This article contains spoilers for the Season 9 finale of “Love Is Blind.”
Netflix’s hit dating series “Love is Blind” is actually an experiment, its creator, Chris Coelen, says. The show tests whether couples can build a lasting relationship based on a core emotional bond that is not tethered to physical attraction or appearances.
In Season 9, for the first time in the show’s history, the experiment failed to create lasting bonds. No couples from this season said “I do” at the altar in the finale, which began streaming Wednesday.
Six couples left the pods engaged, but the decoupling began almost immediately, with Kacie McIntosh breaking things off with Patrick Suzuki. They were followed by Annie Lancaster and Nick Amato, and finally Madison Maidenberg and Joe Ferrucci, whose breakups were documented in Episodes 10 and 11. The remaining couples going into the final episode, where the weddings would take place, were Ali Lima and Anton Yarosh; Kalybriah Haskin and Edmond Harvey; and Megan Walerius and Jordan Keltner.
Megan and Jordan didn’t make it to the altar — Megan broke things off just before the wedding because she felt their lifestyles would not mesh well long term. That partly had to do with their jobs. Jordan works long hours in transportation and logistics, while Megan is a wealthy entrepreneur with a flexible working schedule. Jordan is also a single father to a young son, who has Type 1 diabetes. Over the course of the season, the pair often discussed the demands of parenting.
Anton said “I do,” but Ali said “I can’t be your wife” at the altar. She said she felt like the man she had fallen in love with in the pods was not the person she’d been experiencing in real life before she ran off in tears. Anton said in an interview later that he had “done nothing but care for her,” and that the rejection “f— sucks.”
Kalybriah also said no at the altar after her fiancé said yes. Kalybriah said Edmond “deserve[s] someone that is 100% at the altar” and that she wasn’t there. Edmond had a tempered reaction to the rejection, and Kalybriah thanked him for being graceful before the two walked off hand in hand. Kalybriah left the door open for a possible reconciliation down the road.
Season 9 was full of messy breakups and controversial comments from the participants. Patrick went into the experiment with insecurities about his Asian American identity, and his short-lived fiancée, Kacie, broke up with him on the heels of their first meeting. Annie and Nick, who split before the wedding preparations were in full swing, received backlash over a conversation they had about raising LGBTQ+ children, and they have both since walked back those comments in recent interviews. And an argument between Kalybriah and Edmond about her decision to wait until the wedding to have sex with him was the subject of intense scrutiny on social media.
Before Season 9, each season ended with at least one couple getting married. While some later split, many still remain married and several have started families. Days before Season 9’s finale was released, Cameron Hamilton and Lauren Speed-Hamilton from Season 1 announced Monday that they welcomed their first child together.
The Season 9 reunion, which will address unanswered questions about the many breakups, will be available to stream on Netflix on Oct. 29 at 6 p.m. PT/ 9 p.m. ET.
Shakira is all in for the Bad Bunny Super Bowl halftime performance, despite ongoing public efforts to replace the Puerto Rican singer with another artist.
In an interview with Variety, the Colombian superstar voiced support for Bad Bunny, who is set to perform on Feb. 8 at Levi’s Stadium in Santa Clara, Calif.
“It’s about time!” she said.
In 2020, Bad Bunny joined Shakira and Jennifer Lopez on stage during their halftime performance, which marked the first all-Latine show in Super Bowl history — J Balvin was also featured.
“I remember when we did ours that even having part of our set in Spanish was a bold move… Acceptance of Spanish-language music as part of the mainstream has come so far from when I started,” said Shakira, who during the interview reflected on the recent anniversaries of her critically-acclaimed Spanish album “Pies Descalzos” (released in 1995) as well as “Oral Fixation (Vol 1 and 2)” (both released in 2005).
“I hope and like to think that all the times my music was met with resistance or puzzlement from the English-speaking world before it was embraced helped forge the path to where we are now,” Shakira added.
The news that Bad Bunny would headline the major American sporting event has been met with some pushback from conservative figures, including President Trump, who labeled the decision as “crazy” and “absolutely ridiculous” in an interview with Newsmax earlier this month.
One floating petition on Change.org, which has acquired over 54,000 signatures, called for Bad Bunny to be replaced by Texas singer George Strait as a way to “honor American culture.”
The late Charlie Kirk’s Turning Point USA also announced an alternative halftime show titled, “The All American Halftime Show,” though the conservative organization has not yet announced artists.
Claims that Bad Bunny is not an American artist are factually incorrect: Puerto Rico is an unincorporated U.S. territory and Puerto Ricans are therefore American citizens. Past Super Bowl halftime shows have also featured non-American acts, including the Rolling Stones, U2, Rihanna, Shania Twain and Coldplay, to name a few.
Despite the anti-Bad Bunny buzz, Shakira doubled down on her support of the singer.
“And I’m so proud that Bad Bunny, who represents not only Latin culture but also how important Spanish-language music has become on a global scale and how universal it has become, is getting to perform on the biggest stage in the world,” she said.
“It’s the perfect moment for a performance like this. I can’t wait to watch it.”
Netflix is looking to capitalize on the popularity of its animated movie “KPop Demon Hunters” — and continue its foray into the retail space.
Netflix on Tuesday announced a licensing deal with toy makers Mattel Inc. and Hasbro Inc. to make dolls, action figures, plushies, youth electronics and other items based on “KPop Demon Hunters,” a movie about a trio of powerful singers and demon hunters who protect the world from dangerous demons.
“KPop Demon Hunters” has been a worldwide hit since its release in June, becoming Netflix’s most-watched film with more than 325 million views in its first 91 days on the streaming service.
The licensing deals come as Netflix has been aggressively partnering with brands to expand the fandom of its shows and movies.
Next month, Netflix will open the first of several planned physical locations called Netflix House where it will host experiences based on its programs and sell food and merchandise.
“KPop Demon Hunters unleashed a global fan frenzy,” said Marian Lee, Netflix’s chief marketing officer, in a statement. “Netflix, Mattel and Hasbro joining forces on this first-of-its-kind collaboration means fans can finally get their hands on the best dolls, games, and merchandise they’ve been not-so-subtly demanding on every social platform known to humanity.”
Under the partnership, Hasbro and Mattel will both become global co-master toy licensee to “KPop Demon Hunters.”
Netflix has had other partnerships with other toy makers, including Squishmallows for shows like sci-fi series “Stranger Things” and Lego sets based on pirates tale “One Piece.”
The Los Gatos, Calif., company has also launched in-person experiences such as balls based on the Regency era romance series “Bridgerton.”
“KPop Demon Hunters is a powerful pop culture phenomenon with global resonance—one that aligns seamlessly with our portfolio of iconic brands and our commitment to innovation,” said Tim Kilpin, Hasbro’s president of toy, licensing, and entertainment, in a statement.
WASHINGTON — As the government shutdown enters its fourth week, Senate Republicans are headed to the White House on Tuesday — not for urgent talks on how to end it but for a display of unity with President Trump as they refuse to negotiate on any Democratic demands.
Senate Democrats, too, are confident in their strategy to keep voting against a House-passed bill that would reopen the government until Republicans, including Trump, engage them on extending health care subsidies that expire at the end of the year.
With both sides showing no signs of movement, it’s unclear how long the stalemate will last — even as hundreds of thousands of federal workers will miss another paycheck in the coming days and states are sounding warnings that key federal programs will soon lapse completely. And the lunch meeting in the White House Rose Garden appears unlikely, for now, to lead to a bipartisan resolution as Senate Republicans are dug in and Trump has followed their lead.
Asked about the message at lunch, Sen. John Barrasso of Wyoming, second in Senate GOP leadership, told Fox News Channel’s “Fox & Friends” on Tuesday that it will be, “Republicans are united, and I expect the president to say, ‘Stand strong.’”
Senate Republican leader John Thune, of South Dakota said on Monday that he thinks Trump is ready to “get involved on having the discussion” about extending the subsidies. “But I don’t think they are prepared to do that until (Democrats) open up the government,” he said.
Missed paychecks and programs running out of money
While Capitol Hill remains at a standstill, the effects of the shutdown are worsening.
Federal workers are set to miss additional paychecks amid total uncertainty about when they might eventually get paid. Government services like the Special Supplemental Nutrition Program for Women, Infants and Children, known as WIC, and Head Start preschool programs that serve needy families are facing potential cutoffs in funding. On Monday, Energy Secretary Chris Wright said the National Nuclear Security Administration is furloughing 1,400 federal workers. The Federal Aviation Administration has reported air controller shortages and flight delays in cities across the United States.
And as the shutdown keeps future health costs in limbo for millions of Americans, most U.S. adults are worried about health care becoming more expensive, according to a new Associated Press-NORC Center for Public Affairs Research poll, as they make decisions about next year’s health coverage.
Still, there has been little urgency in Washington as each side believes the other will eventually cave.
“Our position remains the same: We want to end the shutdown as soon as we can and fix the ACA premium crisis that looms over 20 million hardworking Americans,” said Senate Democratic leader Chuck Schumer, D-N.Y., on Monday, referring to the expanded Affordable Care Act subsidies that expire in December.
Schumer called the White House meeting a “pep rally” and said it was “shameful” that House Speaker Mike Johnson, R-La., has kept the House out of town during the shutdown.
November deadlines
Members of both parties acknowledge that as the shutdown drags on, it is becoming less likely every day that Congress will be able to either extend the subsidies or fund the government through the regular appropriations process. The House GOP bill that Senate Democrats have now rejected 11 times would only keep the government open through Nov. 21.
Thune on Monday hinted that Republicans may propose a longer extension of current funding instead of passing individual spending bills if the shutdown doesn’t end soon. Congress would need to pass an extension beyond Nov. 21, he said, “if not something on a much longer-term basis.”
Democrats are focused on Nov. 1, when next year’s enrollment period for the ACA coverage begins and millions of people will sign up for their coverage without the expanded subsidy help that began during the COVID-19 pandemic. Once those sign-ups begin, they say, it would be much harder to restore the subsidies even if they did have a bipartisan compromise.
“Very soon Americans are going to have to make some really difficult choices about which health care plan they choose for next year,” Schumer said.
The president last week dismissed Democratic demands as “crazy,” adding, “We’re just not going to do it.”
North Dakota Sen. John Hoeven said that Republican senators will talk strategy with the president at Tuesday’s lunch. “Obviously, we’ll talk to him about it, and he’ll give us his ideas, and we’ll talk about ours,” Hoeven said. “Anything we can do to try to get Democrats to join us” and pass the Republican bill to reopen the government, Hoeven said.
Still, GOP lawmakers expect Trump to stay in line with their current posture to reject negotiations until the government is open.
“Until they put something reasonable on the table to talk about, I don’t think there’s anything to talk about,” said Louisiana Sen. John Kennedy.
Democrats say Trump has to be more involved for the government to reopen.
“He needs to get off the sidelines, get off the golf course,” said House Democratic leader Hakeem Jeffries, D-N.Y. “We know that House and Senate Republicans don’t do anything without getting permission from their boss, Donald J. Trump.”
Jalonick writes for the Associated Press. AP writers Kevin Freking, Stephen Groves and Matt Brown contributed to this report.
CHICAGO — The music begins low and ominous, with the video showing searchlights skimming along a Chicago apartment building and heavily armed immigration agents storming inside. Guns are drawn. Unmarked cars fill the streets. Agents rappel from a Black Hawk helicopter.
But quickly the soundtrack grows more stirring and the video — edited into a series of dramatic shots and released by the Department of Homeland Security days after the Sept. 30 raid — shows agents leading away shirtless men, their hands zip-tied behind their backs.
Authorities said they were targeting the Venezuelan gang Tren de Aragua, though they also said only two of the 27 immigrants arrested were gang members. They gave few details on the arrests.
But the apartments of dozens of U.S. citizens were targeted, residents said, and at least a half-dozen Americans were held for hours.
The immense show of force signaled a sharp escalation in the White House’s immigration crackdown and amplified tensions in a city already on edge.
“To every criminal illegal alien: Darkness is no longer your ally,” Homeland Security said in a social media post accompanying the video, which racked up more than 6.4 million views. “We will find you.”
But Tony Wilson, a third-floor resident born and raised on Chicago’s South Side, sees only horror in what happened.
“It was like we were under attack,” Wilson said days after the raid, speaking through the hole where his door knob used to be. Agents had used a grinder to cut out the deadbolt, and he still couldn’t close the door properly, let alone lock it. So he had barricaded himself inside, blocking the door with furniture.
“I didn’t even hear them knock or nothing,” said Wilson, a 58-year-old U.S. citizen on disability.
Dreams and decay
The raid was executed in the heart of South Shore, an overwhelmingly Black neighborhood on Lake Michigan that has long been a tangle of middle-class dreams, urban decay and gentrification.
It’s a place where teams of drug dealers troll for customers outside ornate lakeside apartment buildings. It has some of the city’s best vegan restaurants but also takeout places where the catfish fillets are ordered through bullet-proof glass.
It has well-paid professors from the University of Chicago but is also where one-third of households scrape by on less than $25,000 a year.
The apartment building where the raid occurred has long been troubled. Five stories tall and built in the 1950s, residents said it was often strewn with garbage, the elevators rarely worked and crime was a constant worry. Things had grown more chaotic after dozens of Venezuelan migrants arrived in the past few years, residents said. While no residents said they felt threatened by the migrants, many described a rise in noise and hallway trash.
Owned by out-of-state investors, the building hasn’t passed an inspection in three years, with problems ranging from missing smoke detectors to the stench of urine to filthy stairways. Repeated calls to a lead investor in the limited liability company that owns the building, a Wisconsin resident named Trinity Flood, were not returned. Attempts to reach representatives through realtors and lawyers were also unsuccessful.
Crime fears spiked in June when a Venezuelan man was shot in the head “execution-style,” the Department of Homeland Security said in a statement. Another Venezuelan was charged in the death.
Days after the raid, the doors to dozens of the building’s 130 apartments hung open. Nearly all those apartments had been ransacked. Windows were broken, doors smashed, and clothes and diapers littered the floors. In one apartment, a white tuxedo jacket hung in the closet next to a room knee-deep in broken furniture, piles of clothing and plastic bags. In another, water dripping from the ceiling puddled next to a refrigerator lying on its side. Some kitchens swarmed with insects.
Wilson said a trio of men in body armor had zip-tied his hands and forced him outside with dozens of other people, most Latino. After being held for two hours he was told he could leave.
“It was terrible, man,” he said. He’d barely left the apartment in days.
A city under siege?
Chicago, the White House says, is under siege.
Gang members and immigrants in the U.S. illegally swarm the city and crime is rampant, President Trump insists. National Guard soldiers are needed to protect government facilities from raging left-wing protesters.
“Chicago is the worst and most dangerous city in the World,” he posted on Truth Social.
The reality is far less dramatic. Violence is rare at protests, though angry confrontations are increasingly common, particularly outside a federal immigration center in suburban Broadview. And while crime is a serious problem, the city’s murder rate has dropped by roughly half since the 1990s.
Those realities have not stopped the Trump administration.
What started in early September with some arrests in Latino neighborhoods, part of a crackdown dubbed “Operation Midway Blitz,” has surged across Chicago. There are increasing patrols by masked, armed agents; detentions of U.S. citizens and immigrants with legal status; a fatal shooting; a protesting pastor shot in the head with a pepper ball outside the Broadview facility, his arms raised in supplication.
By early October, authorities said more than 1,000 immigrants had been arrested across the area.
The raids have shaken Chicago.
“We have a rogue, reckless group of heavily armed, masked individuals roaming throughout our city,” Mayor Brandon Johnson said after the Sept. 30 raid. “The Trump administration is seeking to destabilize our city and promote chaos.”
To Trump’s critics, the crackdown is a calculated effort to stir anger in a city and state run by some of his most outspoken Democratic opponents. Out-of-control protests would reinforce Trump’s tough-on-crime image, they say, while embarrassing Johnson and Illinois Gov. JB Pritzker, seen as a possible Democratic presidential contender.
So the South Shore raid, ready-made for social media with its displays of military hardware and agents armed for combat, was seen as wildly out of proportion.
“This was a crazy-looking military response they put together for their reality show,” said LaVonte Stewart, who runs a South Shore sports program to steer young people away from violence. “It’s not like there are roving bands of Venezuelan teenagers out there.”
Officials insist it was no reality show.
The operation, led by U.S. Customs and Border Protection, was based on months of intelligence gathering, according to a U.S. official who was not authorized to discuss the matter publicly. The building’s landlord told authorities that Venezuelans in about 30 units were squatters and had threatened other tenants, the official said, adding that the building’s size necessitated the show of force. Immigration agencies declined further comment.
Even before the “Midway Blitz,” Trump’s election had whipsawed through Chicago’s Latino communities.
Stewart said Venezuelan children began disappearing from his programs months ago, though it’s often unclear if they moved, returned to Venezuela or are just staying home.
“I had 35 kids in my program from Venezuela,” he said. “Now there’s none.”
A wave of migrant newcomers
The raid echoed through South Shore, pinballing through memories of the surge in violence during the 1990s drug wars as well as economic divides and the sometimes uncomfortable relations between Black residents and the wave of more than 50,000 immigrants, most Latino, who began arriving in 2022, often bused from southern border states.
Chicago spent more than $300 million on housing and other services for the immigrants, fueling widespread resentment in South Shore and other Black neighborhoods where the newcomers were settled.
“They felt like these new arrivals received better treatment than people who were already part of the community,” said Kenneth Phelps, pastor at the Concord Missionary Baptist Church in Woodlawn, a largely Black neighborhood.
It didn’t matter that many migrants were crowded into small apartments, and most simply wanted to work. The message to residents, he said, was that the newcomers mattered more than they did.
Phelps tried to fight that perception, creating programs to help new arrivals and inviting them to his church. But that stirred more anger, including in his own congregation.
“I even had people leave the church,” he said.
In South Shore it’s easy to hear the bitterness, even though the neighborhood’s remaining migrants are a nearly invisible presence.
“They took everyone’s jobs!” said Rita Lopez, who manages neighborhood apartment buildings and recently stopped by the scene of the raid.
“The government gave all the money to them — and not to the Chicagoans,” she said.
Changing demographics and generations of suspicion
Over more than a century, South Shore has drawn waves of Irish, Jewish and then Black arrivals for its lakeside location, affordable bungalows and early 20th-century apartment buildings.
Each wave viewed the next with suspicion, in many ways mirroring how Black South Shore residents saw the migrant influx.
Former first lady Michelle Obama’s parents moved to South Shore when it was still mostly white, and she watched it change. A neighborhood that was 96% white in 1950 was 96% Black by 1980.
“We were doing everything we were supposed to do — and better,” she said in 2019. “But when we moved in, white families moved out.”
But suspicion also came from South Shore’s Black middle-class, which watched nervously as many housing projects began closing in the 1990s, creating an influx of poorer residents.
“This has always been a complex community,” Stewart said of those years.
“You can live on a block here that’s super-clean, with really nice houses, then go one block away and there’s broken glass, trash everywhere and shootings,” he said. “It’s the weirdest thing and it’s been this way for 30 years.”
Sullivan writes for the Associated Press. AP reporters Aisha I. Jefferson in Chicago, Elliot Spagat in San Diego and Claudia Lauer in Philadelphia contributed to this report.
Strictly Come Dancing contestant Vicky Pattison has confessed to putting a halt on sex with her husband Ercan Ramadan
The Strictly Come Dancing star has invoked a sex ban with her husband
Strictly Come Dancing star Vicky Pattison has revealed she’s put a stop to bedroom antics with her husband while taking part in the BBC dance competition.
After achieving her best score of the series last weekend, bagging an impressive 29 points with professional partner Kai Widdrington for their spectacular Samba, Vicky and Kai have secured their place in Icons Week.
During a recent episode of the Get A Grip podcast, the 37-year-old confessed she’s steered clear of physical intimacy with her other half since starting on the show.
The frank admission came as Vicky outlined the demanding nature of the programme’s early weeks, explaining: “One minute you’re nervous, you’re messing up your dress rehearsal, you’re getting your period, you’re nearly throwing up behind the scenes because you’re so nervous.”
As Vicky shared her journey, the presenter quickly jumped in with: “Are you pregnant?”, reports Wales Online, reports Wales Online.
But Vicky cheekily responded that her husband hasn’t caught sight of her “lady bits in months”: “No, you’d have to s**g me to get pregnant, mate. Poor Ercan hasn’t seen the sight of my lady bits in months. He’s honestly sick of us.
“I’m like, ‘Well, you’re not getting any now, I’m doing Strictly, mate.'”.
Vicky has also confessed the pressure to start a family has been overwhelming.
Speaking on the Women’s Health Just as Well podcast with Gemma Atkinson and Claire Sanderson, she shared: “My mum told me ‘If not having children is your trajectory, that’s fine,’ which I thought was powerful. I think we’re coming around to the idea as a society that a woman doesn’t have to have children to be fulfilled – and, for me, there’s still a huge question mark over motherhood.
She further added: “I’ve worked to finally get to a place where I’m proud of who I’m becoming, and the thought of taking a break… it scares me.”
Tensions are headed to Dolphin Cove as DI Mackenzie Clarke finds herself involved in a love triangle alongside her ex-fiancé Glenn in the second season of Return to Paradise.
Anna Samson reprises her role in the second season of Return to Paradise (Image: CREDIT LINE:Red Planet / BBC Studios / John Platt)
Actor Tai Hara has revealed DI Mackenzie Clarke and his on-screen alter ego Glenn Strong are set for a tense love triangle in Return to Paradise‘s second season.
Lloyd Griffith returns to Dolphin Cove as Colin alongside Mackenzie’s Anna Samson, and he’s convinced his character’s relationship with Mackenzie has more benefits than he may imagine.
“Colin is becoming a better police officer because of his relationship with Mackenzie,” Lloyd says, “And Mackenzie is becoming a better human because of Colin. It’s a relationship that works both ways. They slowly realise that they are friends by the end of it,” Lloyd says.
Season two’s opening episode, where a shark researcher is found dead at sea, surprised Lloyd. “It could seem far-fetched but when we were going to the beach, even before filming, there would be signs saying the shark nets had been removed,” remembers Lloyd.
“It’s a genuine thing where there are sharks and you do have to be careful.” Sydney native Tai Hara adds: “There are attacks as well. It’s a very real part of our lives.”
Tai Hara reprises the role of Glenn Strong, navigating the rocky dynamics of the pathologist’s love triangle with Mackenzie and his fiancée Daisy.
“There’s a lot in store for their relationship,” he teases, “He’s navigating the love triangle he has with Daisy. A lot of work goes into making that a fully-fledged arc in the series.”
Last season, Mackenzie left London amid professional setbacks, landing in the fictional Australian town she once fled under a cloud of suspicion.
Season one saw her embroiled in multiple murder cases and a tense reunion with ex-fiancé Glenn Strong. Glenn has moved on with Daisy Dixon (Andrea Demetriades) but made his feelings for Mackenzie clear – complicating her plans to escape.
The new season opens with Mackenzie choosing to stay in Dolphin Cove, much to fellow detective Colin Cartwright’s (Lloyd Griffith) exasperation.
For Lloyd, however, Colin’s reunion with his friends from home posed a real challenge. “Colin’s friends come from Lincolnshire and you find out a little bit more about Colin. You see a different side to him,” Lloyd says.
The change required adjustment. “Colin is very happy-go-lucky, he loves the community that has welcomed him with open arms. In that episode, you see why Colin has come to Australia. I found that most challenging but also rewarding and loved it.”
Overall, the pair were thrilled to Return to Paradise and Tai was thrilled to share the spotlight with his good friend Anna Samson. “We have a really wonderful friendship outside of the show, it was the first time we’d ever worked together,” Tai says. “It always feels easy. That’s one of the benefits of working with someone who you consider a really dear friend.”
Anna reveals that Mackenzie will also have time to explore dating apps this season. “One episode is about online dating, the comedy and tyranny they come with,” she says, “That’s another glimpse into Mackenzie. For the first time, I’m in an entirely different costume for one whole episode.”
Return to Paradise comes back to BBC One on Friday, October 31st at 8pm.
Food Network announced Monday that its long-running weekend culinary talk show “The Kitchen” is coming to an end. The final episode of the series, co-hosted by network favorites Sunny Anderson, Katie Lee Biegel, Jeff Mauro, Geoffrey Zakarian and recurring guest Alex Guarnaschelli, will air Dec. 13.
“It’s the end of an era,” Biegel said in her Instagram story sharing the news. “Thank you so much to all of our fans. The Kitchen was the greatest professional honor of my life and I will be forever grateful.” Biegel has served as one of the show’s co-hosts since its 2014 premiere.
Mauro, who has also been with the show since the beginning, echoed her sentiments on his own Instagram post.
“I always knew what we had was special — rare, a unicorn, an anomaly,” Mauro said in a lengthy caption thanking fans and colleagues. “I got to spend a dozen years with my best friends — cooking, laughing, and eating life-changing bites from some of the world’s greatest chefs and cooks.”
Currently in its 40th season, the Daytime Emmy-nominated cooking-themed talk show featured its hosts and guests sharing recipes, discussing food trends and offering other food tips. In addition to celebrated chefs and culinary personalities, “The Kitchen” opened its doors to various actors, musicians and celebrities.
“For over a decade Sunny, Katie, Jeff, Geoffrey and more recently Alex have engaged audiences with their individual and distinct food sensibilities and sense of humor that together make ‘The Kitchen’ a delicious way to spend an hour,” Warner Bros. Discovery head of food content Betsy Ayala said in a statement.
“Everyone knows all good parties end up in ‘The Kitchen,’ where the conversation, laughs and food flow; the best parties probably end a little bit earlier than some guests would like, but we’ve got twelve years of memories and wanted to celebrate this team’s hard work during one final holiday season.”
Food Network titan Bobby Flay congratulated the show’s team for “an iconic run” in the comments on Food Network’s Instagram post sharing the news.
“Thank you to the Kitchen and its fabulous chefs and hosts for holding it down in daytime on [Food Network] for the last decade,” Flay wrote.
Other Food Network stars also chimed in with tributes in the comments responding to the announcement.
“I loved this show because it reminded me of why I fell in love with cooking in the first place,” wrote Aarti Sequeira, Season 6 winner of “The Next Food Network Star,” “lots of voices and hands working together in a kitchen with equal servings of love and sass!!!!”
“[C]ongrats on an incredible show — one of my favorites to watch and to be part of,” “Chopped” judge Marc Murphy wrote. “You’re all legends.”
Fellow “Chopped” judge Tiffani Faison also congratulated the show’s staff for “a run worthy only of this team.”
Iconic panel show Mock the Week is set to return to screens in 2026, four years after it was axed by the BBC, and will be broadcast on a free-to-air rival challenge
13:41, 20 Oct 2025Updated 13:42, 20 Oct 2025
Mock the Week is making a huge comeback(Image: BBC)
Mock the Week was axed from television four years ago, but the BBC panel show is now poised for a spectacular return next year. The satirical news commentary programme, which launched the careers of Hugh Dennis, Frankie Boyle, and Russell Howard, is scheduled to make its comeback on screens in 2026.
Initially debuting back in 2005, Mock the Week offered a comedic take on weekly news stories and quickly established itself as a broadcasting favourite. The half-hour comedy format eventually concluded in 2022 following 17 years on air, but its return has now been officially announced.
This time around, the programme will air on TLC, as the channel transitions to free-to-air broadcasting in the UK come January 2026, delivering additional scripted and unscripted programming, reports the Express.
Warner Bros. Discovery released a statement confirming the show’s revival, produced by Angst Productions, would provide the “much-loved” format with a “new look”.
Cast announcements remain pending, though supporters are eager to witness Hugh, Frankie, Russell, and fellow comedian Andy Parsons grace screens once again.
TLC operates as a television network in America, which Warner Bros. Discovery has recently chosen to introduce on Freeview in Britain, simultaneously discontinuing HGTV.
The UK debut of TLC will additionally showcase scripted programming including The Big Bang Theory and its enduring comedy-drama offshoot, Young Sheldon.
The show, which first aired in 2005, was cancelled back in 2022 with host Dara O’Briain sharing a sad statement at the time. “That’s it folks, the UK has finally run out of news,” he said.
“The storylines were getting crazier and crazier – global pandemics, divorce from Europe, novelty short-term prime ministers. It couldn’t go on.”
Earlier this year, Mock the Week star Milton Jones announced that he was ‘cancer free’ after undergoing surgery. The stand-up comic cancelled a number of dates earlier this year after being diagnosed with prostate cancer.
However, he said in August that he is “in a completely different place” now. He said in a statement: “A few months ago, I had to stop my tour Ha! Milton because I needed treatment for prostate cancer. I’m glad to say I’ve had that treatment and am now cancer free!”
Milton continued to the PA News Agency: “So, many thanks to all the doctors and nurses who helped me get better – I couldn’t do their job (I tried, but apparently you have to be qualified).
“A big thank you to my family, friends, all those who helped reschedule things and the many others who have been so nice to me.
Brad Ingelsby knew after the breakout success of HBO’s “Mare of Easttown” — a crime drama about a police detective (Kate Winslet) investigating the murder of a teenage girl in a fictional working-class town — he didn’t want his next series to be another whodunit.
“That’s Mare’s thing,” he says on a recent late afternoon. “So, you start to go, if you’re going to write another story in the crime genre, what would get the audience to keep clicking to the next episode? I just thought, ‘Well, maybe a collision course show, where [in] every episode, we get a little closer, a little closer, a little closer, until things collide.’ ”
In “Task,” which concluded Sunday on HBO, Mark Ruffalo stars as Tom Brandis, a priest-turned-FBI agent leading a task force investigating a series of robberies in Delaware County, Pa., an area commonly referred to as Delco that was also the setting for “Mare of Easttown.” (And with references to Wawa and Scrapple, along with visits to Rita’s Water Ice, it slips into its role of expanding the universe.) It leads Tom to Robbie Prendergast (Tom Pelphrey), a sanitation worker who robs drug houses at night to provide for his family. Both men are emotionally tortured by life events — Tom’s wife was murdered by their adopted son, who is incarcerated; Robbie’s brother was killed by a member of a motorcycle gang — that have set them each on different, but destructive paths.
In “Task,” Mark Ruffalo, left, Alison Oliver, Thuso Mbedu and Fabein Frankel portray law enforcement officers who are part of an FBI task force investigating a string of robberies.
(Peter Kramer / HBO)
“ ‘Mare’ was about the moms — the damage that all the guys have caused and the women are kind of having to pick up the pieces of that,” Ingelsby says. “This [show] is all about the fathers and being left behind, seeing the damage they’ve done to their kids, how they’re going to fix that in their lives — or not be able to fix it. The guys who are actually doing the damage without knowing.”
Ingelsby says his uncle, who was an Augustinian priest, helped inspire the throughline of the series.
“I’ve always been very intrigued by his idea of faith in God over the years, and how it’s changed over time, and what he believed once and what he believes now,” he says. “I was intrigued by the idea of a guy who, everything he held as truth, all the pillars of his life, have come crumbling down. And Robbie has a much different faith. And it’s through the gauntlet of the story, how their lives intersect, that they both get to navigate their own journeys of faith.”
Over dinner at a West Hollywood hotel, The Times sat down with Ingelsby, Ruffalo and Pelphrey to discuss their faith journeys, economic inequality, fatherhood — and Wawa, too. Here are edited excerpts from the conversation, which contains spoilers about the finale.
After the success of “Mare of Easttown,” creator Brad Ingelsby wanted his follow-up, “Task,” to feel connected, but not repetitive: “ ‘Mare’ was about the moms,” he says. “This [show] is all about the fathers and being left behind, seeing the damage they’ve done to their kids, how they’re going to fix that in their lives — or not be able to fix it.”
(Bexx Francois/For The Times)
The themes of the show involve forgiveness and faith. Every person has experienced something in life that has tested those ideas. How has your own relationship to faith and forgiveness evolved as you’ve lived more life or taken on roles that ask you to live different experiences?
Pelphrey: My faith, to me, is when I got sober. God willing, Oct. 1, which is three days from now, it’ll be 12 years. That’s truly by the grace of God — you hear that phrase, but I genuinely, I mean that. That’s how I’ve experienced faith, through my sobriety. I was raised Catholic, but the experience I had at 31 was like in a different dimension to what I thought of religion or ideas. It’s one thing to have an idea, it’s another thing to have your heart opened. It’s definitely an important part of my life. And I think Brad did such a beautiful job conveying that. My grandma used to have one of these things when I was a kid — not a real gem, but like a glass cut thing so if you put it in the window, the sun shines through a million different ways, and the color goes everywhere. I feel like you [Brad] did that with some themes in the show where you’re like, “Let me just hold it up, and we’ll just look at it a few different ways.”
Ruffalo: My journey with faith is probably very similar to Tom’s. When you get a job or something, it can take you on a journey that you’re ripe to take. It touches your life at a very moment where you need it. I’d say, after my brother died, the whole notion of faith just went out the window for me. But oddly enough, I have a lot of addiction, alcoholism in my family. I say, either you are one or you love one. When you love somebody who’s struggling with that, it takes a lot of faith to let them go and to trust it will be OK. My friend says to me, “They got a God and you ain’t it.”
My faith has been renewed, actually, through Tom [the character] — he is an alcoholic. It’s touched my life in so many ways, even with my brother, that it’s like where I lost my faith and where I gained my faith again has been through this journey with alcoholism and drug addiction. And I waver. You look at the world and you’re like, “Where is God in this? Please show yourself. ” But the thing about faith is it requires you to believe without any evidence of its existence. I’d rather believe in that than nothing. Although, I fought him [Brad] all the time. I was like, “He’s [Tom] not really praying here. He’s trying to pray. He’s going through the actions of praying, but he can’t quite get to the opening sentence, which is “ … God …” He does pray, eventually, but it’s a journey.
There’s the powerful moment in that car when Tom and Robbie finally meet in Episode 5. Robbie says, “I don’t think I’ve ever experienced God in my life.” This is a man that hasn’t felt hope, and he has this glimmer of it with this goal of escaping to Canada. Tom, how was it getting into the mindset of this guy just trying to get out of this life?
Pelphrey: It’s heartbreaking. We’re articulating an American dream that far too many people don’t get to experience, and maybe are starting to lose the hope of ever experiencing it. That’s a very real thing — unfortunately, way too real and increasingly way too common. It was just constantly reminding myself: What does this character want? And at the end of the day, regardless of how extreme some of the things Robbie’s doing, he just wants a decent life for his kids. And the fact that he’s having a hard time getting it is heartbreaking.
That scene and in the car, the first time I read it, I was like, “Oh, he’s [Brad] got some balls.” You have so much s— boiling over — the plot lines, the violence, the stakes are through the roof for everyone now in the show, and we are going to sit in a car for half an episode? And two dudes are gonna talk?
In Episode 5, Robbie Prendergast (Tom Pelphrey), left, and Tom Brandis (Mark Ruffalo) finally meet.
(HBO)
Ruffalo: There’s no chase! And when they finally face each other, they’re not even [actually] facing each other! They’re both pushed to the edge and you don’t know where it could go. Tom certainly doesn’t know where it will go. Tom’s kind of at that point, like, “F— it. Go ahead.” We talked about it a lot, I was like, “I think Tom should die.”
[They break into laughter]
Ingelsby: Every single day he was pitching it.
Ruffalo: I was pitching Tom should have a heart attack at the end and he literally sees God and he says to God, “I’m ready.” He finally finds his faith. It’s finally paid off and he says [gasping], “I’m … reaaady.”
Ingelsby: Enough people die here. But that particular episode has always been very special to me. That’s when the show is operating at the peak of its powers. It just felt like, how do we subvert the expectations of the audience and do that in a way that still feels true to who these characters are? I remember talking to you [Tom] about this. You were like, “As soon as I know Cliff’s done, I’m on a one-way street. I have a plan.” But with you [Mark], once they get out of the car and you feel like you’re going to die, you’re like, “I want to call my family.” That’s when you get activated in a way. You’ve been going through the motions in life, but that’s when it gets very real.
Ruffalo: It’s like being reborn. It opens his heart. He sees how life can be taken away.
We’re in a political and cultural moment where the mood of the country is simmering — there’s anger and rage on all sides, and a lot of it stems from class and systemic issues that are in place that put people in certain positions. There’s that layer, but there’s also the grief element both these men are facing.
Ingelsby: With Robbie in particular, I was interested in a guy that felt really stuck. What I liked about Robbie was, if he didn’t take action, what would happen to Robbie? He’d be a trash man in too deep his whole life. Who cares about Robbie and his family? Nobody. He was left behind. In early versions of the script, I very explicitly said, “He wants his bite of the apple.” There are lots of people like that now. I loved writing Robbie because it felt like he was raging against being left behind and and I felt, in many cases, in the script, why wouldn’t you do something? Whether you agree with the actions or not —
Pelphrey: He had his f— life stolen from him. What he’s going after is a very specific thing. He’s not lashing out blindly against anybody to get any money at any cost. He’s like: “I’m gonna take it from these mother f—, who are bad dudes.” Even within that, he has principles. No one’s gonna die — obviously, the rules all go out the window Episode 2, but we’re not going to take the drugs, we’re not going to sell the drug. We’re going to destroy the drugs. We’re going to take the cash. Even within his brand of lashing out, he actually has a set of principles that he’s operating by.
Mark Ruffalo, left, and Tom Pelphrey star as two troubled men on a collision course in “Task.” Ruffalo portrays an FBI agent recovering from a family tragedy, while Pelphrey plays a garbage collector and criminal involved in a series of robberies. (Bexx Francois/For The Times)
Mark and Tom, as sons and fathers, how did you think about the father-child relationships of these two men and the collateral damage of their choices?
Ruffalo: It’s so hard to be a father, especially now because this generation is like, “We’re not going to do it the way our parents, our fathers did. We see that there’s another way to do it. We’re actually talking about it.” At the same time, we don’t exactly know what it is that we should do differently, plus we have the responsibility of, financially, keeping it together. It’s obviously hard to be a mom too. These guys are doing the best they can.
Pelphrey: Becoming a dad two and a half years ago now, it’s just the most f— awesome, wild, intense, crazy s— I’ve ever experienced in my life. It’s like getting struck by lightning. I’m so in love and I feel so vulnerable and I feel so happy — it’s all the feelings. Then suddenly, when you’re thinking about how you feel, you go, “How do I balance this? How do I protect her, but make sure that she’s brave and experiencing things? And you quickly realize there is so much to this that I will have no power over and the realization of that, in the deepest sense — and I’ve already had moments of that and we’re just getting started here. You imagine what it’s like, when you don’t have kids, but you have no f— clue. One of the things I could say without blinking, ever, is, “I totally understand why he’s doing what he’s doing.”
Was there a version where Robbie lived?
Ingelsby: No, I felt like structurally what needed to happen was Tom had to witness Robbie’s kindness, then his sacrifice. It felt very necessary to be like, “Oh, wait. Robbie — he went up to the woods…” Because he’s always like, “What’s the plan?” Tom realizes, “Oh, I know what the plan was. He went there to die.” Part of Tom’s journey to getting rid of the anger and to believing in something at the end, was to have witnessed the goodness in Robbie. He [Robbie] also gets in so deep eventually, he has pushed himself into such a corner and there’s no good way out of this. What’s an audience gonna think if he gets out of this unscathed? Even if he were to survive, he’s gonna be in jail for the rest of his life. The idea of sacrifice would speak to Tom as a character and get him to his ultimate decision to give the boy [Sam] up, but also forgive his own son and, quite literally, get the house ready for him.
Mark, how did you feel about the statement that Tom winds up giving at the hearing in the finale?
Ruffalo: He had to sit down and write that. I don’t think he really knew what he was going to be writing. He’s taking stock of his life and his son’s life and the story of the life. It’s connecting him to the whole story. It’s not just the loss of my wife, but also we raised that boy. We made this life together and, even in the hard part of it all, that’s where we learned what love is. Then when he gets in there, he doesn’t even know that he’s gonna say it. He doesn’t know he’s going to confront him with it and say [to his son], “Look at me.” But the whole journey, leads us there.
There’s something, too, about his composure in that moment.
Ingelsby: That’s the genius of Mark. That was the first or second take, what we used.
How many versions of it did you write? Was there an overly emotional or dramatic version?
Ingelsby: There was a longer version. But I think what was important about it was — and Mark does such a beautiful job — was that he had to be honest about how hard it was. I was always worried it would be a bit maudlin, if he just went in and said straight away, “I love you.” It was almost like he had to be really honest with everybody, like, “Hey, this was f— horrible.” And the shame of changing your name —
Ruffalo: Yes. To be that honest and to say that I pretended like I wasn’t his father. It’s so shameful. It’s so honest.
Ingelsby: I think because he’s so honest, it makes the forgiveness even more impactful. When he says, “I forgive you,” you believe because he’s earned the trust in the speech by admitting the things that were so shameful .
Ruffalo: It doesn’t just go one way — forgiveness. There’s a lot of shame on it on the other side, that’s where the anger comes from. There’s always this question: What could I have done? The backstory was I left, knowing that he was in an episode, but I had to go. I left her with him, thinking it would blow over. And it didn’t. He has to also be honest about his part in it. What dad says, “That’s not my kid. You’re in retreat already.”
Ingelsby: That’s what we want the ending to be. It’s not that everything’s going to be easy. I think the same for Mare — it wasn’t like Mare’s life was so great at the end of the show. There was a lot of going on.
Ruffalo: She’s going to an AA meeting. Tom and Mare can meet at an AA meeting.
Tom Pelphrey as Robbie Prendergrast, a garbage collector trying to avenge his brother’s death by hitting trap houses belonging to a local gang before getting caught in a deadly standoff. (HBO)
Mark Ruffalo, Silvia Dionicio and Phoebe Fox in “Task.” Ruffalo plays a priest-turned-FBI agent who hasn’t confronted his feelings about the murder of his wife at the hands of their adopted son. (HBO)
To that point, was there thought about whether to incorporate “Mare” characters in this show, if they’re in the same universe?
Ingelsby: It’s funny you say that. [In] one of the early scripts, we had a scene where Emily (Silvia Dionicio), at the end of the show, went to a concert with her boyfriend, Leo, the guy that’s a magician. And Mare’s daughter, Siobhan (Angourie Rice), was playing. And there was another connective piece I’m missing. I think Leo’s brother was in the band. And they had a moment together, because I felt like Emily and Siobhan were very, very similar. That they had the weight of the world on their shoulders in some way, Emily especially —
Ruffalo: They’re well suited for each other. They could just sink to the bottom of the lake together.
He’s got a crossover season mapped out for you.
Pelphrey: If we hold hands, we can sink faster.
Ingelsby: But we did have something connecting them. But I’m glad HBO read it and were like, “Is it a bit much?” It felt like maybe we were reaching to do something that the story didn’t require. And when we took it out, I felt like this story exists on its own, and we didn’t need that. If we had threaded it through the story in a more interesting way, maybe it would have worked, but it would have felt really tacked on and kind of just fan service for the sake of fan service, which I didn’t want.
Can we talk about the Phillies cup? It’s seems like such an obscure detail, but that cup triggered me. I know it well. A father trying to hide his vice.
Ingelsby: That’s another detail of my own life that I can repurpose, steal. That’s my dad. He drinks out of that. He watches every Phillies game. There’s 162 games. And if he can’t watch, he’s listening to it in a radio in the car. I feel like we always talk about in the specific, is the universal. And Mark did the swirly thing.
Ruffalo: That’s what made me want to do the show. That he was drinking out of that. And then he swirled his hand. I said, “This guy is writing character like nobody is doing that I’ve seen in television.” I only read the first episode and I was like, “I want to go. I trust this journey with him.” And it was from that nuance thing. I know that guy. He’s a priest who swirls his vodka and tonic with his finger. In a Phillies cup. And he thinks he’s pulling it over. That’s my family. It’s so honest.
The accent was such a feature of “Mare of Easttown.” I imagine that had its own expectations or pressure for this show.
Ingelsby: “Mare” was more a community — very, very specific community. I felt like, in that show, we had to go all in and Kate did. A lot of Mark’s character was driven by my uncle, who has no accent at all. Because he went to the seminary, then he went to Merrimack College, he was a teacher — he bounced around. And even me, there’s a couple words I’ll say that you can’t pick up a heavy accent. There’s a couple words, where maybe you could pick it up.
Ruffalo: We tried. I tried it. I kept kicking it out, it just didn’t feel right. He does hit some of those words. He does say wooder — cheery wooder ice. We kept some of it in, but we didn’t go as hard at it because he goes another way. I feel like he might have ended up in South America at some point. I was thinking he traveled the world.
Did you pay many visits to Wawa? I remember Kate telling me about her Wawa experiences.
Pelphrey: I grew up going to Wawa. I was Wawa all the time because I was living out in the suburbs.
Ingelsby: I think Kate ate hoagies or something.
Pelphrey: They make a good sandwich.
Ruffalo: Oh, bro. I started with a fat suit and then I had to take it off. I just kept getting fatter. My wife saw me and she’s like [to the kids], “huh, your father’s eating his way through Philly.” But, man, I’d be like, “How about a sandwich for the scene?” [Mimics scarfing down a sandwich.] Like a troll.
Ingelsby: He is an amazing sandwich eater. We were talking about it.
Pelphrey: We were.
Ruffalo: Oh, I knew I was going to be eating a sandwich that day [in a scene], so I starved myself so I could just plow that thing.
Are you interested in a Season 2, Brad?
Ruffalo: No one wants a Season 2. [the trio laughs] No, I’m kidding. That would be amazing.
Ingelsby: It would be amazing. If people respond and we get a chance to do it.
Could we get that “Task”-”Mare” crossover?
Ingelsby: A lot could happen.
Ruffalo: Some “Mare” people could show up. There could be a love affair.
Pop star Sabrina Carpenter hosted “Saturday Night Live” for the first time ever, but it sure didn’t feel like it.
Carpenter was the musical guest last year when Jake Gyllenhaal hosted, and at the 50th anniversary special, she performed with Paul Simon and appeared in a sketch. Whether it’s because she’s done the show both as a musician and a comedic performer (her song performances are often a mix of both) or not, Carpenter seems perfectly at ease in Studio 8H, like she’s always been there.
That served her well on an episode that started badly with a retread of a sketch that’s been done a few too many times (keyword: Domingo), and a monologue that, despite Carpenter’s charm, didn’t seem to connect with the audience.
But after that, Carpenter’s quicksilver timing and ease, plus a diverse set of sketches, put the episode over the top. She sounded just like a 12-year-old boy in a sketch about preteens hosting a podcast called “Snack Homies” with President Trump (James Austin Johnson) as a guest, sold a provocative neck pillow in a funny Shop TV sketch, performed a pretaped “Grind Song” with Bowen Yang, and was thrown out of a window as the host of a girlboss seminar. She scared a co-worker (Ashley Padilla, quickly becoming a critical “SNL” utility player) on her birthday and played a singing and dancing washing machine alongside new cast member Veronika Slowikowska.
It also didn’t hurt that Carpenter’s two playful and well-sung musical performances, for “Manchild” and “Nobody’s Son,” were showstoppers. Her love of the show was evident: she performed the former wearing a “Live from New York” T-shirt and panties with “It’s Saturday Night!” written on the back.
The best argument for inviting Sabrina Carpenter back sometime might be that she held the show together with no outside guests or surprise cameos, which hasn’t happened on “SNL” in a long time. The only exception was a short film from “Please Don’t Destroy” writer Martin Herlihy at the end of the show that may have been about racism and Frankenstein’s Monsters (yes, plural).
We’ll keep this short because the less said about this week’s cold open the better. Chloe Fineman and Andrew Dismukes returned as Matthew and Kelsey, a couple that has struggled in the past with trust issues from Kelsey’s frequent trips with her friends that usually end with a passionate affair with a guy named Domingo (Marcello Hernández). This time, they’re celebrating Matthew’s 30th birthday, but for some reason, Kelsey has flown in her girlfriends (including Carpenter) to sing some pop songs in bad karaoke style about a recent weekend they spent in Nashville. This time the songs are modeled after Taylor Swift’s “Fate of Ophelia,” Lady Gaga’s “Abracadabra” and Alex Warren’s “Ordinary Song.” The ladies went to Nashville and of course Domingo is still around. “This is strike six,” Matthew cries haplessly. “Babe, it won’t happen again,” Kelsey promises. Let’s hope so. The Domingo sketches need to be put to rest.
Carpenter’s monologue was largely about dispelling (but not really) the notion that the singer is overly sexualized, or as she described it, a “Horndog popster.” “There’s so much more to me,” she said, “I’m not just horny. I’m also turned on.” She made hay of the controversy over her “Man’s Best Friend” album cover by joking that it was cropped and revealing that Bowen Yang and Martin Short both originally appeared on it, with Yang pulling her up by her hair and Short pushing her away from a buffet line. The monologue started to fizzle when Carpenter went to the audience for some interaction to prove she can have chemistry with anyone or anything, only to come back to the stage for an awkward bit with Kenan Thompson, who said he wanted a Cameo video for his niece. Carpenter has charisma to spare, but the monologue was too disjointed to go anywhere.
Best sketch of the night: Does making plans to see “Plans” also scare you?
Mock horror movie trailers have done well on “SNL” lately and the streak continues with “Plans,” a Blumhouse horror film featuring Ben Marshall and Carpenter as a couple horrified to realize that plans they made back on Fourth of July have suddenly come to fruition with a cousin and her husband. As their terror grows, they remember that the cousin (Sarah Sherman) talks about marathons (“The way I see it, losing toenails is a badge of honor”) and the husband (Dismukes) likes to show off 11-minute YouTube videos. They’re going to end up at a crowded ramen restaurant and then a bad interactive play. For anyone who’s ever regretted saying yes to socializing, this might be your worst nightmare.
Also good: The neck pillow monologues
The Shop TV sketches wouldn’t work so well if Padilla and Mikey Day didn’t do such a good job infusing their characters Bev and Rhett with such practiced professional panic when things go awry, as they’ve done before. Carpenter appears as Virginia Duffy, a crafter who’s designed an ergonomic pillow that looks just like a giant vagina, which comes in different colors. “Why would you bring the pink one?” asks an exasperated Rhett. By the time the faux fur lining is added and Rhett tries on the neck pillow, culminating in an unwanted baby sound effect, Shop TV has done it again. Bonus points for Johnson as Tim Tucker, who appears at the beginning of the sketch with a trick-or-treat pail in the shape of Jesus Christ’s head. “Trick or treat, smell my feet, walk with Christ down the Halloween street,” he chants.
‘Weekend Update’ winner: Did you see ‘Saw’? He did not
New cast member Tommy Brennan discussed moving to New York and growing up in Minnesota, but it was the return of Hernandez’s Movie Guy character, who wants to talk about scary movies but has seen absolutely none of them. “Everybody saw ‘Weapons!’ I have to tell you, I was not one of those people,” he says. Movie Guy expresses that horror movies often tell you what they’re about: with “Scream,” “everbody scream!” With “Smile,” “everybody smile!” How about “Saw?” “Everybody saw! But not me, I did not see.” He goes on to touch on why Stewie from “Family Guy,” “Shrek” and others are also scary (even if he hasn’t seen them). “‘One Missed Call’ … is this a movie about my mother?”
A first taste of L.A.’s new Maydan Market. Plus, eating in this town for $50 or less, a cookbook of gravestone recipes, allegations of racial discrimination at a popular L.A. cafe … and how Diane Keaton liked to drink her favorite wine. I’m Laurie Ochoa, general manager of L.A. Times Food, with this week’s Tasting Notes.
Market of dreams
Chefs Rosio Sanchez, left, and Laura Flores Correa of Copenhagen’s Sanchez and Hija de Sanchez, sample mole-sauced turkey legs from Lugya’h at Maydan Market.
(Laurie Ochoa / Los Angeles Times)
Many of us have favorite places to take out-of-town guests — restaurants, hiking trails and idiosyncratic spots like the recently reopened Museum of Jurassic Technology that show our friends and family why we love L.A.
For years, I’ve brought friends to Mercado la Paloma, the food hall and cultural center that is home to Gilberto Cetina‘s Holbox, the seafood counter that was our L.A. Times Restaurant of the Year in 2023 and last year was awarded a Michelin star. These days, there’s always a line for Cetina’s exquisite seafood plates, including his octopus taco with squid-ink-stained sofrito. While one person in your group waits to order at Holbox, you can find many other things to bring to your table at the mercado — unbeatable cochinita pibil and more Yucatecan dishes (try the papadzules or a refreshing agua de chaya) from Chichén Itzá, founded by Cetina’s father Gilberto Sr.; Oaxacan nieves or ice cream flavored with mamey, tuna (cactus fruit) or especially leche quemada (burnt milk) from OaxaCalifornia; and Fátima Juárez‘s gorgeous quesadilla de flor, with orange squash blossom petals spilling out of the blue corn tortilla like sunshine at her masa-focused restaurant Komal (one of Bill Addison’s picks on his 101 Best California Restaurants list).
This week, however, I tried a new place when Rosio Sanchez, the Copenhagen-based chef I wrote about in this newsletter a few months ago, said she was coming to L.A. for the Chef Assembly conference and two collaborations, one that took place Wednesday with Jordan Kahn at Meteora and another that is happening all day Sunday at Enrique Olvera and chef Chuy Cervantes’downtown taco spot Ditroit with Yia Vang of Minneapolis’ Hmong restaurant Vinai. Sanchez wanted to meet someplace for lunch, but had just tried Komal at the Mercado la Paloma and had even been to Thai Taco Tuesday at Anajak Thai, one of my other dependable suggestions for wowing visitors. I had to change my usual game plan.
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Chef-founder Rose Previte details the bevy of vendors and dishes at West Adams’ cross-cultural new food hall.
Fortunately, our intrepid woman about town Stephanie Breijo had been telling me all about Maydan Market in anticipation of its recent opening in L.A.’s West Adams neighborhood, across the street from a branch of chef Kat Turner‘s Highly Likely. In addition, Breijo made a hunger-inducing video showing off the live-fire-based restaurants at the heart of the market founded by Rose Previte, whose Maydan in Washington, D.C., is devoted to the cuisines of the Middle East and was among the Top 40 restaurants chosen in 2024 by the Washington Post’s recently unmasked criticTom Sietsema.
Here in Los Angeles, Previte wanted to open a food hall centered on hearth cooking from different cultures. That not only means new branches of her Maydan restaurant and Compass Rose cafe, but Afro-Mexican Guerrerense cooking at Maléna from Tamales Elena founder Maria Elena Lorenzo; Yhing Yhang BBQ from Holy Basil chef Wedchayan “Deau” Arpapornnopparat, serving charcoal-grilled Thai chicken, seafood and duck, and a space for emerging chefs that is currently featuring Melnificent Wingz from Melissa “Chef Mel” Cottingham.
Most of the places so far don’t open until 5 p.m. — I spotted Arpapornnopparat prepping some fantastic-looking chile sauces for his dinnertime barbecue that I am eager to try. But lunch operations are slowly getting underway and on Thursday afternoon we were lucky to find Alfonso Martinez of Poncho’s Tlayudas fame at Lugya’h, his new post in the market. In addition to tlyaudas — which Addison, in his 2022 review of Poncho’s called one of his “this is the Los Angeles I love” dishes — Martinez is serving dishes from Oaxaca’s Sierra Norte at Lugya’h.
Mole-covered turkey leg with a black bean tamal from Alfonso Martinez’s Lugya’h at Maydan Market.
(Laurie Ochoa / Los Angeles Times)
With Sanchez and her chef Laura Flores Correa, best known as Laurita, I was able to try a turkey leg sauced in a dark, rich “mole de bejed” with a black bean tamal on the side. The meat was incredibly moist, perfect with the tamal. We also got bowls of foamy Mexican cacao-flavored atole, which came with brioche-like Oaxacan pan de yema.
A slice of tlayuda with chorizo, grilled tasajo and the blood sausage moronga from Lugya’h at L.A.’s Maydan Market.
(Laurie Ochoa / Los Angeles Times)
And even though the current plan is to serve tlyaudas only during dinner, we were able to try one with three meats: chorizo, beautifully charred on the edges from the fire; a slice of grilled tasajo, and a link of moronga, one of the best blood sausages I’ve ever eaten, from a recipe, as Addison writes, handed down as a wedding gift from the father of Martinez’s wife Odilia Romero. She was helping out at the market this week, though is anxious to get back to her work advocating for Indigenous migrants in L.A. That might not be easy once word spreads about the deliciousness of Lugya’h’s food.
Alfonso Martinez, right, and Odilia Romero, who have expanded their Poncho’s Tlayudas operation to Maydan Market under the name Lugya’h.
(Laurie Ochoa / Los Angeles Times)
Indeed, each of the places Previte has curated is certain to draw a crowd. I’m looking forward to bringing more friends and trying them all.
If you think $50 a person sounds like a lot for dinner …
(Juliana Yamada / Los Angeles Times)
“It’s crazy that $50 per person is now considered a cheap sit-down meal.”
“The fact that LAT is suggesting $50 a person is somehow a ‘win’ is pretty crazy.”
Those are two reader comments on our 50 under $50 guide to restaurants where it’s possible to eat for $50 or less a person — including tax and tip. Which actually means finding items on the menu that cost $38 a person to account for an approximate 10% sales tax and 20% tip. We thought it was important for you to not get hit with charges that traditionally are not reflected on most restaurant menus.
To those readers who say $50 a person is too much to spend for a nice sit-down dinner, we agree. But all over the city — and in so many parts of the country — it’s increasingly difficult to get dinner at a non-fast-food or fast-casual restaurant for less than $50. Indeed, some of our finest restaurants charge $500 and even more than $1000 a person once you figure in wine or sake pairings.
This kind of pricing, which accounts for luxury ingredients and livable salaries for members of the kitchen and dining room staff that provide world-class service, puts many of our most acclaimed restaurants out of reach for the majority of Angelenos. That’s why we thought it was important in these tough economic times to come up with a guide to more affordable restaurant choices. We weren’t only going for “cheap eats.” Our entire Food team searched the city for a range of places that, as senior Food editor Danielle Dorsey wrote, “must be open until 9 p.m.” (so a true dinner spot), “doesn’t have to offer table service, but must [have] seating available to enjoy your food on-site” and where “you must be able to order at least two menu items, whether that’s a starter and a main, an entree and a dessert, or a large plate and a cocktail.”
The restaurants we chose ranged from the casual but highly acclaimed Sonoratown, which has what our critic Bill Addison says is “the Los Angeles food item I have consumed more than any other” (the $12.50 Burrito 2.0) to strategic ordering suggestions at star chef spots such as Dave Beran‘s Pasjoli and Bestia from husband-and-wife chefs Ori Menashe and Genevieve Gergis. In between are affordable date-night places, including Cody Ma and Misha Sesar‘s Persian spot Azizam, the buzzy Cal-Italian Beethoven Market and Propaganda Wine Bar in the Arts District. We’re always looking for more suggestions. If you have a favorite affordable place, tell us about it in the story’s comment section.
Also …
Stephanie Breijo spoke with archivist and social media personality Rosie Grant about her new cookbook “To Die For: A Cookbook of Gravestone Recipes,” which as the title implies, is a collection of recipes that decedents or their loved ones treasured so much they had them etched on their tombstones.
Breijo also broke down the allegations of racial discrimination at the L.A. restaurant Great White and Gran Blanco “after intensifying social media videos claim that Great White segregates customers based on ethnicity and race, which its owners and some employees deny.”
And finally … ‘slug it down’
Diane Keaton in 2023.
(Raymond Hall/GC Images via Getty Images)
In memory of the great Diane Keaton, let’s raise a toast to her unforgettable movie roles and personal style with what she called “the only wine that I love.”
“It’s called Lillet,” she said in an Instagram video she made back in 2022 with a similar unconventional approach to ice that Stanley Tucci demonstrated his viral negroni video from 2020. After adding many ice cubes to a large yet elegant tumbler, she fills the glass with Lillet and adds a wedge of lemon, instructing her followers to “slug it down” without the addition of the usual tonic or sparkling water. Apparently, Keaton was not a spritz kind of gal. “And if you don’t like it,” she said to her viewers, “that’s fine with me. I’ll just drink all this myself.” Sounds like she knew how to live.
Vice President JD Vance gestures at the ‘America’s Marines 250: From Sea to Shore – A Review of Amphibious Strength’ event to mark the U.S. Marine Corps 250th anniversary at Camp Pendleton in California on Saturday. Photo by Caroline Brehman/EPA
Oct. 19 (UPI) — As protesters marched against the Trump administration on Saturday, Vice President JD Vance took the stage at an event and live artillery demonstration at Camp Pendleton in California, honoring the 250th anniversary of the U.S. Marine Corps.
The spectacle was criticized as a “dangerous” show of force by the state’s governor, Gavin Newsom.
“Firing live rounds over a busy highway isn’t just wrong — it’s dangerous. Using our military to intimidate people you disagree with isn’t strength — it’s reckless, it’s disrespectful, and it’s beneath the office he holds,” Newsom said in a statement. “Law and order? This is chaos and confusion.”
Vance, a former Marine who served in Iraq, delivered a speech in which he attacked Democrats for the ongoing government shutdown and previous diversity initiatives in the military.
He also promised that service members would be paid during the shutdown as hundreds of thousands of other federal workers go without paychecks.
“I know we’re here to talk about the Marine Corps. But I have got to get just a little political,” Vance said during his speech. “Because congressional Democrats seem to want to keep the government shut down even though it would mean that a lot of you would not get your paycheck.”
The demonstration was reported to have been the largest in the United States in a decade and showcased fighter jets, the Naval fleet and live fire from M777 howitzers over a major interstate freeway.
Newsom’s office said in the statement that California officials were recently notified that the White House intended to fire live artillery rounds but were assured on Thursday by Marine Corps officials that they would not be fired over Interstate 5.
“That afternoon, the federal government also directed cancellation of train services, which run parallel to the I-5, on Saturday between Orange County-San Diego County,” Newsom’s office said in the statement.
“Late on Friday, the state then received notice from event organizers asking for CalTrans signage to be posted along the I-5 freeway that would read: ‘Overhead fire in progress.'”
Newsom’s office said California officials then asked the federal government for additional details about the event and were told that the live fire activities would take place.
His office said he closed the freeway to traffic during the demonstration.
“If Gavin Newsom wants to oppose the training exercises that ensure our Armed Forces are the deadliest and most lethal fighting force in the world, then he can go right ahead,” William Martin, Vance’s communications director, told CNN. “It would come as no surprise that he would stoop so low, considering his pathetic track record of failure as governor.”
Matt Groening knows what a real theremin sounds like.
As a kid who grew up on the celluloid junk food of the 1950s and ’60s, “The Simpsons” creator heard the ghostly wail of that early electronic instrument in sci-fi film scores and in albums by his beloved Frank Zappa. Its cousin, the ondes martenot, was featured in one of Groening’s favorite classical pieces — the “Turangalîla-symphonie” by Olivier Messiaen — which would inspire the name for a lead character in “Futurama,” Turanga Leela.
So, when composer Alf Clausen was recruited in the sophomore season of Groening’s popular new show about a yellow nuclear family and answered a request to use theremin — a small lectern with two metal antennae sticking out, which a musician plays by moving their hand in the space between — in the inaugural “Treehouse of Horror” episode in October 1990, Groening immediately recognized it was a fake; it was bouncing around the scale in a way a real theremin can’t do.
“And [Clausen] admitted, yeah, it wasn’t a theremin; it was a keyboard,” Groening recalls. “And it took many years for us to get a real theremin. The downside of the theremin is that it can’t play all the notes — but it’s got a feel to it that is so great.”
Clausen quickly became a fixture of “The Simpsons,” scoring every episode from that first “Treehouse of Horror,” now an annual Halloween tradition, all the way through the end of the 28th season, which wrapped in 2017, as well as composing many unforgettably funny songs with the show’s writers. Groening often referred to Clausen as the show’s “secret weapon.”
A scene from “Treehouse of Horror XXXVI,” this year’s Halloween episode of “The Simpsons.”
(“The Simpsons” & 20th Television)
The show’s producers were always pushing to save money, Groening says, and to have the show scored with synthesizers and a drum machine — par for the course for TV music in the 1990s. But Groening felt differently. “I always thought that the music really helped the show in a way, because I thought the animation was kind of … primitive,” Groening punctuates the word with a laugh, “and I thought, man, though, if we have great orchestral music backing up these goofy drawings, it’ll mean: ‘Hey, we really meant it!’ And Alf got that right away.”
Groening was none too happy, then, when Clausen was fired by Fox in 2017. The official reason stated was the high cost of recording every episode with a live orchestra; but the veteran composer, who had previously scored TV series like “Moonlighting” and “ALF” (no relation), was 76 when he got the boot, later suing Disney and Fox over age discrimination. (Clausen died earlier this year at age 84.)
Enter Bleeding Fingers Music, a composer collective founded in 2014 by Hans Zimmer, Russell Emanuel and Steven Kofsky that has grown from its original six composers to a stable of 26. Zimmer had been a longtime go-to for “Simpsons” executive producer James L. Brooks, and he won over a skeptical Groening with his zany score for “The Simpsons Movie” in 2007.
With a composer void, Brooks approached Zimmer about taking over the series, and Zimmer proposed Bleeding Fingers — whose credits at that point included several entries in the “Planet Earth” series and various History Channel documentaries and reality shows.
Russell Emanuel of Bleeding Fingers.
(Kevin Shelburne)
“It took a long time for the decision to be made,” says Emanuel, a cheeky Brit who got his start making soundalike rock albums in the 1980s and co-formed Extreme Music in 1997, a music library company that produced EDM tracks for shows like “Top Gear.” Zimmer was an early contributor to Extreme Music, and in 2001 the company moved into his vast Remote Control Productions campus in Santa Monica.
“It was taken very seriously,” Emanuel adds. “The first I knew about it was Hans calling me into his room and going, ‘We’ve got “Simpsons.” Don’t f— it up.’”
It was an awkward arranged marriage for Groening — and a “baptism by fire” for Emanuel and his cohort. They had an ample three weeks to tackle their very first episode, a “Game of Thrones” parody titled “The Serfsons,” which featured some theremin solos. Groening asked if it was a live theremin. It was not, the new composers sheepishly replied.
“He could hear it immediately, and completely called us out on it,” says Emanuel. “We had to go back and redo that whole thing. There were two or three big issues for him — but, you know, that was part of us learning the language.”
On a recent Friday morning on the Fox scoring stage, just around the corner from Groening’s office of nearly four decades, the “Simpsons” creator was smiling as a live orchestra recorded the score for Sunday’s new “Treehouse of Horror” episode (streaming next day on Hulu). There was a woodwind virtuoso, Pedro Eustache, making wild and beautiful sounds in an isolated booth with his arsenal of flutes — and out on the stage there was a real, live theremin.
Running the session was Kara Talve, a young but dominant digit of Bleeding Fingers who has been the principal composer on “The Simpsons” since Season 30; this is her sixth “Treehouse of Horror” episode. After graduating from Berklee College of Music, she took an assistant job at Bleeding Fingers — mostly, she says, because she wanted to work on “The Simpsons.”
Kara Talve of Bleeding Fingers, who has been the principal composer of “The Simpsons” since Season 30.
(Sage Etters)
“But I had to convince Russell that I could do it,” Talve says, sitting in her studio next to her boss. “I don’t think he trusted me yet. But also: Why would he, because I was like 5 years old.”
It’s quickly apparent how self-deprecating and silly they both are — Emanuel recently got a tattoo of a Spotify code that, when scanned, triggers Justin Timberlake’s “SexyBack” — but also how seriously they take this job.
“The responsibility of working on a show like this, we don’t take it lightly,” Talve says. “And because I was so intrigued by the show, and I really, really wanted to work with Russell on ‘The Simpsons,’ I went back and I listened to those old episodes — because I want to honor the musical language that Alf left, and that Danny Elfman left.” (Elfman composed the iconic theme song, which Emanuel and Talve consider “the heart of the show.”)
“And it’s a very specific palette,” she adds. “Like, not to get too nerdy about it, but there really is this harmonic language that’s only in Springfield.”
There are other, subtle ingredients to a good “Simpsons” score: For instance, the music should (usually) duck out of the way for the verbal or visual punchline. And the show has always overflowed with pop culture references and spoofs, which requires an almost bottomless well of musical knowledge. That’s one area where having two dozen other composers working in the same building comes in handy.
“There’s this adaptability that you have to have on this show,” says Talve, “and it’s every genre under the sun, and you kind of just have to figure out how to do that. And Russ was a big part in teaching me, because he’s the king of production music.” She adds that the composers in the collective also play a variety of instruments, so “I can just ask them to come in and play this line, because we can’t sell it to the showrunners if it sounds too fake.”
The average “Simpsons” episode has between five and 10 minutes of score — which might sound like easy street.
“The amount of starts is very challenging,” Talve says. “And it is deceiving. People go, ‘Five minutes? Oh, you’re just doing a bunch of stings’ or whatever. But I want to debunk this because it’s actually way harder, for me personally, to do 30 short cues for one episode than to have one long cue that’s five minutes because the amount of emotional turns that the music has to have, and that you have to hit all this stuff within 10 seconds — it’s actually really frickin’ hard.”
(In 2014, Clausen told me he always joked that “I can make you feel five ways in 13 seconds.”)
The Simpson family in a segment from this year’s “Treehouse of Horror.”
(“The Simpsons” & 20th Television)
Most episodes are recorded with small ensembles at the Bleeding Fingers facility, but the “Treehouse of Horror” chapters are special; they tend to have wall-to-wall music, and the producers splurge on a full orchestral session at Fox — just like the old days.
This year’s anthology spoofs “Jaws,” “Late Night With the Devil” and “Furiosa.” Talve’s score bobs and weaves accordingly, from big brassy horror to eerie synths to world percussion and a custom-made plastic flute.
Groening, who was full of praise for Talve’s “Treehouse” score, has gradually warmed to the Bleeding Fingers team approach — viewing it less like a factory churning out product and more like the way animators work.
“The nature of animation, with maybe two or three exceptions in the history of the medium — it’s all a collaboration,” Groening says. “We’ve got a lot of ‘Simpsons’ writers, we have a lot of voice actors, a lot of animators, a lot of musicians. I mean, one of the great things about that particular session was that these are some of the greatest musicians in Los Angeles, playing amazing music.”
He even wishes people could witness it in person.
“There should be live concerts of this music because it is so much fun to listen to,” he says.” And it gets a little constrained, you know, when it’s supporting goofy animation — but as music, it’s really fantastic.”
LIMP Bizkit bassist Sam Rivers shared a final glimpse of his life just weeks before his sudden death aged 48.
The late star posted a picture of himself relaxing in the back of a limo during a trip to London.
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Rivers shared a final image of himself relaxing in a limo in London weeks before his deathCredit: InstagramRivers playing at Reading Festival earlier this summerCredit: Richard Isaac
The August 22 Instagram post, now flooded with tributes, showed the rocker leaning back in the plush seat, looking calm and content as he soaked up the moment in the UK capital.
“I hope everyone is having a great day. In London with my fav and and the LB Fam #limpbizkit #limpbizkitstyle #limpbizkitfamily #nothingbutlove,” Rivers captioned the photo.
The laid-back, joyful snapshot has now taken on heartbreaking new meaning after his death.
His bandmates confirmed the news in an emotional statement to fans.
They wrote: “In Loving Memory of Our Brother, Sam Rivers. Today we lost our brother. Our bandmate. Our heartbeat.
“Sam Rivers wasn’t just our bass player — he was pure magic. The pulse beneath every song, the calm in the chaos, the soul in the sound.”
They added: “From the first note we ever played together, Sam brought a light and a rhythm that could never be replaced. His talent was effortless, his presence unforgettable, his heart enormous.
“We shared so many moments — wild ones, quiet ones, beautiful ones — and every one of them meant more because Sam was there.
“He was a once-in-a-lifetime kind of human. A true legend of legends. And his spirit will live forever in every groove, every stage, every memory. We love you, Sam.
“We’ll carry you with us, always. Rest easy, brother. Your music never ends. — Fred, Wes, John & DJ Lethal.”
DJ Lethal shared his own heartfelt message, writing: “We love you Sam rivers. Please respect the family’s privacy at this moment. Give Sam his flowers and play Sam rivers basslines all day! We are in shock.
“Rest in power my brother! You will live on through your music and the lives you helped save with your music, charity work and friendships. We are heartbroken enjoy every millisecond of life. It’s not guaranteed.”
Rivers, born in Jacksonville, Florida, co-founded Limp Bizkit in 1994 alongside frontman Fred Durst and drummer John Otto, later joined by guitarist Wes Borland and DJ Lethal.
Sam Rivers, Wes Borland, DJ Lethal and Fred Durst of Limp Bizkit backstage at Grant Park in 2021Credit: GettyHis band members paid tribute to their “brother” on social media after he passed away on Saturday eveningCredit: Instagram
Together they reshaped late-’90s rock with hits like Break Stuff, My Way, Behind Blue Eyes and Take a Look Around, and their albums — including Significant Other and Chocolate Starfish and the Hot Dog Flavored Water — became era-defining records, with four going platinum or multi-platinum.
The band earned three Grammy nominations and a Billboard Music Award, cementing their status as one of the most influential rock acts of their generation.
He left Limp Bizkit in 2015 after being diagnosed with liver disease caused by excessive drinking, later revealing he underwent a life-saving liver transplant in 2017.
He rejoined the band in 2018 after recovering, continuing to perform with them until his death.
Welcome to Screen Gab, the newsletter for everyone who spent the week belting “You Don’t Own Me” with the same gusto as an empowered ex-wife dressed in white.
Diane Keaton died this week at age 79 at her Los Angeles home. The L.A. native had a career that spanned more than five decades and included a wide-ranging and indelible list of performances in films such as “The Godfather” saga, “Annie,” Baby Boom,” “Father of the Bride” (and its sequel), “The First Wives Club,” “Something’s Gotta Give,” “The Family Stone” — the list goes on and on. Take a moment to read film editor Joshua Rothkop’s illuminating snapshot of Keaton’s life. Of course, her legacy goes far beyond the performance. Times film critic Amy Nicholson wrote how Keaton showed us how to dress up our insecurities and embrace the kooky. And if you want to take a dive into her oeuvre, we have a roundup of 10 Keaton performances worth watching. Pluto TV is featuring an on-demand collection called “Remembering Diane Keaton,” with 15 of her most beloved films available to stream anytime.
And speaking of women who leave a lasting impression — this week saw the return of Keri Russell as Kate Wyler, the highly competent seasoned foreign service officer, with the arrival of “The Diplomat’s” third season. The Netflix series has spent its time tracking the career diplomat’s journey being primed to assume the role of vice president. Its backdrop storyline of an aging president who is expected to pass the torch to a younger female vice president — and the chaos that ensues when the plan is upended — may have real-world parallels, but the show’s creator, Debora Cahn, whose other credits include “The West Wing” and “Homeland,” insists the series is not a commentary. She stopped by Guest Spot to discuss the political thriller.
Also in this week’s Screen Gab, our streaming recommendations are an eclectic pair: a documentary that chronicles the 60-year movement to convert abandoned railroads into public spaces around America and, for those looking to make their viewing of Guillermo Del Toro’s take on “Frankenstein” a double-feature kind of night, we make the case for a ‘90s gory horror-comedy twist on the legend.
ICYMI
Must-read stories you might have missed
Diane Keaton arrives at a news conference at the 40th Cannes Film Festival to introduce her feature directorial debut, “Heaven,” in 1987.
Recommendations from the film and TV experts at The Times
A view of the Island Line Trail in “From Rails to Trails.”
(PBS)
“From Rails to Trails” (PBS.org)
Trains ran close to where I grew up, and I’m still stupidly excited whenever I see one in action. There are fewer now than there were then, but part of their romance is the alternative routes they carved through the land. “From Rails to Trails” documents the 60-year movement to transform abandoned rail lines — which is to say, most rail lines — into paths for biking and hiking, turning them into linear public parks, making the countryside accessible but also remaking urban spaces. It’s a movement not without its opponents, its reversals and consequences, including the gentrification that can follow them. But this often moving hour-long documentary is a paean to old-fashioned coalition building and community activism — needed now more than ever — and the success of a new idea many now take for granted. Former Vermont governor Howard Dean and former Secretary of Transportation Pete Buttigieg chime in. New voice of the everyman Edward Norton narrates. — Robert Lloyd
“Frankenhooker” (Pluto TV, Tubi)
The lament of “The Bride of Frankenstein” is that the heroine herself is only onscreen for a few minutes. Get your fix by watching Frank Henenlotter’s “Frankenhooker.” This sleazy-brilliant 1990 romp is so clever it ranks (severed) head and shoulders with the black-and-white classics. An inventor, Jeffrey (James Lorinz), is bereft over losing his fiancée Elizabeth (Patty Mullen) to a freak lawnmower accident. He vows to rebuild his future bride — but hotterr. “I can make you the centerfold goddess of the century,” Jeffrey says with a leer. The real vanity is his. He wants a sexy, mindless babe. Henenlotter (also of the schlock hit “Basket Case”) claimed he didn’t think deeply about the subtext of his horror movies, a feint that dates back farther than George A. Romero pretending “Night of the Living Dead’s” martyred Black hero wasn’t a comment on race. They’re both fibbers. “Frankenhooker” is a giddy, popcorn-chomping comment on the disposability of women, especially the sex workers Jeffrey murders for spare parts. But what brings it to life is Mullen’s uproarious resurrected sexpot. Stomping around wearing a purple bra and a ghastly sneer, she belongs to no man — ring on her finger or not. Make it a double feature with Guillermo Del Toro’s terrific new “Frankenstein” in theaters this week. — Amy Nicholson
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Allison Janney as Grace, Rufus Sewell as Hal Wyler and Keri Russell as Kate Wyler in Season 3 scene from “The Diplomat.”
(Alex Bailey / Netflix)
Will the U.S. ever be ready for a female president? Time will tell. But “The Diplomat” has provided its contribution to the list of fictional ones. The Netflix drama, a fast-paced look at the art of diplomacy, stars Keri Russell as Kate Wyler, a newly-appointed U.S. ambassador to the United Kingdom who is tapped from the ranks of career diplomats to be quietly prepped to become vice president. The plan, of course, hasn’t gone as expected. In the whirlwind final moments of last season, the president dies and suddenly the person Kate was enlisted to push out, Vice President Grace Penn (Allison Janney), is whisked into duty — just as Kate has discovered the VP is responsible for hatching a terrorist plot. The show returned for its third season earlier this week and explores the aftermath as Penn is sworn in as president. Here, creator Debora Cahn shares what she was interested in unpacking in Season 3’s marriage dynamics, orchestrating a “West Wing” reunion and the time she met former Vice President Kamala Harris. There are some mild spoilers ahead, so bookmark for later if you haven’t begun the season! — Yvonne Villarreal
What did you want out of Kate’s journey this season? Her professional ambitions are once again tested by her marriage. Hal keeps claiming it’s Kate’s time to be in the spotlight and yet he manages to steal it.
We wanted to look at how it happens that someone like Hal winds up in the spotlight even when he’s desperately trying not to; the circumstances that surround decisions like this, which make it such that even the people in the middle of them don’t really have any control over it. You can look at what Grace is doing, and you can understand why she thinks Kate is fantastic, but that the choice, in terms of what’s going to make it easier for her to get through the day, is Hal. And we didn’t want to have a science fiction White House where there are two women happily running the country. That’s just not the world that we’re living in. And it felt like the most honest thing that we could do is tell a story about what it means to be really qualified and really experienced and really ready, and then watch it all slip away at the last second.
The season includes a delightful “West Wing” reunion, a show you wrote for. Allison Janney returns as VP-turned-President Grace Penn and Bradley Whitford portrays her husband, Todd. What was it like to see them back together onscreen? And what did you want their marriage dynamic to say?
It was like first day of school jitters for the first day that each of them was on set. We really wanted to make sure that this was something new and it wasn’t a reference to the work that we’d done together in the past. And the second they started, it was just clear that we were watching a new relationship that these two great actors were building together and informed by the fact that they know each other quite well and that they’ve been good friends for 20 years, but using that to create something new and fresh and really, really satisfying.
This is a marriage that has some very similar structural dynamics to Kate and Hal, but there are some fundamental differences, which is, there was never an assumption that Todd’s career could continue to function alongside Grace’s once she became vice president; and certainly when she becomes president, there’s no question that will become the focus for both of them. And so there are dynamics that Kate and Hal still wrestle with, which we see are kind of absolved with Todd and Grace. And in some ways that helps, and in some ways it doesn’t help.
We’re looking at a couple that’s 10 years farther down the road in their marriage and have made, in some ways, a more pragmatic decision about what it means to have two smart, capable people with careers existing at the same time. Their decision is that one of them isn’t going to exist right now. I think the thing that I enjoy most about both Hal and Todd is that these are people who really, really, really love their wives and really want to be supportive and they still fail or they struggle so, so mightily. We’ve talked about this before: I don’t like writing villains. I don’t want to write politicians that have bad values or selfish goals. I also don’t want to write people in a marriage who don’t give a s— about each other. I would much rather look at the much larger problem, which is, you do really care about each other. You do really want the best for each other, and you still can’t manage to make it happen.
Allison Janney as President Grace Penn and Bradley Whitford as First Gentleman Todd Penn in “The Diplomat.”
(Clifton Prescod / Netflix)
“The Diplomat” premiered in a different political climate from the one it’s in now. The show is not a direct commentary on what’s happening now, but how does the current reality, particularly as it relates to what those in civil service are facing, inform how you think about or build stories moving forward? What sorts of questions are you asking now of people who work in the government?
We write a story two years before the audience watches it, so we we don’t want to be making a direct commentary. Even if we did, the world is moving so fast, we couldn’t try and keep up. But we do want to be in the foreign policy headspace that the world is in, and try to be looking at what are the bigger questions and bigger conflicts that face people who are working in this field. We think a lot about the fact that 300,000 people were fired from the federal government. We think a lot about what it’s like to work for this administration and — I’m trying to figure out what to say without getting into Season 4, which I don’t want to do. It doesn’t inform the specifics of any of the stories that we’re telling, but it does inform the worldview and the bigger questions that face people in this field as the field changes. As the world changes.
You’re writing about people whose job it is to make hard decisions every day. What was the hardest decision you had to make for this third season — either in the writing phase or the production phase?
We moved the base of production from the UK back to New York. The first two seasons we were based in the UK, and then for Season 3, we did half and half. There were a lot of really good reasons for that. It also meant that we had a crew that grew this organism with us — and we were very close to them; they had huge influence on the show — and leaving them behind was really, really terrible. It’s a tough time in the film and television industry right now, and we felt pretty good about bringing jobs back to this community. That was something that was important to us and we really wanted to do. So, we are comfortable with the decision that we made, but, boy, it sure wasn’t fun making it and going through it. It’s people’s livelihood. It’s not a small thing.
Former Vice President Kamala Harris recently released a book chronicling her whirlwind and brief campaign as a 2024 presidential candidate. Have you read it?
I have not read it. But did I tell you about when we met her?
No. Tell me. You were also filming this third season during the election, right?
We were we were shooting it during the election. We were writing it during the election. And we we were worried about how it was going to look. We didn’t want it to look like a commentary on this presidency. But we did have a female vice president that we liked a whole lot, and a male president that we really loved and was of a certain age and didn’t make it through the process — the dynamics kept getting more and more troubling.
Keri and I were at the [White House Correspondents’] Dinner. And there was a receiving line, and we met and shook hands with the president and the first lady and the vice president and the second gentleman. And I said, “Ma’am, I’m writing a story about what it’s like for a woman who’s really experienced and really smart and really capable and really ready to do a job who then gets passed over for someone who is perhaps less qualified.” And she laughed. Then she said, “Call me.”
Have you called?
I have not called. I felt like she had some stuff going on. I didn’t really want to bother her and say, “Heyyyyy … let’s talk about how that went …”
What have you watched recently that you are recommending to everyone you know?
“Dying for Sex” [Hulu, Disney+]. It was brutal and intense and very funny and extremely well-written. And I just thought what they did from a public health service perspective, sharing practical information about what it actually means to go through the process of death, I thought it was just a huge public service.
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
“Postcards from the Edge” [VOD] — it is just so smart and so funny and both Shirley MacLaine and Meryl Streep are just absolutely to die for.
It was another eventful week in last night’s Strictly Come Dancing as the celebrities and their professional dance partners took to the dance floor for the fourth time
Tonight, the Strictly Come Dancing dancers and celebrities took to the dancefloor for the fourth time, in hopes they don’t become the third casualty of the ballroom.
Tensions and pressure are rising this week, as last week saw Lorraine star Ross King and his partner Jowita Przystał were the second couple to be eliminated from the show after Thomas Skinner and Amy Dowden were the first to be eliminated from the show.
Ross’ eviction didn’t come as a surprise to most viewers – but what did leave them in shock was EastEnders star Balvinder Sopal and her partner Julian Caillon finding out they were in the bottom two. This week, fans were left in shock when Shirley Ballas gave La Voix and Aljaž a 2 for their Cha Cha Cha to “Hit Me With Your Best Shot”
However, later on in the show, Shirley did a complete 180 as she awarded her first 10 of the series to Alex Kingston, who made show history by being the first to ever receive a 10 for the Rumba in Week 4.
Harry Aikines-Aryeetey and Karen Hauer – 6 7 6 7 = 26
Chris Robshaw and Nadiya Bychkova – 4 6 7 7 = 24
La Voix and Aljaz Skorjanec – 3 4 2 5 = 14
It was an emotional show tonight, with Alex’s Rumba leaving Shirley in tears, as she got up onto the dance floor to give her a kiss – something Tess said has never been done in the show’s history.
It wasn’t the only historical moment, however, as she also became the first ever contestant to receive a 10 for the Rumba in Week 4.
Now, the celebrities will have to wait as the public votes come in, and this week it’s Craig Revel Horwood who has the power of the deciding vote should it be a tie.
The KnuckleHeadz may just be the thing to save America’s youth. They’re categorized too neatly as a punk band from Whittier, but they’re actually a movement: Southern California’s most raucous self-help program and hardcore band. The members are built like dockworkers and dressed like a deleted scene from “The Warriors”: black-and-green leather vests with a spiky-haired skull back patch. They are also the driving force behind the Punk Rock Fight Club, a Southern California-based organization dedicated to improving young men’s lives through fitness and structure. The rules are as strict as they are simple, and in this topsy-turvy world, truly radical: no hard drugs, no crime, no racists, no abusers. Respect yourself, your brothers and your community.
The KnuckleHeadz achieved a moment of internet fame after hosting a completely unsanctioned show in an unsuspecting McDonald’s for a hundred people. The viral clip of the show is the convenient entry point, but it sells short what the gentlemen have built. Onstage, the KnuckleHeadz are all sweat and spectacle: profanity-laced breakdowns, fans crowd surfing on boogie boards riding a human tide, and the green-and-black army in the pit pulling strangers upright. The absurdity of a fast-food slam pit, bodies and burgers briefly airborne — suggests anarchy. Look closer and you see choreography: Men catching falls, clearing space and enforcing a code. Punk has always promised salvation by noise. The KnuckleHeadz add a footnote: Salvation requires reps, rules and someone mean enough to care. Offstage, they run an infrastructure for staying alive.
The KnuckleHeadz in Whittier
(Dick Slaughter)
Founded in June 2021 by frontman Thomas Telles of Whittier, better known as Knucklehead Tom, and with the help of guitarist and tattooer Steven Arceo, aka Saus, of El Monte, the Punk Rock Fight Club (PRFC) has grown in a few years to six chapters and more than 200 members across Southern California. What started as a tight circle around a band hardened into a movement: discipline for kids who never got it, structure for men who need it, and a community without substance abuse . Prospects earn their way through mornings, sweat and commitment before they’re trusted with the skull back patch. The rules read like a brick wall and function like a doorway.
“I started the club because I wanted to do good in the scene,” Knucklehead Tom said “I wanted to create a tribe where we all supported each other, a family for people from all walks of life, especially those who came from broken homes. I wanted people to know they have somewhere to go and a family they can count on.”
Knucklehead Tom of The KnuckleHeadz puts his mic in to the crowd while performing with the band from Whittier.
(Dick Slaughter)
I first ran into the KnuckleHeadz and a few club members by accident three years ago in a London train station en route to the Rebellion Punk Rock Music Festival in Blackpool, a yearly event featuring more than 300 veteran and emerging bands. They were impossible to miss — part wolf pack, part brotherhood, pure energy. That year the KnuckleHeadz struck a chord with me, not just through their all-in, no-holds-barred performances, but also through their message, their obvious love for one another and their mission to better their community. Since then, I have taken a hard look inside both the band and the club; I visited their gym and attended many of their shows. I have met and talked with families and those the KnuckleHeadz and the club have helped. They have indeed, in many cases, worked miracles. But the guys don’t call them miracles. They call it Tuesday.
“Since we founded Punk Rock Fight Club, we paved way for what we knew was the movement and lifestyle many people in our scene needed,” Arceo said. “We’ve changed so many lives and with that our lives changed as well. We made a family built on brotherhood, loyalty with the camaraderie that can only be achieved through martial arts and punk rock. That’s something many of us grew up without. So to be able to bring this into the world is worth every sacrifice. We’re going on five years strong and will keep going till the day we die.”
The band’s ascent mirrors the spread of the club: a steady climb from underground slots to punk’s biggest stages. They earned a place on the final NOFX show and graduated from Rebellion’s side stage to the festival’s main stage. They’ve organized benefits for causes that don’t trend and for people who can’t afford to be causes. The Punk Rock Museum in Las Vegas recently added a piece of PRFC memorabilia, one of the club’s cuts — a leather vest with the skull back patch — to its collection, a true museum piece that still smells faintly of sweat. Next, KnuckleHeadz prepare for a U.S. run with punk legends GBH, the sort of tour that turns rumor into résumé.
Saus, co-founder of the KnuckleHeadz, wearing the band’s signature vest.
The Whittier dojo, KnuckleHead Martial Arts, is where the KnuckleHeadz code gets practical. It’s where guys run martial arts drills and where the mats serve double duty as community center flooring. During the band’s “F Cancer” benefit for 17-year-old Cesar “Little Cesar” Lopez II, the driveway became an impromptu slam pit. Inside, kids tumbled on the mats while guitars shook the walls. Families brought food, local businesses donated services, and more than $6,000 went toward treatments. In the carnival-like atmosphere outside, Little Cesar grinned and hyped the pit from the sideline, proving that joy, like violence, can be contagious.
One member, Bernard Schindler, 55, of La Mirada, came in after a life of ricochets: rehab, prison, relapse, repeat. The club gave him a schedule first and a future second, and now with the support of the club, he’s been clean and sober for more than two years.
Saus performing with the KnuckleHeadz during a Punk Rock Fight Club benefit show outside the KnuckleHeadz gym in Whittier.
(Dick Slaughter)
“Tom and the Punk Rock Fight Club completely turned my life around,” Schindler said. “It gave me purpose, discipline and a new family of brothers that push me to be better. I went from being a broken down drug addict to the healthiest I’ve ever been mentally, physically and emotionally in the 55 years I’ve been alive.”
Since getting involved with the KnuckleHeadz nearly three years ago, Schindler says he’s gotten closer to his family, including his three sons and his girlfriend, in addition to staying sober. “I can honestly say that I couldn’t have done it without Tom and our God-given club, the Punk Rock Fight Club,” he said.
The bassist known as Knucklehead Randy performs while riding on the shoulders of a fellow club member at a benefit show in Whittier.
(Dick Slaughter)
The PRFC trophy case is full of medals and awards, sure, but the real accomplishments are much quieter and miraculous. There are pay stubs where rap sheets used to be, text threads that start with the question “You good?” at 3:17 a.m., and apartment keys handed over when a kid can’t go home.
Hip-hop synth-punk artist N8NOFACE, now a fixture on lineups from the annual L.A. festival Cruel World tours with Limp Bizkit and Corey Feldman, calls Tom “my brother” and credits that code with keeping him aligned. “I was getting clean, and I’ve always believed that if you follow the right people, it helps you stay on your path,” N8 says. “Tom was about health, about not getting all messed up, about being a fighter and a warrior and taking care of your body first. To find that in punk was very different.”
When asked about his hopes for the future of the band, Tom says, “I just want to keep having fun. We love doing it and are grateful for all the love and support.“ The band is currently playing shows across SoCal with gutter punk legends GBH, including a show Friday at the Ventura Music Hall.
“With the club, I want to keep changing lives. It makes me happy to know that my son Nieko has an army of goodhearted uncles if anything were to happen to me. The righteous men in this club make me so proud.”
That’s the trick. That’s the point. In the noise between those truths, a lot of young men hear something they’ve never believed before: a future they’re allowed to keep.
Slaughter is a photographer and writer who has covered music and culture for countless outlets, including the OC Weekly and L.A. Times. He is a founding member of In Spite Magazine.
Chris McCausland won the 2024 series of Strictly Come Dancing with professional partner Dianne Buswell, but the pair faced a number of challenges during their time on the show
Comedian Chris McCausland‘s triumph on last year’s Strictly Come Dancing came despite numerous obstacles – but not all of them were related to the Liverpool-born comedian’s retinitis pigmentosa, which robbed him of his sight almost entirely in his early twenties.
Indeed, he reveals, even if he’d retained his vision, he might have lost it regardless during rehearsal sessions for the programme.
While Chris and professional dance partner Dianne Buswell were rehearsing their Samba for Halloween Week, the Australian professional dancer, who is expecting her first child with boyfriend Joe Sugg, kicked backwards a touch too vigorously.
Chris remembers that the dancer “caught me so hard in the face that I almost threw up and had to lie down for twenty minutes to recover”.
In his new autobiography, Keep Laughing, he continues: “I took the entire impact of her flying foot right on one eyeball. It’s honestly a good job they didn’t work already or I would have been doing that dance half blind anyway and Strictly would have had an insurance payout like no other.”
But the biggest challenge to the dancing pair wasn’t Chris’ condition, but Dianne’s.
Their apparently effortless Week Eight Couple’s Choice routine to John Lennon’s 1970 classic Instant Karma masked a hidden crisis.
The dramatic performance featured a sudden blackout which, Chris reveals, was intended to transport the studio audience and BBC viewers into his world of darkness. It was an extraordinary television moment, and both the programme’s judges and fans had an enormous emotional reaction.
However, what nobody else realised was that Dianne had been genuinely struggling in the lead-up to the live programme.
Chris revealed: “The only downside to this dance for us was that Dianne had been really ill all day, so we hadn’t been able to enjoy it as much as we would have liked.”
Dianna had been battling a stomach bug, and Chris quipped that the daring moment when the stage lights returned after the blackout to show him spinning rapidly with Dianne draped across his shoulders could have had some very nasty outcomes.
He penned: “She had been unable to keep anything down and had spent a lot of that day in or near a toilet, so we were just grateful that it was only the pyrotechnics that went off, or that fast spin out of the darkness could have been a very different surprise!”.
The routine earned thunderous applause from the crowd and a score of 33 out of a potential 40 points from the judging panel – Craig Revel Horwood, Motsi Mabuse, Shirley Ballas and Anton Du Beke.
Craig declared the “poignant blackout moment” was “absolutely spectacular” whilst head judge Shirley became tearful and, as she composed herself, told Chris: “You come out every week with your heart on your sleeve, and you give us 100%.”
He revealed that if medical science were to find a cure for his blindness one day, he would first look up some video clips from his time on Strictly: “I’ll certainly have to sit down with Dianne, to watch our dances and actually see what we were able to accomplish each week.”
The Pentagon issued a statement blasting the streamer’s programming and leadership Friday following an inquiry about the new series “Boots” from Entertainment Weekly. While the response from Pentagon press secretary Kingsley Wilson did not directly address the gay coming-of-age military show, it did slam Netflix for following an “ideological agenda” that “feeds woke garbage to their audience and children.”
“Under President Trump and Secretary [Pete] Hegseth, the U.S. military is getting back to restoring the warrior ethos,” Wilson’s statement said. “Our standards across the board are elite, uniform, and sex neutral because the weight of a rucksack or a human being doesn’t care if you’re a man, a woman, gay, or straight. We will not compromise our standards to satisfy an ideological agenda, unlike Netflix whose leadership consistently produces and feeds woke garbage to their audience and children.”
Based on Greg Cope White’s 2016 memoir “The Pink Marine,” “Boots” follows Cam Cope (Miles Heizer), a gay teenager who enlists in the Marines at a time when being gay in the military was still a crime. Noting the show’s timely themes, Times television critic Robert Lloyd called it a “perfectly decent, good-hearted, unsurprisingly sentimental miniseries” in his review.
The show’s creatives also worked closely with several advisors with past military experience to authentically portray the Marines and military life in the 1990s.
The Pentagon’s criticism against Netflix follows the recent campaign led by billionaire Elon Musk calling for people to cancel their subscriptions to the streamer. The on-again/off-again Trump ally railed against Netflix on X earlier this month after clips of “Dead End: Paranormal Park,” an animated Netflix series featuring a trans character, was making the rounds on the social media platform. The show was canceled after its second season was released in 2022.
Despite being the target of right-wing ire, Netflix also has a history of being called out for its anti-trans programming. In 2021, transphobic remarks made by comedian Dave Chappelle in his special “The Closer” led to protests, walkouts and even a resignation of a trans employee. The streamer followed that in 2022 by releasing a comedy special from Ricky Gervais that also featured transphobic material.
