Series

MILWAUKEE — The disparity in the payrolls was the focus of the series before the first pitch ever delivered, the handiwork of the manager in charge of the small-market franchise that won more regular season games than any team in baseball.

“I’m sure that most Dodgers players can’t name eight guys on our roster,” joked Pat Murphy of the Milwaukee Brewers.

If the preceding six months were a testament to how a team can win without superstars, the Dodgers’ 2-1 victory in Game 1 of the National League Championship Series was a display of the firepower that can be purchased with a record-breaking $415-million payroll.

The Dodgers won a game in which a confusing play at the center-field wall resulted in an inning-ending double play that cost them a run — and very likely more.

They won a game in which they stranded 11 runners.

They won a game in which the Brewers emptied their top-flight bullpen to secure as many favorable matchups as possible.

The Dodgers won because they had a $162-million first baseman in Freddie Freeman, whose sixth-inning solo home run pushed them in front. They won because they had a $182-million starting pitcher in Blake Snell, who pitched eight scoreless innings. They won because they had a $365-million outfielder-turned-shortstop in Mookie Betts, who drew a bases-loaded walk in the ninth inning.

Talent wins.

The Dodgers can buy as much of it as they want.

The visions of the Brewers’ small-ball offense overcoming the absence of a Freeman or a Betts or a Shohei Ohtani?

In retrospect, how cute.

The thinking of how the Brewers’ pitching depth could triumph over the Dodgers’ individual superiority?

In retrospect, how delusional.

The Dodgers absorbed the Brewers’ best collective shot, and they emerged with a victory that won them control of the best-of-seven series.

Their $325-million co-ace, Yoshinobu Yamamoto, will start Game 2 on Tuesday. Ohtani, their $700-million two-way player, and their $136.5-million No. 4 starter Tyler Glasnow will pitch Games 3 and 4 at Dodger Stadium in some order.

How can the Brewers match that?

Bring on the Seattle Mariners.

Bring on the World Series.

The Brewers’ futile effort to stop the Dodgers on Monday night consisted of them deploying six pitchers in a so-called bullpen game. The assembly line of arms was solid, but Snell was exceptional.

Snell yielded only one baserunner over eighth innings — Caleb Durbin, who singled to lead off the third inning.

Snell picked him off.

Against the team with the lowest chase rate baseball, Snell finished with 10 punchouts.

“This,” Dodgers manager Dave Roberts said, “was pretty special.”

Only when the Dodgers turned to their bullpen in the ninth inning were they in any sort of danger, with Roki Sasaki looking gassed after his three-inning relief appearance against the Philadelphia Phillies in Game 4 of the NL Division Series.

Also of concern was the effect the previous series had on the Dodgers’ most valuable property, Ohtani. In the four games against the Phillies, Ohtani was one for 18 with nine strikeouts.

There was no way of knowing whether Ohtani was out of his mini-slump, as the Brewers elected to challenge him as infrequently as possible.

Facing opener Aaron Ashby, Ohtani drew a walk to start the game. He was walked two other times, both intentionally.

He was hitless in his two other plate appearances, as he flied out to left field in the third inning and grounded out to first base in the seventh. His plate discipline was improved, and his third-inning at-bat against Quinn Priester lasted eight pitches.

“I thought Shohei’s at-bats were great tonight,” Roberts said.

Before the game, president of baseball operations Andrew Friedman pushed back against the perceptionthat Ohtani was even slumping, describing how the Phillies pitched to him in borderline historic terms.

“I think it was the most impressive execution against a hitter I’ve ever seen,” Friedman said.

Perhaps not wanting to create any bulletin-board material for Ohtani, Murphy also described the mini-slump as a reflection of the excellence of Phillies pitchers Cristopher Sánchez, Jesús Luzardo and Ranger Suarez.

“Those guys are really, really good,” Murphy said. “So I don’t consider Ohtani struggling. I don’t.”

Murphy behaved like it, his fear of Ohtani healthy enough to where he walked him intentionally to load the bases in the ninth inning.

The move backfired when Betts walked to push in an insurance run.

Ohtani wasn’t the only big-money player on the team.

Charlie Cosser heartbroken dad makes a solemn promise to his tragic son Charlie, while sister Eloise reveals the devastating moment she heard her brother’s heart stop

After his 17-year-old son Charlie was fatally stabbed, dad Martin Cosser made a solemn double promise – he would get justice and he would dedicate the rest of his life to preventing knife crime.

Charlie was murdered by 16-year-old Yura Varybus at an end-of-term party on 23rd June 2023 in a farmhouse in West Sussex. Medics worked tirelessly to try to save his life but tragically, Charlie died two-and-a-half days later in hospital.

His father Martin broadcast his grief on TikTok, and now the story of how the murder case went viral is being told in the second series of ITV1’s TikTok: Murder Gone Viral.

In heartbreaking scenes viewers will see Charlie’s younger sister Eloise recall how police came to the family home in the night. She recalled: “I woke up to the sound of the door being banged on really hard. The police officer tells us she’ll be driving us to the hospital where they’ve taken Charlie. I didn’t have time to put my shoes on. I just ran out in the darkness into the police car.”

One of the three stab wounds had damaged Charlie’s aorta and he had a cardiac arrest in the ambulance. However, medics operated in the ambulance then managed to stabilise him before his family gathered at his bedside. Tragically, Charlie died when his heart broken family agreed to turn off his life support on the advice of doctors, whose tests showed Charlie had suffered irreversible brain damage.

Eloise revealed how she watched the life drain out of her beloved big brother, who was nicknamed Cheeks, as his heart stopped beating. She said: “I can’t even describe how it feels like to watch your brother die. I put my head on his chest and I was listening to his heart beat for the last time. I looked at his face and I could see the colour draining from his face and he became even more pale than he was before. I was told I needed to step back because I was in such a state but I’m refusing because I don’t want to leave his side in his last moments and that’s when I put my head back on his chest and realised his heart was no longer beating.”

Losing his son galvanised dad Martin to do everything he could to stop knife crime. “I just held Charlie’s hand and I made him a promise. I promised him justice but the main promise was that I would spend the rest of my life educating people about the dangers and immeasurable impacts of knife crime. I felt so isolated and alone in the immediate aftermath and I just recorded into the phone.”

Martin posts under his son’s name @CharlieCosser17. His most watched video sees Martin reacting tearfully to Varybus’ conviction and has been viewed 4.7 million times.

ITV reporter James Dunham, who covered the case, revealed how the posts made the murder go viral. He said: “Once Martin started posting his videos on Tiktok he soon gained a lot of attention but because police had arrested their prime suspect quite quickly, there wasn’t the usual Tiktok speculation about who the killer might be or where they might be hiding. Instead we got raw, unfolding agony.”

The documentary reveals how the violence unfolded. Charlie was stabbed three times after an altercation at the party. When he was arrested he initially pleaded guilty, but was later given permission to change his guilty plea to not guilty, forcing the family through a lengthy murder trial.

“An application had gone in for him to vacate his guilty plea,” Martin tells the documentary. “As far as we were concerned he’d already been found guilty, he was guilty. That was torture, absolute torture.”

However, the evidence against Varybrus was overwhelming. While the murder weapon was never recovered, there were eye witness accounts that reported Varybus being “drenched in blood”, and one witness said they heard him say “I’ve stabbed someone”. He later burned the clothes he was wearing and was also seen changing the settings on his mobile phone which detectives believe was intended to tamper with the evidence of his location. Varybrus was convicted of murder and possession of a bladed article and sentenced to life imprisonment with a minimum term of sixteen years. Because Varybrus was under eighteen at the time of the killing, reporting restrictions initially protected his identity, but the judge lifted these after conviction, allowing the press to publish his name.

On the show Charlie’s dad Martin holds up the grey t-shirt Charlie was wearing on the night he was murdered. “You can see three stab wounds clearly on there,” says Martin. “Actually they are really small knife wounds and yet they caused catastrophic damage.”

Martin’s campaigning helped make the story a national talking point and start his work to educate people about the horrendous ramifications of knife crime. Now Martin and his wife Tara have set up a charity called Charlie’s Promise which raises awareness of the dangers of carrying and using a knife.

Martin said: “I set about putting the wheels in motion and setting up a charity called Charlie’s Promise and the talks I go out and give are to prevent and make a difference to knife crime in this country. And while there is air in my lungs I will continue to tell the story of my little boy and how incredible he was and make a difference in this country to prevent other families like ours going through this misery.”

TikTok: Murder Gone Viral begins on Tuesday 21st 9pm, ITV1 and ITVX. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

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

This has turned into one of those weeks when there are just way too many movies opening. From titles that premiered earlier in the year, to films that popped up only recently, distributors have decided that today is the time to drop them in theaters. It can make for some tough calls as a moviegoer but hopefully ones with pleasant returns. Here’s some intel.

Mary Bronstein’s “If I Had Legs I’d Kick You” was a standout at Sundance in January and remains one of the most powerful films of the year. Rose Byrne gives a knockout performance as Linda, a mother struggling to hold onto her own unraveling sense of self as she cares for her ill daughter.

Rose Byrne in the movie “If I Had Legs I’d Kick You.”

(Logan White / A24)

In his review Glenn Whipp said, “Linda makes dozens of bad decisions in ‘If I Had Legs I’d Kick You,’ many of them seemingly indefensible until you realize that just how utterly isolated she feels. … Bronstein demands you pay attention to her, and with Byrne diving headfirst into the character’s harrowing panic, you will find you have no other choice.”

Speaking to Esther Zuckerman for a wide-ranging feature, Byrne said of the part: “Anything dealing with motherhood and shame around motherhood, whether it’s disappointment, failure — she’s got this line in the movie, ‘I wasn’t meant to do this’ — these are pretty radical things to say. People aren’t comfortable with that. So performance-wise, that was the hardest part because it was like a tightrope, the tightrope of this woman.”

Another Sundance premiere hitting theaters this week is director Bill Condon’s adaptation of “Kiss of the Spider Woman,” starring Diego Luna, Tonatiuh and Jennifer Lopez. Already a novel, a movie and a Broadway show, the story involves two men imprisoned in an Argentine jail for political crimes during the 1980s, with Lopez playing a fantasy film star who exists in their imaginations — a reverie to which they can escape.

Tonatiuh in the movie “Kiss of the Spider Woman.”

(Roadside Attractions)

For our fall preview, Carlos Aguilar spoke to Tonatiuh, a native of L.A.’s Boyle Heights, whose performance is a true breakout.

“When I first met Jennifer, I was like, ‘Oh, my God — that’s Jennifer Lopez. What the hell?’ ” he recalled, with the enthusiasm of a true fan. “I must have turned left on the wrong street because now I’m standing in front of her. How did this happen? What life am I living?”

After praising both Lopez and Tonatiuh in her review of the film, Amy Nicholson wrote, “Still, my favorite performance has to be Luna’s, whose Valentin is at once strong and vulnerable, like a mutt attempting to fend off a bear. He’s the only one who doesn’t need to prove he’s a great actor, yet he feels like a revelation. Watching him gradually turn tender sends tingles through your heartstrings.”

Among the other new releases this week is “Urchin,” the directing debut from Harris Dickinson, and the documentary “Orwell: 2+2=5,” directed by Raoul Peck. There’s also Derek Cianfrance’s true-crime comedy “Roofman,” Kathryn Bigelow’s nuclear-war thriller “A House of Dynamite” and Luca Guadagnino’s campus-set cancel culture drama “After the Hunt.”

Rebecca Miller retro and ‘Mr. Scorsese’

Robert De Niro, left, and Martin Scorsese in an undated photo from Rebecca Miller’s documentary series “Mr. Scorsese.”

(Apple TV+)

The American Cinematheque is celebrating filmmaker Rebecca Miller this weekend with a four-title retrospective plus a preview of her documentary series “Mr. Scorsese,” a five-part portrait of the life and career of Martin Scorsese.

Miller will introduce a Saturday screening of her 2023 rom-com “She Came to Me,” starring Anne Hathaway and Peter Dinklage, then do a Q&A for the first two episodes of the Scorsese project on Sunday. Also screening in the series will be 2016’s “Maggie’s Plan,” starring Julianne Moore, Ethan Hawke and Greta Gerwig; Miller’s 2002 Sundance grand jury prize winner “Personal Velocity”; and 2005’s “The Ballad of Jack and Rose,” starring Miller’s husband Daniel Day-Lewis, screening with an introduction from co-star Camilla Belle.

Ethan Hawke and Greta Gerwig in “Maggie’s Plan,” written and directed by Rebecca Miller.

(Sony Pictures Classics)

I spoke to Miller this week about the retrospective and her new Scorsese project, which premieres Oct. 17 on Apple TV+. Along with extensive interviews with Scorsese himself, the series includes insights from collaborators such as Robert De Niro, Paul Schrader and longtime editor Thelma Schoonmaker as well as childhood friends, Scorsese’s children, ex-wives and fellow filmmakers such as Steven Spielberg, Brian De Palma, Ari Aster, Benny Safdie and Spike Lee.

“It feels like such an honor and so weird in a way,” said Miller of the notion of having a retrospective. “You feel like you’re just in the middle of making everything, but then you realize, no, I’ve been making these films for 30 years. And it’ll be really interesting to see how the films play now for people. It’s exciting to have them still be sort of alive.”

When you look back on your own movies, what comes to mind for you?

Funnily enough, there is a connection between “Personal Velocity” and Martin Scorsese, which is that when I was about to shoot personal “Velocity,” I was in Rome, on the set of “Gangs of New York,” and I was watching the snack trolley go by and thinking my entire budget is probably the same as their snack budget. And thinking: What am I doing? What was I thinking? How am I going to do this? But talking to [“Gangs” cinematographer] Michael Ballhaus, I told him how long we had to shoot everything, and he said, “Oh, I envy you. We shot ‘The Bitter Tears of Petra von Kant’ in 10 days.” He was looking back on his days with Fassbinder as the good old days.

Then Marty gave me some advice on films with voiceovers to watch, and he ended up watching “Personal Velocity.” It was the first of my films that he saw, which then led probably to this [doc series] because he knew my films quite well. He watched them as time went on.

What interested you in Scorsese as a subject?

I knew that he was Catholic, that there was a strong spiritual element to his films. But I was interested in how that Catholicism kind of jogged with his fascination, or apparent fascination, with violence. Who is that person? How do those two things go together? And I thought that could be part of my exploration. I had a sense that all his work has a spiritual undercurrent in it, which I think it does. And I think that’s one of the things that I try to explore in the documentary. I felt I had something a little bit different to offer, for that reason.

The big questions that he’s asking: Are we essentially good? Are we essentially evil? And his immense honesty with himself about who he really is, the darkness of his own soul. I don’t think that people are usually that honest with themselves. And you realize that part of his greatness has to do with his willingness to look at himself.

Martin Scorsese in an undated photo from Rebecca Miller’s documentary series “Mr. Scorsese.”

(Apple TV+)

As much as we think we know about Scorsese, he seemed so candid about some of the darkest moments of his life, especially when he talks about his drug overdose and hospitalization in the late 1970s or about some of his issues with Hollywood, especially around “The Last Temptation of Christ.” Were you ever surprised that he was so willing to go there with you?

Oh, yeah, I was. I really didn’t know what to expect. I didn’t have an agenda. I had the scaffolding of the films themselves and a strong sense that this was a man that you can’t separate from the films. So the thing is like a dance, it’s like a permanent tango between those two things. You’re not going to pry them apart. I didn’t know about the addiction. I didn’t know a lot of these things. My questions are totally genuine, there’s no manipulation. It’s all me. I was very prepared in terms of the films. But in terms of the chronology and the connective tissue of his life, I was really right there discovering it.

Martin Scorsese at work on his film “Killers of the Flower Moon,” as seen in Rebecca Miller’s documenary series “Mr. Scorsese.”

(Apple TV+)

You’re catching him such a remarkable point in his life and career. He seems very happy and settled in his personal life and yet he still makes something like “Killers of the Flower Moon,” full of passion and fire. What do you make of that?

[Screenwriter] Jay [Cocks] says he’s learned that he can be selfish in his art, but he doesn’t have to be selfish in his life. Even if your outside is regular, your inside can be boiling. And I think Marty’s inside is always going to be boiling. The seas are not calm in there and never will be.

‘They Live’ and ‘Josie and the Pussycats,’ together at last

Roddy Piper in John Carpenter’s 1988 thriller “They Live.”

(Sunset Boulevard / Corbis )

There’s a real art to putting together a double bill. Sure, you can just program movies that have the same director or share the same on-screen talent. But what about deep, thematic links that might not otherwise be noticed?

The New Beverly has put together an inspired double bill playing on Friday, Saturday and Sunday of John Carpenter’s 1988 “They Live” and Deborah Kaplan and Harry Elfont’s 2001 “Josie and the Pussycats.” Though one is a rough-and-tumble sci-fi action picture and the other a satirical teen-pop fantasia, they both use the idea of subliminal messages to explore how consumer culture can be a means of control.

In “They Live,” wrestler-turned-actor “Rowdy” Roddy Piper plays a drifter who lands in Los Angeles and discovers a secret network fighting against an invasion of aliens living among us.

In Michael Wilmington’s original review, after joking the movie could be called “Invasion of the Space Yuppies,” he adds, “You can forgive the movie everything because of the sheer nasty pizzazz of its central concept. … The movie daffily mixes up the paranoia of the Red Scare monster movies of the ’50’s with a different kind of nightmare: the radical’s belief that everything is tightly controlled by a small, malicious ruling elite. Everything — the flat lighting, the crazily protracted action scenes, the monolithic beat and vamp of the score — reinforces a mood of murderous persecution mania.”

Rosario Dawson, from left, Rachael Leigh Cook and Tara Reid in the movie “Josie and the Pussycats.”

(Joseph Lederer / Universal Studios)

In “Josie and the Pussycats,” a small-town rock ‘n’ roll band (Rachael Leigh Cook, Tara Reid and Rosario Dawson) are plucked from obscurity when they are signed to a major record label and all their dreams of stardom seem to come true. But they come to realize the company’s executives (a brilliant pairing of Parker Posey and Allan Cumming) are using them for their own nefarious purposes.

Aside from some very hummable songs, the film has a truly epic amount of corporate logos and branding that appears throughout. Many reviewers at the time brought this up, including the L.A. Times’ own Kenneth Turan, who noted, “It’s a potent reminder that no matter how innocent a film may seem, there’s a Hollywood cash register behind almost every frame.” In subsequent interviews, Kaplan and Elfont confirmed these were not instances of paid product placement and, in fact, the production had to fight to get them all on-screen.

Points of interest

‘Eight Men Out’ in 35mm

Charlie Sheen, center, in a scene from the film “Eight Men Out.”

(Archive Photos / Getty Images)

Writer-director John Sayles has been so consistently good for so long that it is easy to take his work for granted. Case in point: 1988’s “Eight Men Out,” which tells the story of the infamous “Black Sox” scandal, when players from the Chicago White Sox were accused of intentionally throwing the 1919 World Series in league with underworld gamblers. The movie is playing on Sunday at Vidiots in 35mm.

The film captures much of what makes Sayles so special, particularly his unique grasp of the interplay between social and economic dynamics — a sense of how things work and why. He also fully grasps the deeper implications of the forces of greed and money setting themselves upon such an unassailable symbol of wholesome Americana as baseball. It’s also what makes the movie particularly worth a revisit now. With a phenomenal cast that includes John Cusack, David Straithairn, D.B. Sweeney, Charlie Sheen, John Mahoney, Christopher Lloyd, Michael Lerner and Sayles himself, the film was a relatively early effort from cinematographer Robert Richardson, who would go on to work repeatedly with Martin Scorsese and Quentin Tarantino.

In a review at the time, Sheila Benson wrote, “ ‘Eight Men Out’ is not a bad movie for an election year. Everything that politicians cherish as ‘old-fashioned’ and ‘American’ is here. The Grand Old Game. Idealistic little kids. Straw hats and cat’s-whisker crystal sets. And under the slogans and the platitudes, a terrifying erosion and no one to answer for it. No wonder Sayles, hardly an unpolitical animal, found it such a relevant story nearly 70 years later.”

‘The Sound of Music’ in 70mm

Julie Andrews, center, in the 1965 musical “The Sound of Music.”

(20th Century-Fox)

On Sunday the Academy Museum will screen Robert Wise’s “The Sound of Music” in 70mm, a rare opportunity to see this classic in the premium format on which it was originally released. Based on the stage musical by Rodgers and Hammerstein , the film would eventually win five Oscars, including director and best picture.

Starring Julie Andrews and Christopher Plummer, it’s the story of the singing Von Trapp family, eventually forced to flee their native Austria as the Nazis take power.

In a Times review from March 1965, Philip K. Scheuer wrote of Wise and his collaborators, “They have taken this sweet, sometimes saccharine and structurally slight story of the Von Trapp Family Singers and transformed it into close to three hours of visual and vocal broilliaance, all in the universal terms of cinema. They have invested it with new delights and even a sense of depth in human relationships — not to mention the swooning beauty of Salzburg and the Austrian Alps, which the stage, of course, could only suggest.”

Even notorious gossip columnist Hedda Hopper liked the movie, presciently writing, “The picture is superb — dramatically, musically, cinematically. Julie Andrews and Christopher Plummer were born for their roles. … All children — from 7 to 90 — wil love it. The following morning I woke up singing. Producer-director Bob Wise did a magnificent job and 20th [Century Fox] will hear nothing but the sound of money for years to come.”

Welcome to Screen Gab, the newsletter for everyone who spent the week Googling Ed Gein.

“Monster,” the gruesome and graphic anthology series from longtime collaborators Ryan Murphy and Ian Brennan, has dramatized the chilling story of serial killer Jeffrey Dahmer and the highly publicized and complex case of Lyle and Erik Menendez, brothers who were convicted for the 1989 murder of their parents. The third installment of the Netflix series, which was released last week, puts its twist on the legend of Gein, a killer who inspired fictional villains like Norman Bates and Leatherface. Brennan, who wrote the season, stopped by Guest Spot to discuss the fantastical approach to the season and that “Mindhunter” hat tip.

Also in this week’s Screen Gab, our streaming recommendations include a “Frontline” documentary that continues its chronicle on the lingering impact of poverty and a spinoff of “The Boys” set at America’s only college for superheroes.

ICYMI

Must-read stories you might have missed

Illustration of John Candy with his hands on his cheeks.

(Brian Lutz / For The Times)

‘You never stop thinking about John Candy’: How a pair of projects keep his legacy alive: The beloved actor, who would have turned 75 this month, is the focus of an eponymous biography and “John Candy: I Like Me,” a documentary directed by Colin Hanks.

With the help of advisors, ‘Boots’ co-stars challenged themselves to portray military life authentically: Actors Miles Heizer and Max Parker trained like Marines and utilized the experiences of the show’s military advisors to ground their characters.

She’s used to finding laughs in catastrophe. But Rose Byrne is only now going to the edge: After stealing focus in everything from “Bridesmaids” to “Insidious,” Rose Byrne unravels beautifully in “If I Had Legs I’d Kick You.”

Victoria Beckham sheds Posh persona, gets candid about eating disorder in Netflix doc: The three-part docuseries chronicles the Spice Girls alum’s pivot from pop stardom to high fashion.

Turn on

Recommendations from the film and TV experts at The Times

A still from “Frontline: Born Poor,” which filmed over 14 years with kids from three families, from adolescents to adults, to explore how poverty has affected them.

(Frontline PBS)

“Frontline: Born Poor” (PBS.org)

Television is glutted with “reality,” but there are still filmmakers who prefer to look at how people live when they’re not contestants in a dating game or bunked up with competitive strangers. Jezza Neumann’s “Born Poor” is the third installment in a moving documentary series that began 14 years ago with “Poor Kids,” and, like Michael Apted’s “7 Up” films, has visited its subjects in intervals over the years since. Set in the Quad Cities area, where Illinois meets Iowa along the Mississippi River, it follows Brittany, Johnny and Kayli from bright-eyed childhood into chastened, though still optimistic adulthood, as they deal with life on the margins — power lost, houses lost, school impossible, food unpredictable. Now, with kids of their own, all are concerned to provide them a better life than the ones they had. With Washington waging a war on the poor to protect the rich, it’s a valuable watch. — Robert Lloyd

Derek Luh (Jordan Li), from left, Jaz Sinclair (Marie Moreau), Keeya King (Annabeth Moreau), Lizze Broadway (Emma Meyer) in “Gen V.”

(Jasper Savage / Prime)

“Gen V” (Prime Video)

Just two weeks out from its Season 2 finale and the satirical superhero series continues to deliver merciless dark humor and sharp topical commentary on America’s great crumble — inside of a tale about misfits enduring the rigors of college life.

Spun off from the brilliant “The Boys” franchise, this series from Eric Kripke, Craig Rosenberg and Evan Goldberg follows a group of students at Godolkin University, an institution designed to identify and train the next generation of superheroes. But the co-eds soon discover that their supposed higher education is in fact a clandestine operation to create “Supe” soldiers for an impending war between the super-powered and non-powered humans. Returning to the fold is Marie Moreau (Jaz Sinclair), who emerges as the rebel group’s most powerful weapon against the school’s nefarious plot. Working alongside her are Emma (Lizze Broadway), Cate (Maddie Phillips), Jordan (London Thor and Derek Luh) and Sam (Asa Germann). The wonderfully unnerving Hamish Linklater (“Midnight Mass”) joins the cast as the school’s new dean.

Is “Gen V” just as gory as “The Boys”? Absolutely. Watch with caution. But nothing else is quite as fearless in calling out the contradictions and absurdities of our times, be it corrupt politics, corporate domination or false religiosity. — Lorraine Ali

Guest spot

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

Charlie Hunnam as Ed Gein in an episode of “Monster: The Ed Gein Story.”

(Netflix)

“Monster: The Ed Gein Story” stars Charlie Hunnam as the so-called “Butcher of Plainfield,” whose gruesome crimes in 1950s small-town Wisconsin went on to inspire pop culture classics like “Psycho” and “The Texas Chain Saw Massacre.” The season leans into Gein’s diagnosed schizophrenia and his legacy in Hollywood to present a deeply fictionalized version of his horrifying activities. All eight episodes of the season are now streaming. Ian Brennan, who co-created the anthology series with Ryan Murphy and helmed the latest installment, stopped by Guest Spot to discuss the season’s approach to fact vs. fiction, that “Mindhunter” nod and the documentary that earns his rewatch time. — Yvonne Villarreal

We often hear from actors about the roles that stay with them long after they’re done filming. Are there elements of “Monster: The Ed Gein Story” that you still can’t shake?

Ed Gein was schizophrenic, and I find the internal life he would have suffered through for decades — alone and hearing voices, primarily that of his dead mother — completely harrowing. He wasn’t medicated until late in his life, and until he was, his mind was a hall of mirrors of images he saw and couldn’t unsee — most shockingly photos of Nazi atrocities during the Holocaust. I believe the only way he could cope was to try to normalize these things — digging up bodies, skinning them, making things from them — and the nagging voice of his mother ultimately drove him to murder at least two women, Mary Hogan and Bernice Worden, maybe more. Ed Gein wasn’t the local boogeyman — his neighbors didn’t find him scary — he was the guy you’d have watch your kids if the babysitter canceled last-minute. And yet, in those four inches between his ears there existed a bizarre, terrifying hellscape of profound loneliness and total confusion. Every day in this country we see what happens when the lethal combination of male loneliness and mental illness goes ignored. The thought of an Ed Gein living just down the street from me is chilling.

“Based on a true story” depictions typically have a loose relationship with the truth due to storytelling needs. This season of “Monster” bakes that idea into the narrative — whether because of Ed’s understanding of events or the way in which he, or his crimes, inspired deeply fictionalized villains like Norman Bates (“Psycho”), Leatherface (“The Texas Chain Saw Massacre”) and Buffalo Bill (“The Silence of the Lambs”) — in trying to unpack the “Who is the monster?” question. What questions were swirling in your head as you tried to weave this story together? And how did that inform where and how you took your liberties?

Ed’s story is, in many ways, fragmented — he didn’t remember many details of the acts he committed, and he passed polygraph tests when interrogated about cold cases police suspected he may have perpetrated. So we knew from the very beginning that there would be gaps to fill in when telling his story — and it seemed the obvious way to do it was to let the true story interplay with the fictionalized versions of Ed Gein that he inspired. There’s a subtle thematic bleed between the versions of Ed we see in the series and the monsters in the movies he inspired — in the first three episodes, we see a “Psycho”-inflected Ed Gein obsessed with his mother; next a much more sexualized, violent Ed Gein that would become “Leatherface”; then an Ed Gein who so fetishized the female body and who was made so ill by the repression of that urge that he became obsessed with building a suit made from women’s bodies. These versions of Ed, to me, are like the blind men feeling different parts of the elephant in the parable — each true in their own way, but each also just a fragment of a shattered whole that will probably never be fully understood.

The season finale features a “Mindhunter” nod. Happy Anderson, who played serial killer Jerry Brudos on that show, reprises his role as the Shoe Fetish Slayer, talking to characters meant to be Holden Ford and Bill Tench, though they’re named John Douglas and Robert Ressler, the real FBI agents who inspired the fictional ones. When and why did you realize you wanted to have that hat tip? Was there an attempt to try to get Jonathan Groff or Holt McCallany?

Having written three seasons of this anthology so far, we’ve realized each time that the emotional climax always comes in the penultimate episode and the finales are always particularly difficult to figure out. We knew we needed to top the episodes that had preceded it by shifting the show’s look and tone — and we had in our hands the nugget that John Douglas and Robert Ressler had, indeed, interviewed Ed Gein in person. Ryan and I both find David Fincher’s oeuvre almost uniquely inspiring, so once we pictured an episode that played as an homage to Fincher’s tone and style and narrative approach, it was something I, at least, just couldn’t unsee. If we were going to go down the rabbit hole of what this chapter of Ed’s story might have looked like, I could only really picture it in Fincher’s terms — so your guess is as good as mine as to why casting the “Mindhunter” pair of Jonathan Groff and Holt McCallany in the roles didn’t feel right (we both love both of those actors), but it just didn’t.

There are so many dark moments for the actors. What scene struck you as especially difficult to write and shoot?

I was at once excited and terrified by the challenge of depicting necrophilia on our show. I’m fairly certain it’s never been done before on TV, and I knew it ran the risk of seeming arbitrarily shocking or exploitative (though I think choosing to tell Ed’s story in an easier manner by avoiding this chapter and not showing it would be the actually exploitative choice). Needless to say, even after I’d written the scene, it preoccupied me, as I had to also direct it. I felt greatly helped by the new industry standard of intimacy coordinators on set — and ours, Katie Groves, was spectacular — but still I worried about the scene just playing as cringey or unwatchable. But Charlie Hunnam, as with every scene he acted in on the show, came at the sequence with honesty and deep concern to capture all of the strangeness of the bizarre, disturbing act we were depicting — and what it said about what was going on inside Ed to lead him to commit such an act.

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

I just saw PT Anderson’s “One Battle After Another” — which was shot by one of our two directors of photography, Michael Bauman — and was just completely floored and delighted. I’m sure it’s rife with homage to films that have gone before, but I could detect no inheritance at all; it felt like a genre to itself — completely original and new. And I still find the time I watched Jonathan Glazer’s “Zone of Interest” to be among the most profound experiences of my life. He took what is maybe cinema’s most settled, well-trodden genres and turned it on its head in a way I found shocking and revelatory. If there is a better portrait of the proximity and ubiquity and the banality of human evil, I haven’t seen it. I think it is as brilliant a slice of human ingenuity as has ever been crafted. I have thought about that movie every day since I first saw it.

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

It’s annoying to say it, but I don’t watch a lot of television. It’s like spending all day at the sausage factory then coming home to watch sausage footage. But the big exception is Peter Jackson’s Beatles documentary “Get Back” [Disney+] chronicling the making of the film and album “Let it Be.” I basically just watch it over and over again. I came late to the Beatles (I loved the Who and resented that they always sat squarely in the Beatles’ shadow), but when they hit me, they hit me hard, and watching them in this documentary at the height of their powers is a master class in the craft of collaboration and the hard work of genius. Also, everything I thought I knew about the Beatles at the end of their stretch as a band is wrong — fighting all the time? A bit but not really. Paul hated Yoko? He actually seems to really like her. I don’t know how many hours the documentary clocks in at, but I wish it were 10 times as long.

MILWAUKEE — Entering this week’s National League Championship Series, the Dodgers’ pitching plan seemed simple.

After Yoshinobu Yamamoto and Tyler Glasnow started the final two games of the team’s NL Division Series victory over the Philadelphia Phillies, Shohei Ohtani and Blake Snell were next in line for Games 1 and 2 of the NLCS against the Milwaukee Brewers.

All the Dodgers needed to do was slot Snell in for Game 1 on Monday, making him an option to pitch again on four days’ rest in Game 5. Then, they could have Ohtani go in Game 2 on Tuesday, allowing him to pitch before Wednesday’s scheduled off-day (which has been the team’s preference for the two-way star) and be available for another start if the series returns to Milwaukee for Games 6 and 7.

On Sunday, however, manager Dave Roberts announced a different plan.

Snell will indeed go in Game 1, trying to build upon the 1.38 ERA he posted in his first two outings this postseason.

But instead of Ohtani in Game 2, it will be Yamamoto who gets the ball — pushing Ohtani’s next pitching appearance to sometime later this series, Roberts said.

“We just don’t know which day,” Roberts said of when Ohtani will get the ball. “But he’ll pitch at some point.”

That alignment came as a surprise, but also had benefits from the Dodgers’ perspective.

Unlike Ohtani, who has gotten at least six days off between every one of his pitching outings since the start of July, Yamamoto has routinely pitched on five days’ rest this season. By starting him in Game 2, he can stay on that same schedule to pitch a potential Game 6 — something the Dodgers would have been less comfortable having Ohtani do.

By pushing Ohtani back to at least Game 3, of course, the Dodgers will sacrifice their ability to get him two starts in this series. However, even if he pitches in one of the Dodgers’ home games later this week, Ohtani could come out of the bullpen in a potential Game 7 — the kind of relief opportunity the team had hinted at for weeks down the stretch this season.

Because Ohtani will make just one pitching start in the NLCS, Roberts said it’s not as imperative that it come before an off-day, either.

“You have two other guys that potentially can pitch on regular rest,” Roberts said. “So [it’s about] how do you get your best pitchers the most innings in a potential seven-game series?”

Outside of pitching considerations, however, there’s another reason delaying Ohtani’s next pitching outing could also make sense.

In the NLDS, Ohtani went one for 18 at the plate with nine strikeouts. He looked particularly out of sorts in Game 1, when he struck out four times in what was his first career playoff game both hitting and pitching.

Coming out of the series, Roberts emphasized the need for Ohtani to “recalibrate” at the plate, noting that the team was “not gonna win the World Series with that sort of performance” from its biggest star.

And while Roberts insisted on Sunday that Ohtani’s offensive slump had “no bearing” on the team shuffling its rotation, giving Ohtani two games at the start of the NLCS to focus soley on hitting certainly won’t hurt his efforts to straighten out his swing.

“I expect a different output from Shohei on the offensive side this series,” Roberts said.

For at the least the next couple days, that will be his only objective.

REALITY TV star Olivia Bowen has wowed the crowds in a striking outfit – just weeks after giving birth.

Mum-of-two Olivia looked sensational as she posed on the red carpet ahead of a screening for her and husband Alex’s new reality TV show.

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The former Love Island star dazzled in a short black dress and diamond-encrusted heels for the special occasion.

With her hair pinned up and sporting glamorous make-up, she accessorised with a black designer handbag and big smile as she posed alongside her husband.

She wrote on social media: “Not. Over. It. Our very special evening for our very special new show with @itv @itvxofficial.

“Thank you so so much to everyone who came & watched & supported our launch – we are so grateful & loved spending the evening with you all.

“And a huge thank you @angeleyemedia & our amazing sponsor @glade_uk.

“We had the most fabulous evening & are feeling so lucky – I just cannot wait for you guys to watch the first ep on Sunday.”

The mum shares three-year-old son Abel and daughter Siena, who was born in August, with husband Alex.

The ex islanders are set to star in their own ITV reality show called Olivia and Alex: Parenthood.

The series will offer intimate access to the couple’s real-life journey as they grow their young family from three to four, whilst dealing with the emotional aftermath of losing one of their twins during early pregnancy. 

Love Island 2016 star Alex told heatworld what to expect from the new series.

He said: “Before, being on Love Island, I was the serious one, and that’s really not me.

“Hopefully the new series will change people’s perception.”

He added: “When I’m on my Instagram, I’m quite serious when it comes to all my coaching and stuff and all that kind of jazz.

“I’m actually really immature and just daft. I’m quite a jokey person.”

In March, Olivia opened up to The Sun’s Fabulous magazine about finding out she was expecting twins, but then learning she had sadly lost one of the babies at eight weeks.

She revealed how she had miscarried after suffering from vanishing twin syndrome.

It occurs in the early stages, when one of the babies stops developing and is absorbed by the mother’s body, or the surviving twin.

Olivia and Alex first met on Love Island in 2016, coming second place to Cara De la Hoyde and Nathan Massey.

They married in 2018, and welcomed their baby boy Abel in June 2022.

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When Shohei Ohtani was asked about his woeful performance at the plate in the Dodgers’ National League Division Series against the Philadelphia Phillies last week, he first gave credit to the opposition.

Then, after a series that saw the Phillies counter him with one left-handed pitcher after the next, he was also quick to point out that he wasn’t alone.

“It was pretty difficult for left-handed hitters,” Ohtani said in Japanese amid the Dodgers’ clubhouse celebration following their Game 4 victory. “This was also the case for Freddie [Freeman].”

The Phillies did indeed make life tough on the Dodgers’ best lefty bats.

Freeman was only three for 15 in the series, albeit with a key Game 2 double and a .294 on-base-percentage.

Max Muncy was four for nine in the series, but spent most of it waiting on the bench, not getting a start in any of the three contests the Phillies had a southpaw on the mound.

And as a team, the Dodgers hit just .199 with 41 strikeouts in the four-game series.

However, no one’s struggles were as pronounced as Ohtani’s — the soon-to-be four-time MVP winner, who in the NLDS looked like anything but.

Ohtani struck out in each of his first four at-bats in Game 1. He didn’t get his first hit until grounding an RBI single through the infield in the seventh inning of Game 2.

After that, Ohtani’s only other time reaching base safely was when the Phillies intentionally walked him in the seventh inning of Game 4.

His final stat line from the series: One for 18, nine strikeouts and a whole lot of questions about what went wrong.

Ohtani, who was coming off a three-hit, two-homer wild-card round, did acknowledge Thursday night that “there were at-bats that didn’t go the way I thought they would.”

But, he quickly added: “The opposing pitchers didn’t make many mistakes. They pitched wonderfully, in a way that’s worthy for the postseason. There were a lot of games like that for both teams.”

The real question coming out of the series was about the root cause of Ohtani’s unexpected struggles.

Was it simply because of the tough pitching matchups, having faced a lefty in 12 of his 20 trips to the plate? Or had his faltering approach created more legitimate concerns, the kind that could threaten to continue into the NL Championship Series?

“I think a lot of it actually was driven by the left-handed pitching,” manager Dave Roberts said Saturday, as the Dodgers awaited to face either the Chicago Cubs or Milwaukee Brewers in an NLCS that will begin on Monday.

However, the manager also put the onus on his $700-million superstar to be better.

“Hoping that he can do a little self-reflecting on that series, and how aggressive he was outside of the strike zone, passive in the zone,” Roberts said. “The at-bat quality needs to get better.”

For the Dodgers, the implications are stark.

“We’re not gonna win the World Series with that sort of performance,” Roberts continued. “So we’re counting on a recalibration, getting back into the strike zone.”

From the very first at-bat of Game 1 — when he was also the starting pitcher in his first career playoff game as a two-way player — Ohtani struggled to make the right swing decisions.

He chased three pitches off the inside of the plate from Phillies lefty Cristopher Sánchez, which Roberts felt “kinda set the tone” for his series-long struggles, then took a called third strike the next two times he faced him.

From there, the 31-year-old slugger could never seem to dial back into his approach.

He went down looking again in Game 1 against left-handed reliever Matt Strahm. He led off Game 2 with another strikeout against another lefty in Jesús Luzardo. On and on it went, with Ohtani continuing to chase inside junk, flailing at pitches that darted off the plate the other way, and finding his only reprieve in a rematch with Strahm in Game 2 when he got just enough on an inside sinker.

Roberts’ hope was that, moving forward, Ohtani would be able to learn and adjust.

“Understanding when he faces left-handed pitching, what they’re gonna try to do: Crowd him in, off, spin him away,” Roberts said. “He’s just gotta be better at managing the hitting zone. I’m counting on it. We’re all counting on it.”

Roberts also conceded that Ohtani’s at-bats on the day he pitched in Game 1 seemed to be especially rushed.

“[When] he’s pitching, he’s probably trying to conserve energy, not trying to get into at-bats,” Roberts said. “It hasn’t been good when he’s pitched. I do think that’s part of it. We’ve got to think through this and come up with a better game plan.”

After all, while Ohtani might not have been the only struggling hitter in the NLDS, his importance to the lineup is greater than anyone’s. The Dodgers can only endure without him for so long.

Tonight, fans watched on as the Strictly Come Dancing celebrities and pros took to the dance floor for week 3, here’s who topped the board in Movie Week

Tonight, the celebrities and professionals on took to the dance floor for the third time this series, in Strictly Come Dancing‘s Movie Week.

Last week, the show lost its first couple, Thomas Skinner and Amy Dowden, and tomorrow night, one more couple will be leaving the competition.

Last night, it was revealed that Stefan Dennis would be withdrawing from tonight’s live show due to illness. However, due to show rules, himself and his partner Dianne Buswell will be given a bye through to next week.

READ MORE: Strictly It Takes Two chaos as Fleur East forced to apologise for star swearing on airREAD MORE: Strictly’s Chris Robshaw ‘laughed at on the dance floor’ as he makes emotional admission

Amber Davies and Nikita Kuzmin – 8 9 9 9 = 35

Chris Robshaw and Nadiya Bychkova – 4 6 6 6 = 22

George Clarke and Alexis Warr – 6 8 9 8 = 31

La Voix and Aljaz Skorjanec – 7 7 7 7 = 28

Ross King and Jowita Przystał – 4 5 5 5 = 19

Balvinder Sopal and Julian Caillon – 7 7 6 6 = 26

Karen Carney and Carlos Gu – 4 7 7 7 = 25

Jimmy Floyd Hasselbaink and Lauren Oakley – 7 7 6 8 = 28

Vicky Pattison and Kai Widdrington – 5 7 6 7 = 25

Ellie Goldstein and Vito Coppola – 6 7 7 7 = 27

Alex Kingston and Johannes Radebe – 7 8 7 8 = 30

Harry Aikines-Aryeetey and Karen Hauer 8 8 8 8 = 32

Lewis Cope and Katya Jones – 9 10 9 9 = 37

Lewis impressed the judges the most this week, scoring the first 10 of the series – landing at the top of the leaderboard. Unfortunately, it was bad news for Ross and Jowita who placed at the bottom.

However, the game isn’t over yet. Although the judges scores do count, so do the public, so you still have a chance to help to save your favourite couple.

This year, there are two huge changes to the voting. Phone votes have been scrapped, meaning viewers can only vote online for their favourite couple.

Elsewhere, there has been a change in terms of how the judges make their decision in Sunday night’s dance off. At the end of the first live show, hosts Claudia Winkleman and Tess Daly announced a huge shake-up to the show after 7 years – the power is no longer in Shirley Ballas‘ hands.

For the last seven years, head judge Shirley has been responsible for the gruelling decision of choosing which couple in the bottom two should leave if the votes are tied after the dance off.

However, now it’s been announced that the power is going to be shared between the four judges, with a different judge holding the power each week.

“This changes everything!” exclaimed former Geordie Shore star Vicky Pattison, as Lorraine star Ross King added: “I just can’t believe it!”

Strictly Come Dancing continues next Saturday on BBC One. * Follow Mirror Celebs and TV on TikTok , Snapchat ,Instagram ,Twitter , Facebook ,YouTube and Threads .