Dodger Stadium.

Emmet Sheehan’s start only lasted 1 ⅓ innings, as he struggled to keep his pitch count low. He threw 35 of his 49 pitches in the second inning alone. Many of those went to Nick Madrigal, who battled Sheehan in a 14-pitch at-bat in which Madrigal won two ABS challenges.

“I thought the stuff was good coming in,” said manager Dave Roberts about Sheehan. “After the first inning, I just didn’t feel comfortable getting him past the 40-pitch mark in one inning. I’m not going to put this guy in harm’s way.”

The Angels third baseman drew a walk, marking the beginning of the end for Sheehan, who already allowed a single. The 26-year-old pitcher loaded the bases with another walk. Angels catcher Sebastián Rivero drove in two runs with a center-field single.

“Frustrating,” Sheehan called his outing. “Couldn’t put guys away, not efficient.”

The game shifted into an unexpected bullpen game, and the Dodgers shuffled through seven pitchers. Edgardo Henriquez retired five consecutive batters. But the Dodgers’ spiral continued. Jo Adell reached first after a ball deflected off the glove of Miguel Rojas. Adell then moved to second on a passed ball by catcher Dalton Rushing. Reliever Blake Treinen then gave up a walk and before Rivero hit another two-run single.

Madrigal beat the Dodgers (42-24) in another double-digit pitch plate appearance in the fifth. Home plate umpire Dan Iassogna called a third strike, but Madrigal argued with the umpire, emphatically slapping his head. After an ABS review, the pitch was determined to be a ball. Rushing, seemingly not pleased with a borderline check-swing call, argued with Iassogna. In the end, a 12-pitch at-bat resulted in another walk.

Coupled with a missed call for a walk on a foul-tip earlier in the game, the check-swing call added to a frustrating afternoon for the Dodgers.

“It should be reviewable,” Roberts said of the foul tip. “That changed the game, and obviously the Madrigal check-swing. I felt that he went. That did impact the game.”

Dodgers manager Dave Roberts walks on the field during the seventh inning Sunday against the Angels.

(Eric Thayer / Los Angeles Times)

Roberts replaced Alex Vesia with Jonathan Hernández, who gave up a two-run single to Jose Siri. Miguel Rojas threw out Madrigal at home on the hit to limit the damage.

In the third inning, Kyle Tucker drove in a run on a groundout that landed a foot away from home plate, but it gave Shohei Ohtani just enough time to sprint home after Rivero threw to first.

Still, the Dodgers, who had outscored the Angels 41-5 in games this season before Sunday, struggled. Twice, Rushing hit singles. Twice, Ryan Ward, the next batter, grounded into a double play, dashing any momentum. Rushing and Ward hit back-to-back home runs to right field in the sixth, but the Dodgers couldn’t capitalize on the momentum.

Rushing received more playing time than predicted this series, but he said he embraced the opportunity. He matched his career-high with four hits on Sunday. His home run was his first since April 20.

“This year, my whole goal was make sure if there’s an opportunity that I can pick a day that Will [Smith] needs rest, make sure that I can provide just as much as he does with the bat as well as behind the plate,” Rushing said Saturday. “He knows I’ll catch every game if he can’t go back there.”

Catcher Will Smith did not play Sunday because of neck stiffness, despite Roberts predicting the catcher would return for the series finale. Imaging on Smith’s neck came back negative, though it’s unclear if he’ll play Tuesday against Pittsburgh.

“It’s not anything serious, but it’s something that is preventing him from playing,” Roberts said. “It’s kind of a day-to-day thing.”

Rushing’s and Ward’s home runs were quickly negated when Adell hit a two-run homer to left-center field. Zach Neto also hammered a seventh-inning, three-run home run. By the time the game concluded, the bottom of the Angels lineup batted 13 for 15, walking four times. The Angels (25-41) could’ve scored more if not for Neto and Mike Trout, who hit a combined one for 12.

“The bottom half of the order, they were fouling off a lot of balls, we couldn’t put those guys out,” Roberts said. “But, yeah, the Madrigal at-bat really was a difference today.”

Glasnow talks about his injury

Dodgers starting pitcher Tyler Glasnow (back spasms), who was put on the 60-day injured list Saturday, attributed his slow recovery to trying to come back too soon. He plans to rest a few days before building back up.

“It’s uncomfortable,” Glasnow said. “When I get into my load, something feels weird. The more I go, the more it starts to aggravate it. Generally, before I start to throw, as long as it’s completely gone, it gets over the hump, it’s gone, and then I can get back to full speed. I just feel like I haven’t gotten there yet.”

Claire Danes’ performance in Netflix’s “The Beast in Me” appears like a lock for an Emmy nomination for lead actress in a limited series or TV movie. In typical fashion, Danes left it on all the floor in portraying a reclusive author who suspects her developer neighbor (Matthew Rhys) of misdeeds.

1995

The Golden Globes rarely get it as right as they did in awarding Danes the drama series best actress award, at 15, for ABC’s “My So-Called Life.”

19

The lifespan of the authentic teen drama that introduced viewers to Danes’ unique emotional translucence, counted in episodes.

1st

Danes also received an Emmy nomination for the series — the first of eight for acting so far.

16

She is the second-youngest Emmy nominee ever for lead actress in a drama series, between Melissa Sue Anderson (15, for “Little House on the Prairie”) and Kristy McNichol (17, for “Family”).

3

Danes won an Emmy for playing the real-life animal science professor in the HBO movie “Temple Grandin,” and two for playing complex CIA officer Carrie Mathison on Showtime’s “Homeland.”

31

Span of years between Danes’ first and 2026 nominations, if she receives one.

47

Danes’ Emmy longevity may not equal the likes of Carol Burnett, nominated in 2024 for “Palm Royale” 62 years after her first, but it’s mighty impressive for someone Danes’ age.

49

There’s even a contender in her category this year whose span between nominations would be longer than Danes’ lifetime: Sally Field, who appears in Netflix’s TV movie “Remarkably Bright Creatures.”

Callum Woodhouse, who plays Tristan Farnon, has warned that things may be “coming to change” for his character’s relationship in the upcoming series

A star from All Creatures Great and Small has hinted at potential turbulence ahead for a blossoming romance between two characters.

Callum Woodhouse is set to reprise his role in the cherished period drama for its seventh series later this year.

Taking place during the 1930s and 40s, the much-loved programme chronicles Yorkshire veterinary surgeon James Herriot as he tackles the demands of his countryside practice.

With Nicholas Ralph portraying James Herriot and Rachel Shenton as his on-screen partner Helen, Callum takes on the role of Tristan Farnon, sibling to Siegfried Farnon, portrayed by Samuel West.

The last series and festive special witnessed Tristan confronting his own difficulties following his return from combat, before developing feelings for Charlotte Beauvoir. However, Callum has now cautioned that “things may be coming to change”, reports the Express.

Speaking to RadioTimes, he revealed: “It’s not really a massive spoiler to say I’m still with Charlotte Beauvoir, who is really good for him and helps him with his mental health.

“She keeps him happy and… I think he’s a little bit more content. But there’s only so long that that can last. So, things may be coming to change, but we don’t know.”

Following his character’s arc which depicted him battling PTSD after serving on the front line, Callum previously shared with the publication: “I think she’s come into his life at a time when he just really, really needs her.”

He added: “I think they’ve got a great chemistry and they get on really well.”

He continued: “Tristan, right now, needs someone who is sympathetic and understanding to what he’s been through, and is very much still going through.”

While fans eagerly await the new series of All Creatures Great and Small, the programme has already been confirmed to return for both series 7 and 8, each featuring six hour-long episodes, alongside Christmas specials.

Greg Barnett, Commissioning Editor at 5, had hinted that there remain “many new stories still to tell and more unforgettable adventures ahead”.

Barnett said: “All Creatures Great and Small is a jewel in 5’s drama crown and continues to delight viewers year after year. Its warmth, humour and heart, set against the beauty of Yorkshire, have made it a firm audience favourite.

“We’re thrilled to extend its future with two more series, with many new stories still to tell and more unforgettable adventures ahead for our Skeldale family.”

All Creatures Great and Small is available to watch on My5

A crime drama on BBC iPlayer has been branded a “masterpiece” and a “must-watch” by fans

Fans of crime dramas have been devouring a “masterpiece” series that’s currently available on BBC iPlayer.

Television viewers are being encouraged to tune into a gripping drama centred on a respectable businessman, who attempts to outrun his family’s sinister past.

McMafia is a series created by Hossein Amini and James Watkins, who also took on directorial duties. It draws inspiration from the non-fiction book McMafia: A Journey Through the Global Criminal Underworld by journalist Misha Glenny – which has been hailed as “riveting” and “chilling”.

The drama features James Norton as Alex Godman, the British-raised son of a Russian mafia boss residing in London, whose father is desperately attempting to break free from the world of organised crime.

The official synopsis reads: “Alex Godman, the English-raised son of Russian mafia exiles, has spent his life trying to escape the shadow of their past, building his own legitimate business and forging a life with his girlfriend, Rebecca,” reports Wales Online.

“But when a murder unearths his family’s past, Alex is drawn into the criminal underworld where he must confront his values to protect those he loves.”

Alongside James Norton, the ensemble cast also includes David Strathairn, Juliet Rylance, Merab Ninidze, Aleksey Serebryakov, Maria Shukshina, David Dencik, Oshri Cohen, Sofia Lebedeva, Caio Blat, Kirill Pirogov, Nawazuddin Siddiqui, and Karel Roden.

McMafia was shot across numerous international locations, with key scenes unfolding in London, Zagreb, Split, Opatija, Mumbai, Prague, Cairo, Belgrade, Istanbul, Moscow, and Tel Aviv.

The drama debuted on BBC One in 2018, running for a single series. Crime drama enthusiasts can now delve into Alex’s perilous world, as all eight compelling episodes are available to stream free on BBC iPlayer.

McMafia currently maintains a 71% critic score on review aggregator Rotten Tomatoes, based on 38 reviews. Audiences have likewise expressed widespread acclaim for the programme on social media, with numerous viewers declaring it superior to James Norton’s other popular crime series Happy Valley.

One IMDb user penned: “One of the best series I have ever seen. Binged in one night. 100 stars.”

Another contributed: “Best show since The Night Manager. A 10+ for intrigue and suspense,” while a third stated: “Thriller of the year! An outstanding and engrossing series that grabs your attention from the start and ramps up the suspense as each episode progresses.”

Someone else remarked: “I loved McMafia. The best TV series yet. Great acting. On par with Breaking Bad,” with another individual posting: “Chilling, thrilling and re-watchable.”

A sixth audience member reinforced the sentiment, declaring: “This series is a masterpiece, and a must-watch for thriller lovers. The plot is obviously complex, but absolutely intriguing and well developed, with a large number of themes connected to the most topical reality. For me, McMafia is one of the most interesting shows I have seen in the last few years.”

McMafia is available to stream on BBC iPlayer