Welcome to Screen Gab, the spooky newsletter for everyone who loves scares, thrills, tricks and treats.
Happy Halloween! Whether you plan to stay home or don a costume and hit the town, at some point this weekend, it’s worth putting on a movie or show to fit the theme of the season. The great thing is that there’s something for everyone, as our guide to Halloween programming shows. Whether you prefer something kid-friendly like “Is It Cake? Halloween” or something more sinister like the newly released HBO series “It: Welcome to Derry,” which expands Stephen King’s horror universe (more on that below), there’s plenty to choose from. And if you‘re in L.A., film editor Joshua Rothkopf and reporter Mark Olsen have compiled a guide to local theaters hosting screenings of classic horror films like “Black Sabbath” and “Bride of Frankenstein.” (If you can’t snag a ticket, their list also doubles as a great reference for films to watch at home, as many are available to stream.)
If that’s not enough, we have more recommendations that you can add to your queue, including a special episode of a (sadly) recently canceled Apple TV series and the pair of “It” films that led to the creation of “Welcome to Derry.” Additionally, Jovan Adepo, who plays Leroy Hanlon on the prequel series, which dropped its second episode on HBO Max in time for Halloween, spoke to us about some of the real-life themes of horror the show covers.
ICYMI
Must-read stories you might have missed
Rhea Seehorn stars in the new Apple TV series “Pluribus.”
Forget ‘I’m too old for this’: Women over 60 are redefining action stardom: The growing army of 60-ish women who kick ass, take names and rarely complain about getting too old for anything has been joined by Emma Thompson’s Zoë Boehm in “Down Cemetery Road” and the menopausal punk rockers of “Riot Women.”
That this period comedy, on my best of 2024 list, failed to complete a second season is one of the great television tragedies of this year. (Star and co-creator Noel Fielding stopped showing up partway through production, reportedly due to health issues.) It has nevertheless left us this one extra, excellent, just-released Halloween-appropriate episode. A mysterious creature (see title) has been attacking coaches along the highway, leaving Dick (Fielding), the notorious English highwayman, and his motley crew without anything to rob. Although technically about a criminal, its hero is good-hearted — essentially a version of the Fielding one sees co-hosting “The Great British Baking Show” — and its approach to monsters trends more to understanding than horror. (A recommendation in itself.) Continuing in the All Hallows Eve spirit, you’ll find more paranormal doings in the series’ still-available first season, including witches, warlocks and a cursed coach. And you may want to carry on (and should) to its equally fine twin sister, “Renegade Nell” (Disney+) — another period supernatural comedy about an early 18th century highwayman (or woman, as the case may be), which adds a feminist twist. — Robert Lloyd
Bill Skarsgård as Pennywise in “It: Chapter Two.”
(Brooke Palmer/Warner Bros. Pictures)
“It” and “It: Chapter Two” (HBO Max)
The Halloween season is in full swing, and there are few things more terrifying than a demonic clown with a red balloon. HBO has just launched “It: Welcome to Derry,” the prequel to “It” and “It: Chapter Two,” the recent hit film adaptations of Stephen King’s 1986 epic novel featuring Pennywise, the deadly clown who preys on children and adults. Co-created by Andy Muschietti, who directed the films and directs on the series, the drama is set in the early 1960s in the fictional town of Derry, Maine, and takes on an even more nightmarish quality in delving into the origins of the notorious villain. Bill Skarsgård, who played Pennywise in the films, reprises the role in “Derry.” Before more episodes are released, viewers should get their scare on by revisiting the films or watching them for the first time. The first film is particularly chilling, and Pennywise will give you the shivers. Be afraid. — Greg Braxton
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Jovan Adepo as Maj. Leroy Hanlon in HBO’s “It: Welcome to Derry.”
(Brooke Palmer / HBO)
The monster at the center of Stephen King’s “It” remains one of horror’s most terrifying figures. The author’s novel provided readers with the original tale of a group adolescents who battled a demonic clown, but it wasn’t until 1990 that we got an onscreen adaptation via the ABC miniseries that starred Tim Curry as the story’s terrifying villain, Pennywise. His devilish clown was merciless, preying on children and taunting them with bursts of blood, dead loved ones and a frightening set of sharp teeth. And while those things were scary, what made the adaptation horrifying was how it made mundane things like storm drains, old pipes and red balloons appear much more sinister.
Nearly two decades later, the feature films introduced a whole new generation to the terrors of “It,” and now with “Welcome to Derry,” we get a new story that adds more layers and aims to show who or what It really is. The HBO series, which will have a three-season arc, begins in 1962 with the story of the Hanlons, a Black military family that moves to Derry. The patriarch, Air Force Maj. Leroy Hanlon, played by Adepo, is a respected war hero who almost immediately has to battle a different kind of demon: bigotry. It’s a central theme and shows how “these horrors keep haunting us,” according to Barbara Muschietti, who alongside her brother Andy, spoke recently about the series to senior reporter Greg Braxton.
Adepo is no stranger to stories where race and bigotry are explored, having starred in series like Netflix’s “When They See Us,” a dramatization about the Central Park Five, and HBO’s “The Watchmen,” in which he played Hooded Justice. He stopped by Guest Spot this week to talk about the kinds of horrors “Welcome to Derry” portrays, what helped him unwind after filming and how he turns to a pair of TV comedies for comfort. — Maira Garcia
“It” has been adapted for the screen before. How familiar were you with King’s universe and “It” before taking on this role? Had you read the book or watched the films or miniseries?
I hadn’t read the book in the years before, but I was quite familiar with the recent two films, as well as the classic miniseries. Taking on the role of Leroy gave me a special opportunity to dive deeper into the lore and to also explore some of my own choices for how Leroy was portrayed.
“Welcome to Derry” begins by giving us some of the back story for Mike Hanlon’s family — a key character in “It.” In Episode 1, we’re introduced to your character, Leroy Hanlon, Mike’s grandfather, an Air Force major who encounters overt racism almost immediately when arriving on base in Derry. You’ve explored themes of race in previous roles — what was it like to explore it in the context of this show and the time period it’s set in, the ‘60s?
I think it’s the perfect lens through which to tell this story within the context of the era, because it adds another layer of life challenges for the Hanlons. It explores the struggle of dealing with prejudice and oppression among the members of the community, who are being tormented in a completely different way. That dynamic already creates an interesting environment that only deepens when you add the individual obstacles these characters face.
I’m compelled by an idea that this series brings forth: Monsters are terrifying, but the real world — with war, racism, genocide and so forth — is frightening enough. Did that resonate with you and your character at all?
Yes, in fact, I think that idea runs through the veins of a few characters here. I truly think this genre — and what Andy and Barb have brought to this season — beautifully showcases a very relatable experience of fear, one rooted in real historical moments and woven into a much more sensational element. Along with [co-showrunners Jason] Fuchs and [Brad Caleb] Kane, they’ve created space for viewers to connect with characters’ lives before the monster really begins to engage.
Working on such heavy material, how would you unwind after shoots?
I spent a lot of time at home recharging — watching films, exploring my neighborhood on walks with my dog, and so on. Building a routine of going shopping at the market, visiting my butcher shop, and going out to eat with my castmates was also quite relaxing. Most of us lived close to each other, so I saw everyone quite often.
What have you watched recently that you are recommending to everyone you know?
I’m a creature of habit, so on my off days I usually recharge by watching previously released shows or films. I think the last thing I brought up in conversation on set was the HBO show “Animals” [HBO Max].
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
Oh, man. Comfort watching, to me, is something I can put on in the background after a long day on set. I’d have to give it to “Family Guy” [Hulu] or “The Office” [Peacock].
Welcome to Screen Gab, the newsletter for everyone who wore out their remote’s fast-forward button while watching the Season 9 finale of “Love Is Blind.”
In the wake of the news that Lauren Speed-Hamilton and Cameron Hamilton, the inaugural couple to get engaged on “Love is Blind,” welcomed their first child earlier this month (raising the already high bar their rom-com coded relationship had set), the latest season of Netflix’s addictive and maddening social experiment concluded with a dramatic first in the reality franchise’s history. And while the “Sparkle Megan” nickname reveal early in the season still feels like the biggest shock to our system, the outcomes of this season’s weddings will hopefully make next week’s reunion special interesting to watch. But maybe our “Love Is Blind” correspondent Kaitlyn Huamani was onto something when she chose to add some intrigue to her binge of the show. She leaned into the mystery the singles experience in the pods by obscuring her screen and strictly listening to the participants during that critical phase of the experiment to test her assessment of the matches.
But don’t fret, lovers of love. “Nobody Wants This” is back for its second season to help maintain Adam Brody’s grip on GIF-able kisses. For the uninitiated, the L.A.-set series revolves around the will-they/won’t-they relationship between Joanne (Kristen Bell), a woman who often regales about her single life on a podcast, who falls in love with Noah (Brody), a progressive rabbi. But can their relationship make it past hurdles that include their careers, family and religion? The new season takes us on their ongoing journey to figure that out. But there’s another complicated relationship coming into focus too. Joanne’s sister and podcast co-host, Morgan (Justine Lupe), has a boundary-pushing friendship with Noah’s married brother, Sasha (Timothy Simons), that continues to cause tension with his longtime wife, Esther (Jackie Tohn) — and unlocks some other issues about their union in process. Simons stopped by Guest Spot to discuss his character’s approach to marriage and platonic friendships.
Also in this week’s Screen Gab, our recommendations are a light comedy caper that’s a spinoff of the long-running British crime series “Death in Paradise,” and a documentary that gives an intimate look at the life and career of award-winning Deaf actor Marlee Matlin.
ICYMI
Must-read stories you might have missed
Actor Aidan Delbis, photographed in Beverly Hills in October. Delbis has a breakout role in Yorgos Lanthimos’ upcoming “Bugonia.”
Recommendations from the film and TV experts at The Times
Kris Marshall as Humphrey Goodman and Zahra Ahmadi as DS Esther Williams in “Beyond Paradise.”
(Joss Barrett / BritBox / Red Planet Pictures)
“Beyond Paradise” (BritBox)
The third season of this spinoff from the island-set “Death in Paradise” has arrived. Following tall, awkward detective inspector Humphrey Goodman (Kris Marshall), transplanted from the Caribbean back to a small seaside town in Devon, England, trading blue skies for gray, it’s the coziest of cozy mysteries. Comedy and romance thread their way among its apparently impossible murders, always solved with a sudden inspiration in the final minutes of an episode. Sally Bretton plays Martha, Humphrey’s possibly permanent fiancee, who has moved her cafe to larger quarters; they’re still hoping to foster a child. Meanwhile, Martha’s previous fiance, Archie (Jamie Bamber), a well-heeled wine merchant, has crept back into the story, projecting a vibe of “I’m not your rival, rival” toward Humphrey. (I don’t trust him.) At the police station, in an old church, we find Zahra Ahmadi as Sgt. Esther Williams (not awkward), Dylan Llewellyn as PC Kelby Hartford (a puppy dog), and the great Felicity Montagu (known for playing Alan Partridge’s long-suffering assistant Lynne) as office manager Margo, uninhibited. Watch with a cup of something warm, with a shot of something stronger. — Robert Lloyd
Marlee Matlin in “Marlee Matlin: Not Alone Anymore.”
(Courtesy of Sundance Institute)
“Marlee Matlin: Not Alone Anymore” (PBS.org)
She didn’t set out to be a groundbreaker or an activist, but Matlin became both. This intimate documentary directed by Shoshannah Stern (who is Deaf like Matlin) that premiered at Sundance earlier this year provides a showcase for a talented woman whose star rose quickly, thanks to a breakout performance in 1986’s “Children of a Lesser God.” The role won her an Oscar, making her the youngest person to receive the actress award at 21 — a distinction she still holds — and the first Deaf performer to win an Academy Award. (Her “CODA” co-star Troy Kotsur would become the second, 35 years later.) The film examines her upbringing in a hearing family; how a meeting with Henry Winkler led to a lifelong friendship and a path to Hollywood; and how she became a spokesperson and activist for the Deaf community after her Oscar win. (Matlin lobbied Congress for closed captioning on televisions; the first time she watched “The Wizard of Oz” with captions, she says, was a “revelation.”) While she garnered success, she struggled to get more acting roles despite her Oscar win, but more came over time, including parts in “Picket Fences,” “Seinfeld” and, later, “The West Wing.” The film also details her battle with addiction and leaving an abusive relationship with actor William Hurt, her “Children” co-star. However, what makes the film unique is how it places its Deaf subject first, largely using sign language and captions to communicate to viewers. It’s an inclusive look at one of America’s most inspiring actors. — Maira Garcia
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Timothy Simons as Sasha and Justine Lupe as Morgan in Season 2 of “Nobody Wants This.”
(Netflix)
Can men and women be just friends? It’s a question that has long been dissected, debated and downplayed by couples and friends — and in plenty of movies and TV shows. “Nobody Wants This,” the Netflix romantic comedy, offers its own complex and controversial portrayal of such a dynamic. While the show swirls around the hurdles in the love journey of its main characters — Joanne (Bell) and Noah (Brody) — the relationship triangle that’s been brewing between its supporting players comes more sharply into focus in Season 2, now streaming. As Sasha, Noah’s brother who is played by Timothy Simons, tries to place better boundaries with Joanne’s sister, Morgan (Lupe), their friendship places a strain on his marriage to wife Esther (Tohn), leading to more hard truths. Simons stopped by Guest Spot to discuss what interests him about exploring a lived-in marriage at a breaking point, his go-to L.A. spots for a perfect day and the unconventional movie picks on his comfort-watch roster. — Yvonne Villarreal
The season dives into the tough decisions or sacrifices people make when being part of a relationship, and the potential long-term resentments or buried feelings that may resurface later. In this challenging time in Sasha and Esther’s marriage, we get more insight into what those issues are for them. What intrigues you about exploring the rough patches of a lived-in relationship?
I think there’s something interesting about examining those challenges for both actor and audience because it reflects broadly what a lot of people go through as they age in a relationship. People grow and change and can learn to grow and change together, and it’s hard to ask a question like, “Would I choose this person or this life if I met them now,” because what if the answer is no? That’s a rough one to face. Falling in love is somewhat easy, but staying in love is hard. Specific answers to Esther and Sasha aside, I think it’s interesting for an audience to grapple with that question, cause they’ve probably asked some form of it in their real lives.
The bond between Sasha and Morgan has been controversial from the start, with viewers wondering if it was going to evolve into an affair or remain a questionable approach to a platonic relationship. What do you think is going on there and what has it revealed to you about Sasha and what he’s seeking or lacking at this stage in his life? Are there things Sasha and Morgan do or discuss that would be a hard no for you as a married person?
I think that there is a kinship with Morgan and Sasha that, despite very different upbringings, is based on a similar worldview and station in their respective families. I think they get each other in a lot of ways despite not fitting in with most of the world. They are misfits and I think they connect in that. As long as the communication is good and boundaries aren’t crossed, finding someone to discuss issues or seek advice from, I don’t think is a betrayal.
The show is set in L.A. What are three go-to spots you’d recommend to an out-of-towner for the perfect day in L.A.?
Oh man. A lot of ways to go here, but taking a hike in Elysian Park and then going to Jitlada and Jumbo’s Clown Room would be a fun day for everyone. I think with those three you get a wonderful cross-section about what makes the city so rad to live in day-to-day.
You appeared in the final season of “The Handmaid’s Tale” as loathsome Commander Bell. When I spoke with the showrunners, they said when they conceived that character, they used your “Veep” character, the incompetent and insufferable Jonah Ryan, as a model. What’s it like to be synonymous with a character like Jonah and to see how his name gets invoked in discussions of both fictional and real life matters of governance?
Hopefully I can convince people that I’m not as big of a scumbag in real life as those characters, and I love that I got to be a part of something that people hold as fondly in their hearts as I do. That was an incredible experience and a wonderful ensemble of writers, actors and crew all working together. It’s wild, though, to live in a world where Jonah Ryan seems somewhat aspirational.
What have you watched recently that you are recommending to everyone you know?
It’s horror movie season, so I’ve been recommending everyone watch “Pieces”(1982) [AMC+], which is my favorite slasher. A truly wild film with the best ending to any horror movie I’ve ever seen (and that includes “Sleepaway Camp” [Peacock, Prime Video, Tubi]). Also, no surprise here that I’m quite high on “One Battle After Another,” which I’ve seen three times and will go back for a fourth cause I haven’t been able to see it in VistaVision yet.
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
Comfort films are an odd thing for me because I find myself rewatching movies like “Sicario” [Peacock] and “Zero Dark Thirty” [Paramount+], which you can’t argue are comforting in their subject matter. But they are so perfectly constructed, shot and performed that it’s comforting to watch them.
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.
“Monster,” the gruesome and graphic anthology series from longtime collaborators Ryan Murphy and Ian Brennan, has dramatized the chilling story of serial killer Jeffrey Dahmer and the highly publicized and complex case of Lyle and Erik Menendez, brothers who were convicted for the 1989 murder of their parents. The third installment of the Netflix series, which was released last week, puts its twist on the legend of Gein, a killer who inspired fictional villains like Norman Bates and Leatherface. Brennan, who wrote the season, stopped by Guest Spot to discuss the fantastical approach to the season and that “Mindhunter” hat tip.
Also in this week’s Screen Gab, our streaming recommendations include a “Frontline” documentary that continues its chronicle on the lingering impact of poverty and a spinoff of “The Boys” set at America’s only college for superheroes.
ICYMI
Must-read stories you might have missed
Illustration of John Candy with his hands on his cheeks.
Recommendations from the film and TV experts at The Times
A still from “Frontline: Born Poor,” which filmed over 14 years with kids from three families, from adolescents to adults, to explore how poverty has affected them.
(Frontline PBS)
“Frontline: Born Poor” (PBS.org)
Television is glutted with “reality,” but there are still filmmakers who prefer to look at how people live when they’re not contestants in a dating game or bunked up with competitive strangers. Jezza Neumann’s “Born Poor” is the third installment in a moving documentary series that began 14 years ago with “Poor Kids,” and, like Michael Apted’s “7 Up” films, has visited its subjects in intervals over the years since. Set in the Quad Cities area, where Illinois meets Iowa along the Mississippi River, it follows Brittany, Johnny and Kayli from bright-eyed childhood into chastened, though still optimistic adulthood, as they deal with life on the margins — power lost, houses lost, school impossible, food unpredictable. Now, with kids of their own, all are concerned to provide them a better life than the ones they had. With Washington waging a war on the poor to protect the rich, it’s a valuable watch. — Robert Lloyd
Derek Luh (Jordan Li), from left, Jaz Sinclair (Marie Moreau), Keeya King (Annabeth Moreau), Lizze Broadway (Emma Meyer) in “Gen V.”
(Jasper Savage / Prime)
“Gen V” (Prime Video)
Just two weeks out from its Season 2 finale and the satirical superhero series continues to deliver merciless dark humor and sharp topical commentary on America’s great crumble — inside of a tale about misfits enduring the rigors of college life.
Spun off from the brilliant “The Boys” franchise, this series from Eric Kripke, Craig Rosenberg and Evan Goldberg follows a group of students at Godolkin University, an institution designed to identify and train the next generation of superheroes. But the co-eds soon discover that their supposed higher education is in fact a clandestine operation to create “Supe” soldiers for an impending war between the super-powered and non-powered humans. Returning to the fold is Marie Moreau (Jaz Sinclair), who emerges as the rebel group’s most powerful weapon against the school’s nefarious plot. Working alongside her are Emma (Lizze Broadway), Cate (Maddie Phillips), Jordan (London Thor and Derek Luh) and Sam (Asa Germann). The wonderfully unnerving Hamish Linklater (“Midnight Mass”) joins the cast as the school’s new dean.
Is “Gen V” just as gory as “The Boys”? Absolutely. Watch with caution. But nothing else is quite as fearless in calling out the contradictions and absurdities of our times, be it corrupt politics, corporate domination or false religiosity. — Lorraine Ali
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Charlie Hunnam as Ed Gein in an episode of “Monster: The Ed Gein Story.”
(Netflix)
“Monster: The Ed Gein Story” stars Charlie Hunnam as the so-called “Butcher of Plainfield,” whose gruesome crimes in 1950s small-town Wisconsin went on to inspire pop culture classics like “Psycho” and “The Texas Chain Saw Massacre.” The season leans into Gein’s diagnosed schizophrenia and his legacy in Hollywood to present a deeply fictionalized version of his horrifying activities. All eight episodes of the season are now streaming. Ian Brennan, who co-created the anthology series with Ryan Murphy and helmed the latest installment, stopped by Guest Spot to discuss the season’s approach to fact vs. fiction, that “Mindhunter” nod and the documentary that earns his rewatch time. — Yvonne Villarreal
We often hear from actors about the roles that stay with them long after they’re done filming. Are there elements of “Monster: The Ed Gein Story” that you still can’t shake?
Ed Gein was schizophrenic, and I find the internal life he would have suffered through for decades — alone and hearing voices, primarily that of his dead mother — completely harrowing. He wasn’t medicated until late in his life, and until he was, his mind was a hall of mirrors of images he saw and couldn’t unsee — most shockingly photos of Nazi atrocities during the Holocaust. I believe the only way he could cope was to try to normalize these things — digging up bodies, skinning them, making things from them — and the nagging voice of his mother ultimately drove him to murder at least two women, Mary Hogan and Bernice Worden, maybe more. Ed Gein wasn’t the local boogeyman — his neighbors didn’t find him scary — he was the guy you’d have watch your kids if the babysitter canceled last-minute. And yet, in those four inches between his ears there existed a bizarre, terrifying hellscape of profound loneliness and total confusion. Every day in this country we see what happens when the lethal combination of male loneliness and mental illness goes ignored. The thought of an Ed Gein living just down the street from me is chilling.
“Based on a true story” depictions typically have a loose relationship with the truth due to storytelling needs. This season of “Monster” bakes that idea into the narrative — whether because of Ed’s understanding of events or the way in which he, or his crimes, inspired deeply fictionalized villains like Norman Bates (“Psycho”), Leatherface (“The Texas Chain Saw Massacre”) and Buffalo Bill (“The Silence of the Lambs”) — in trying to unpack the “Who is the monster?” question. What questions were swirling in your head as you tried to weave this story together? And how did that inform where and how you took your liberties?
Ed’s story is, in many ways, fragmented — he didn’t remember many details of the acts he committed, and he passed polygraph tests when interrogated about cold cases police suspected he may have perpetrated. So we knew from the very beginning that there would be gaps to fill in when telling his story — and it seemed the obvious way to do it was to let the true story interplay with the fictionalized versions of Ed Gein that he inspired. There’s a subtle thematic bleed between the versions of Ed we see in the series and the monsters in the movies he inspired — in the first three episodes, we see a “Psycho”-inflected Ed Gein obsessed with his mother; next a much more sexualized, violent Ed Gein that would become “Leatherface”; then an Ed Gein who so fetishized the female body and who was made so ill by the repression of that urge that he became obsessed with building a suit made from women’s bodies. These versions of Ed, to me, are like the blind men feeling different parts of the elephant in the parable — each true in their own way, but each also just a fragment of a shattered whole that will probably never be fully understood.
The season finale features a “Mindhunter” nod. Happy Anderson, who played serial killer Jerry Brudos on that show, reprises his role as the Shoe Fetish Slayer, talking to characters meant to be Holden Ford and Bill Tench, though they’re named John Douglas and Robert Ressler, the real FBI agents who inspired the fictional ones. When and why did you realize you wanted to have that hat tip? Was there an attempt to try to get Jonathan Groff or Holt McCallany?
Having written three seasons of this anthology so far, we’ve realized each time that the emotional climax always comes in the penultimate episode and the finales are always particularly difficult to figure out. We knew we needed to top the episodes that had preceded it by shifting the show’s look and tone — and we had in our hands the nugget that John Douglas and Robert Ressler had, indeed, interviewed Ed Gein in person. Ryan and I both find David Fincher’s oeuvre almost uniquely inspiring, so once we pictured an episode that played as an homage to Fincher’s tone and style and narrative approach, it was something I, at least, just couldn’t unsee. If we were going to go down the rabbit hole of what this chapter of Ed’s story might have looked like, I could only really picture it in Fincher’s terms — so your guess is as good as mine as to why casting the “Mindhunter” pair of Jonathan Groff and Holt McCallany in the roles didn’t feel right (we both love both of those actors), but it just didn’t.
There are so many dark moments for the actors. What scene struck you as especially difficult to write and shoot?
I was at once excited and terrified by the challenge of depicting necrophilia on our show. I’m fairly certain it’s never been done before on TV, and I knew it ran the risk of seeming arbitrarily shocking or exploitative (though I think choosing to tell Ed’s story in an easier manner by avoiding this chapter and not showing it would be the actually exploitative choice). Needless to say, even after I’d written the scene, it preoccupied me, as I had to also direct it. I felt greatly helped by the new industry standard of intimacy coordinators on set — and ours, Katie Groves, was spectacular — but still I worried about the scene just playing as cringey or unwatchable. But Charlie Hunnam, as with every scene he acted in on the show, came at the sequence with honesty and deep concern to capture all of the strangeness of the bizarre, disturbing act we were depicting — and what it said about what was going on inside Ed to lead him to commit such an act.
What have you watched recently that you are recommending to everyone you know?
I just saw PT Anderson’s “One Battle After Another” — which was shot by one of our two directors of photography, Michael Bauman — and was just completely floored and delighted. I’m sure it’s rife with homage to films that have gone before, but I could detect no inheritance at all; it felt like a genre to itself — completely original and new. And I still find the time I watched Jonathan Glazer’s “Zone of Interest” to be among the most profound experiences of my life. He took what is maybe cinema’s most settled, well-trodden genres and turned it on its head in a way I found shocking and revelatory. If there is a better portrait of the proximity and ubiquity and the banality of human evil, I haven’t seen it. I think it is as brilliant a slice of human ingenuity as has ever been crafted. I have thought about that movie every day since I first saw it.
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
It’s annoying to say it, but I don’t watch a lot of television. It’s like spending all day at the sausage factory then coming home to watch sausage footage. But the big exception is Peter Jackson’s Beatles documentary “Get Back” [Disney+] chronicling the making of the film and album “Let it Be.” I basically just watch it over and over again. I came late to the Beatles (I loved the Who and resented that they always sat squarely in the Beatles’ shadow), but when they hit me, they hit me hard, and watching them in this documentary at the height of their powers is a master class in the craft of collaboration and the hard work of genius. Also, everything I thought I knew about the Beatles at the end of their stretch as a band is wrong — fighting all the time? A bit but not really. Paul hated Yoko? He actually seems to really like her. I don’t know how many hours the documentary clocks in at, but I wish it were 10 times as long.
Welcome to Screen Gab, the newsletter for everyone who loves Saturday college football games and … catfish?
This week saw the premiere of “Chad Powers,” Hulu’s new comedy starring Glen Powell, who co-created and co-wrote the series with Michael Waldron. It’s based on a viral sketch by former NFL Giants quarterback Eli Manning (he’s a producer on “Chad Powers” as well), who birthed the character. But Powell and Waldron have expanded the premise and backstory of a man named Russ Holliday who makes another go at playing college football by donning a disguise à la “Mrs. Doubtfire.” In a conversation with reporter Kaitlyn Huamani, Powell said the show was an attempt at making the “greatest football experience, whether in movies or TV shows, that people have ever seen.” Times TV critic Robert Lloyd says while the show has some tropes, characters played by Steve Zahn, Perry Mattfeld and Wynn Everett add drama and laughs. Waldron, whose previous TV work is instrumental to the show’s ethos, stopped by Guest Spot this week to talk more about “Chad Powers,” and what he’s watching lately.
Meanwhile, if you’ve been staying up this week, late-night TV has been not only a hotbed of laughs, but also political discourse. On Tuesday, Jimmy Kimmel, who has been taping his L.A.-based show in Brooklyn this week, and Stephen Colbert took turns as guests on each other’s shows, creating a memorable crossover event thanks to some fortuitous timing. It was the first time either has discussed in detail how their shows were disrupted this year — Colbert’s “Late Show” was canceled in July (it will air through May 2026) and Kimmel was suspended by Disney for several days in September. We have a rundown of the conversations along with clips of their visits, which are worth watching. And don’t forget “Saturday Night Live,” another late-night show that’s been in the crosshairs of politicians, returns this weekend for its 51st season, with Bad Bunny as host and Doja Cat as musical guest (we’ll be recapping the show again this season).
This week, our streaming recommendations include films from a master of horror, who is much more multifaceted than he might get credit for, and a new action-packed film on Prime Video.
ICYMI
Must-read stories you might have missed
Loren Bouchard, creator of the adult animated comedy series “Bob’s Burgers.”
Recommendations from the film and TV experts at The Times
Jeff Bridges in John Carpenter’s 1984 movie, “Starman.”
(Sony Pictures)
John Carpenter (Criterion Channel)
An extensive October series on the director who redefined the season of the witch — but one without “Halloween” or “The Thing”? We love it. John Carpenter contains multitudes and it’s high time people began thinking beyond his twin horror landmarks. You could think of these collected movies as being about antiheroes navigating a broken America (“Escape from New York,” “They Live,” “Assault on Precinct 13”). Or maybe they’re cracked romances (the Oscar-nominated “Starman,” “Christine”). Vicious comedies? (“Dark Star” and “Vampires” both have their share of laughs.) One thing they’re decidedly not is boring. And if you let a more metaphysical dimension in (“Prince of Darkness,” “In the Mouth of Madness”), Carpenter suddenly becomes profound. I’m stoked to return to the ones that let me down at first — looking at you, “Memoirs of an Invisible Man” — because I know I’ve grown up since. This is a filmmaker who was always a few steps ahead of me. — Joshua Rothkopf
Chai Hansen, left, Mark Wahlberg and LaKeith Stanfield in “Play Dirty.”
(Jasin Boland / Prime)
‘Play Dirty’ (Prime Video)
It’s Christmas in New York, and one pack of amoral thieves with little regard for human life are at odds with another pack of amoral thieves also with little regard for human life in this action film based on Parker, the Donald E. Westlake character. The inspiration under another name (Walker) for John Boorman’s “Point Blank” and (in a very roundabout way) Jean-Luc Godard’s “Made in USA,” the character is played here by Mark Wahlberg, with a cast that includes LaKeith Stanfield, Rosa Salazar, Tony Shalhoub, Keegan-Michael Key and Gretchen Mol dignifying the violent fluff. (Shootings, crashes, runaway subway train and the like.) Many things go wrong before they go (sort of) right, heists follow heists, and there’s a high body count, mostly of characters without names, but some with. (You do need to be in the right mood for this.) I am here above all for “Atlanta’s” Stanfield, as Parker’s laconic partner, who brings spacey warmth to the icy goings-on. — Robert Lloyd
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Glen Powell, left, with Michael Waldron on the set of “Chad Powers.”
(Daniel Delgado Jr./Disney)
How do you attempt to create a show that you hope is the best depiction of college football ever? Well, it helps to be a superfan of the sport, which is precisely what Waldron and Powell are (ESPN’s Tori Petry even spoke to Powell on the sidelines of the Texas vs. Sam Houston game last week). Deep knowledge of college football was essential because Waldron wanted to convey to fans that they were not going to leave any detail untouched. While the school the show is set at, South Georgia, is fictional, the rest of the world on “Chad Powers” is not. “We always wanted real schools to be the teams that they were playing, just to ground our show and the world in authenticity, the real world of college football,” Waldron told The Times this week. “I think that’s what fans want to see.”
But even if you aren’t a superfan of college football or sports in general, Waldron, whose work on television includes creating Marvel’s “Loki” on Disney+ and “Heels” on Starz, a short-lived but critically acclaimed show about pro wrestling, knows that the writing on a TV show is key to getting viewers hooked and wanting more. “Chad Powers” is infused with references to internet personalities and memes, which anyone who is very online will understand and relate to, giving the series an opportunity to spark interest with a more expansive audience. And it works, especially if you are a looking for a comedy that will deliver some easy belly laughs. The Hulu series drops new episodes every Tuesday through Oct. 28, easily filling the time between the next Saturday game. Here, Waldron tells us about how he and Powell first connected, a special cameo on the series and a couple of films you should watch. — Maira Garcia
How did you and Glen Powell first meet and how did it lead to your new show? Are you big followers of sports or football?
Like all legendary Hollywood friendships, ours began on a Zoom general meeting during a pandemic. We hit it off talking about our mutual love of college football (I went to UGA [University of Georgia] and Glen went to [University of] Texas), which is why we were both excited to do a series set in this world.
You were a writer on “Community” and “Rick and Morty,” both shows that have reverberated among millennial viewers because of their self-awareness and/or pop culture references. Did either of those shows inform your approach to “Chad Powers”?
Well, to be clear, I was just the writers’ PA on “Community,” but that show might have been where I learned the most. Dan Harmon is one of the best writers alive and was doing “meta” before we had a word for that. In writing stuff that is “self-aware,” there’s an instinct to be cynical. Dan runs in the opposite direction, and he taught me that genuine earnestness can be a very subversive tool.
A very surprising and funny moment we get right at the start of the show is a cameo from Haliey Welch, aka Hawk Tuah Girl. How did that come about?
We were reshooting the nightclub sequence in Act 1 of the pilot to get more comedy and L.A. scope, and include the character of Russ’ agent. We wanted to populate his world with other people who felt defined by a singular viral moment, and for a show set in 2025, who better than Haliey?
What have you watched recently that you are recommending to everyone you know?
Welcome to Screen Gab, the newsletter for everyone who feels as cantankerous as Jackson Lamb by the end of the workweek.
The fifth season of “Slow Horses” premiered this week. And everyone’s favorite team of disgraced British spies are back to connect the dots of a new mysterious threat. Once an underrated gem, the spy thriller’s move into the awards spotlight has brought more attention to the critical darling. But in following the very British model of releasing six-episode seasons, the entertaining ride can feel fleeting — luckily, two more seasons are already in the works. Will Smith, the show’s head writer, who is stepping down after this current season, stopped by Guest Spot to talk about the sleeper hit.
Also in this week’s Screen Gab, our streaming recommendations include an Italian-set action-drama about a fixer at a luxury resort and a beloved baking competition series that always serves up a refreshing dose of wholesome goodness and showstopping sweet treats.
P.S.: Last week’s newsletter incorrectly stated that new episodes of ABC’s “High Potential” air on Wednesdays. They air on Tuesdays, and are available to stream on Hulu and Disney+ the next day. Don’t tell Morgan or she’ll add us to the murder board!
ICYMI
Must-read stories you might have missed
Tim Curry, center, as Dr. Frank-N-Furter in 1975’s “The Rocky Horror Picture Show.”
How Beyond Fest became L.A.’s best film festival: An event that started off as a bluff has outgrown its genre roots to become a legitimate destination for rabid film fans, boasting rarities and prestige titles alike.
Recommendations from the film and TV experts at The Times
Jordan Alexandra as Genny and Jesse Williams as Daniel De Luca in a scene from “Hotel Costeria.”
(Virginia Bettoja / Prime)
“Hotel Costiera” (Prime Video)
A charming Jesse Williams, the “Grey’s Anatomy” alum, plays Daniel De Luca, a sort of action concierge at a high-end boutique hotel on the Amalfi Coast in this easygoing mix of “The White Lotus” and a midcentury Continental adventure show, like “The Saint” or “The Protectors.” A long-arc plot involving the missing daughter (Amanda Campana) of Daniel’s hotelier boss (Tommaso Ragno) runs alongside episodic stories — the search for a missing guest, sourcing a flight-worthy coffin, stealing an important bracelet from a local crime figure — mixing mysteries with human interest and a lot of local color. (Williams speaks Italian with persuasive fluency.) Assisting Daniel in his investigations is a team of classic types — a beautiful yet brainy woman (Jordan Alexandra); a comical aristocrat (Sam Haygarth), like Bertie Wooster by way of Mr. Bean; and a rotund restaurateur Bigné (Antonio Gerardi), at whose trattoria they all hang out, plotting whatever needs to be plotted. It’s saying nothing against the rest of this pleasantly diverting series that these scenes are the heart of the show, and, yes, I would like a cappuccino, grazie. — Robert Lloyd
Paul Hollywood, left, Alison Hammond, Prue Leith and Noah Fielding in a promotional still from “The Great British Baking Show.”
(Mark Bourdillon / Channel 5 / Netflix)
“Great British Baking Show,” Collection 13 (Netflix)
September means the arrival of fall and another season of the best baking show on TV. Over the years, the series has stuck to a simple yet effective recipe of beautiful bakes, friendly competition and soothing voiceovers (thanks to Noel Fielding). This season’s contestants are just as talented and endearing as previous ones, but now that we’re three episodes in — and past the dreaded Bread Week — we’re down to nine bakers. Among them are Nataliia, a Ukrainian immigrant living in East Yorkshire; Iain, a short king and self-proclaimed “yeastie boy” from Belfast; and Jasmine, an ever-smiling 23-year-old medical student. In this week’s back-to-school-themed episode, the bakers’ challenges include making flapjacks (in the U.K., they’re like a granola bar) and school cake (a sponge with icing and sprinkles). They sound simple, but no recipe is what it seems on this show. And those low-stakes surprises and competition are precisely what makes “Baking Show” a balm for the soul right now. — Maira Garcia
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Rosalind Eleazar, left, Christopher Chung, Saskia Reeves, Aimee-Ffion Edwards and Jack Lowden in “Slow Horses.”
(Jack English / Apple TV+)
Do you ever look at your boss and feel both deep gratitude and disappointment because they’re not Jackson Lamb? There’s at least a new season of “Slow Horses” to vicariously experience the walking HR nightmare and his joyously rumpled, smelly and messy leadership style, as expertly portrayed by Gary Oldman. Based on Mick Herron’s “Slough House” novels, the espionage thriller/workplace dramedy centers on a misfit crew of MI5 outcasts — led by Lamb — who’ve blown their careers and now find themselves banished to Slough House, a dumping ground where the agency hopes they’ll be forgotten. The Apple TV+ series returned this week with its eponymous group of spies investigating a series of coordinated terror attacks that have struck London. A new episode will be released every Wednesday until the season finale on Oct. 29. In his last season as head writer, Will Smith stopped by Guest Spot to discuss his creative collaboration with Oldman, his pick for most the competent agent and the best show he’s seen in years. — Yvonne Villarreal
This once–sleeper hit has become such a force with critics and fans. Knowing Season 5 would be your last as head writer, did it feel any different writing this first episode? What was the most important decision you made in this season opener?
You just always want to make it the best it can be and you don’t want to repeat. You need to give the audience enough of what drew them to the show in the first place without making them think, “I’ve seen this,” and you need to give them enough that’s new without them going, “This isn’t the show any more.” The same goes for the cast, by the way; they have to feel their characters are moving on but in an organic way, that you’re acknowledging what went before and building on it. Luckily, that’s Mick’s approach with the books too. And it really helps having the same crew and returning director Saul Metzstein (from Season 3) — Saul and the camera team know what’s gone before and are continually finding new ways to shoot in our existing locations. A really obvious example of how we try to move things on but keep it all connected is Slough House itself. I know it’s a cliche, but it really is a character in the series; to me, it’s an embodiment of Lamb, it reflects so much about him, but it’s never the same. We establish it in Season 1, in Season 2 it’s a discomforting sweatbox, in Season 3 it’s full of boxes of files, which completely changes how people move around it. In Season 4 it’s shot to pieces, and in Season 5 we see the cheap repairs have been started and left. So I hope we’ve hit that same sweet spot with this series, that it gives you exactly what you want and then some things you didn’t know you wanted but feel totally in keeping with the show.
The episode opens with both a mass shooting and a fatal sniper shot in London. While it’s a sequence in the books and was written months ago, it could feel all too timely and provoking depending on the news cycle in which it’s being viewed. How do you decide what to show, how much is enough, what will engage and what will overwhelm?
This weighed quite heavily on us as we sadly knew that some horrific event could happen around the launch of the show that could affect how it was viewed. We actually had a version that cut out after he first opened fire, but felt that that didn’t go far enough. So we went and filmed a pickup where we stayed with the shooter and see his victims fall in the distance. We didn’t want the horror to be overwhelming, although being with him and his blank detachment in this version is disturbingly chilling. And then we took it as far as the assassin himself being killed out of nowhere. Which is a shock and a twist — what the hell is going on? The audience are confused in a good way. I hope by now they trust that all will be explained.
How involved is Gary in terms of script and character development? Can you give an example of a detail or moment over the run of the series that he advocated for or against that proved valuable to the story?
Gary is an incredibly generous and deferential collaborator. As I’ve said before, he’s not just one of the greatest actors of his generation, he’s also a hugely talented writer and director, and he’s completely respectful of myself and Saul Metzstein and the other directors. I think it helps that we’re very in tune creatively. Gary and I both have a love and respect for the source material, so he knows I’m not going to junk the book — we’re going to work on it and bring a version of it to life. The other brilliant thing about Gary is that he’s not intimidated by the fact that Lamb’s arc is all in the backstory. He absorbs and plays that, even if he doesn’t know the specifics. You just get the sense that Lamb has been through some bad stuff. Lamb is a cautionary tale, a smoking ruin; he’s not going to change now. The changes come to our perspective when we learn a little bit more about him and what he’s been through. The moment he was most involved in I can’t talk about in detail because it’s a spoiler. But it came from an idea his wife, Gisele, had. Gary and I then discussed the best version of it in story terms, and then we shot it twice as Saul had an even better idea as to how to make it land. We put an awful lot of thought into it, and actually it’s the one area where we do depart from the book (with Mick’s blessing). I’m very excited about it and what it can lead to in future series that I’m looking forward to watching as a fan.
If you were running the spies, who would you say is the most competent agent? And what have you learned about how to walk the line between keeping the “misfits and losers” bit believable but also allowing the Slow Horses to actually triumph in the end?
After Lamb, Catherine is the smartest agent in the building, although River is the most effective field agent. Catherine is not trained as a spy but has been around them most of her adult life. She’s incredibly bright and perceptive but lacks confidence. She’s often the person putting the pieces together but never gets the credit. I think Lamb wants her around for that reason, as well as the twisted mix of protecting her and goading her and having her as a living reminder of his own fallibility — they were both betrayed by Charles Partner (Catherine’s boss, Lamb’s friend and mentor) and Lamb had to execute him. I’m not saying Lamb was sunshine and light before that, I think he’s always been a hard-living cynic, but that really did break something in him. And yes, it’s a delicate balance maintaining the premise of the show — these people are useless yet every season they save the day but are still not allowed out of exile. I think the compromise and unfairness is what makes it believable. Although at some point I feel they either have to redeem themselves or accept that it’s fruitless and move on. But again, usually Mick will kill them off before they reach that crossroads.
In “Clown Town,” Herron’s latest installment in the book series, he references the language of the show. There’s a line — “It’s like explaining Denmark to a cat”— that feels like a direct reference to the Season 1 line, “It’s like explaining Norway to a dog.” As a writer, what’s it like to see the way he has acknowledged and tipped his hat to the show?
One of the things I’m proudest of is how much Mick and his readers love the show. Sometimes I think a line is Mick’s and it turns out to be mine or vice versa, and Mick has the same confusion. He’s also read out the opening scene of Season 4 at events and said he didn’t write it, but he would have done [it] if he’d thought of it. Knowing I’m in tune with him and his characters and stories has been absolutely wonderful because I started this and finish it as a huge fan of his work.
What have you watched recently that you are recommending to everyone you know?
“Lost Boys and Fairies” by Daf James on the BBC [available to stream on Britbox] is the best show I’ve seen in years. It’s about a gay couple going through the adoption process and is charming, tragic, playful, sad and uplifting. It’s so deftly written by Daf and wonderfully directed by James Kent and stars one of my favorite actors, Sion Daniel Young, whom “Slow Horses fans” will know as Douglas from Season 3.
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
I will always watch Michael Mann’s “Heat” [Prime Video] whenever I chance upon it, and watch it by choice at least one a year. It’s perfect. But for true comfort, I return again and again to the Hal Roach-era comedies of Laurel and Hardy, which have brought me unlimited joy throughout my life.
Welcome to Screen Gab, the newsletter for everyone who wasn’t expecting to hear this much about “Celebrity Family Feud” in 2025.
The talk around Hollywood on Wednesday — and beyond — has centered on late night after Walt Disney Co.-owned broadcaster ABC said it was suspending “Jimmy Kimmel Live!” indefinitely over the host’s remarks about right-wing activist Charlie Kirk and his accused killer. (Airing in its place so far? You guessed it, “Celebrity Family Feud.”) Let us help you get up to speed on the situation. Media reporters Stephen Battaglio and Meg James have an inside look behind the decision to bench Kimmel. The decision, of course, has rocked the late-night circuit, and Kimmel’s colleagues didn’t shy away from using their own platforms to address the matter — here’s what they had to say. And does Kimmel’s suspension have echoes to ABC’s firing of Roseanne Barr? Culture and representation reporter Greg Braxton explains the parallels and differences here. Our reporters were also at the demonstration that took place outside the El Capitan Entertainment Centre in Hollywood, where Kimmel tapes his show.
For the record:
3:09 p.m. Sept. 19, 2025An earlier version of this newsletter said ABC’s “High Potential” airs on Wednesdays. It airs on Tuesdays.
That wasn’t the only shocking news to hit Hollywood this week. Robert Redford, a generational movie star and titan of filmmaking, died Tuesday at the age of 89. If you haven’t already, take a moment to read our obituary that captures why he was one of Hollywood’s most influential figures. Film reporter Mark Olsen also dives into the legendary actor’s impact on independent cinema through the Sundance Institute. And members of the film team explain Redford’s legacy through 10 essential films.
Also in this week’s Screen Gab, Judy Reyes stops by Guest Spot to discuss her role as tough but compassionate Lt. Selena Soto in ABC’s hit “High Potential,” which returned for Season 2 this week, and how she’s feeling about reprising one of her most well-known characters, Carla Espinosa, in the upcoming “Scrubs” reboot. Plus, our streaming recommendations include a documentary telling the remarkable true story of four Colombian children who survived a plan crash and 40 days alone in the Amazon rainforest, and a Redford classic.
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Must-read stories you might have missed
Filmmaker Paul Thomas Anderson is poised to release his latest film, “One Battle After Another,” an action thriller starring Leonardo DiCaprio, Sean Penn, Benicio del Toro, Regina Hall, Teyana Taylor and Chase Infiniti.
Recommendations from the film and TV experts at The Times
A scene from “Lost in the Jungle.”
(National Geographic / Anit)
“Lost in the Jungle” (Disney+, Hulu)
If you haven’t canceled your Disney+ and/or Hulu subscriptions yet, I highly recommend this riveting, complex, exquisitely made documentary about the survival of, and search for, four Indigenous children in the Colombian jungle after the crash of a small plane that killed their mother and the pilot — and the fraught family history that brought them there. Proceeding with the force of a fairy tale, including an evil stepfather, incidentally helpful monkeys and confounding forest spirits, it on the one hand focuses on a resourceful 13-year-old who keeps three younger siblings, including a baby, alive in a dangerous world for 40 days, and on the other, the military and Indigenous searchers who learn to cooperate as they navigate weather, illness, “things that can’t be seen, not with human eyes” and a history of distrust marked by narco-guerillas, industrial exploitation and state neglect. Directors E. Chai Vasarhelyi, Jimmy Chin and Juan Camilo Cruz combine interviews with family members, searchers and soldiers, with footage from the forest and line animations illustrating the children’s experience into something suspenseful, strange and beautiful. — Robert Lloyd
Robert Redford, right, with Dustin Hoffman in a scene from “All The President’s Men.”
(Sunset Boulevard / Corbis via Getty Images)
“All the President’s Men” [VOD]
It’s stands as one of the most discerning and potent films ever made about the crucial and essential role of journalism as a public watchdog in holding political leaders accountable and protecting democracy. Based on the book by Bob Woodward and Carl Bernstein, the 1976 film chronicles the unearthing of the Watergate scandal, tracking the duo’s time as Washington Post reporters — with Robert Redford as Woodward and Dustin Hoffman as Bernstein — trying to pin down the connection between Robert Nixon’s reelection campaign and the burglary and wiretapping at the Democratic National Committee headquarters in the Watergate complex that ultimately brought down Nixon’s presidency. It plays as a deeply engrossing thriller, and every scene between Redford and Hoffman, as dogged journalists whose work became enormously consequential and a turning point in American history, is gripping to watch. It’s a fitting film to screen this week — to reflect alone on one of Redford’s most powerful performances. — Yvonne Villarreal
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Judy Reyes in a scene from Season 2 of “High Potential”
(Jessica Perez / Disney)
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Every genius needs a little structure and guidance to keep them on course. In “High Potential,” Morgan Gillory (Kaitlin Olson) is a single mom with an exceptional mind who works as a cleaner at the police department and finds her way into detective work after successfully examining some evidence during her shift. But putting her unique talent to effective use couldn’t have happened if Lt. Selena Soto, the head of the major crimes division played by Judy Reyes, didn’t see Morgan’s potential and nurture it.
The quirky crime procedural has been a breakout hit for ABC since its launch last year and it returned this week for its second season; new episodes air Tuesdays, and are available to stream on Hulu and Disney+ the next day. Here, Reyes discusses how Soto’s approach as a boss came into focus this season and how she’s feeling about revisiting “Scrubs” 15 years after the comedy ended its run. — Yvonne Villarreal
How has Selena Soto come into focus for you this season? And can you share an anecdote of a boss looking out for you — however small or big — that has stood out to you during your time in the industry?
I think Soto saw herself in Morgan: someone for whom truly being themselves takes a lot of risks. She can’t be anything else, and the expectations from the world create a lot of problems with others who can’t handle the burden of those being completely unique.
My first manager took a huge chance on me at the restaurant I worked in as a hostess for years in NYC. She and her husband were regulars, and her husband chatted me up one night, and when I confessed that I was an actor, he convinced his wife to take a meeting with me, and she convinced her associates to give me a chance, and the rest is history.
Morgan is a cleaner with an exceptional mind who found her way into detective work after examining some evidence during her shift at the police department. What’s a career you’d love to pivot to if given the chance?
I always wanted to be a gymnast. Or some kind of athlete … tennis! You asked …
You’ll be reprising your role as Carla in the new “Scrubs” series. What does this moment bring up for you? What intrigues you about revisiting this character 15 years later?
I’m filled with gratitude and appreciation. I recognize how in my youth I took for granted the adventure and opportunity. I’m moved by how much people love the show and Carla, and how much all of it mattered to fans in different stages of their lives. I’m overwhelmed with the gift of being part of a magical moment in TV, and to get to revisit it as adults with the same folks is exciting because Bill and the writers are so daring with their humor and drama. I just know Turk and Carla keep going strong in their marriage and continue in their friendship. I’m honored by what this character continues to mean to Latinos, especially in this time.
What have you watched recently that you are recommending to everyone you know?
I’ve watched “Hacks” [HBO Max] because I’m obsessed with Jean Smart. I’ve watched “The Summer I Turned Pretty” [Prime Video] because I need to connect to my teenager and it’s a fun love/hate watch. I watch “Abbott Elementary” [Hulu, Disney+, HBO Max] because it’s f— funny and you can’t go wrong with it; it reminds me of “Scrubs” [Peacock, Hulu, Disney+] in a lot of ways. I just started watching “Severance” and “Shrinking” [both Apple TV+]. “Severance” because it’s so original and “Shrinking” for the same reason; it also feels so familiar … and Harrison Ford and Jessica Williams.
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
“The Devil Wears Prada” [Hulu, Disney+], “Girls Trip” [Tubi, Prime Video], “Bridesmaids” [Netflix], “Love & Basketball” [VOD] [and] any of “The Matrix” movies [VOD].
Taskmaster viewers were left speechless as two contestants used their sense of taste to guess an array of items on Thursday
21:40, 18 Sep 2025Updated 22:09, 18 Sep 2025
Taskmaster fans issued the same complaint as they fumed over the “most disgusting” detail on Thursday (September 18).
The hit Channel 4 programme returned for its 20th season last week, with five new comics taking on more silly challenges set by Alex Horne and Greg Davies.
The latest cast includes Ania Magliano, Maisie Adam, Phil Ellis, Reece Shearsmith and Sanjeev Bhaskar.
Tonight’s episode began with the five comedians bringing in an object that was the hardest to describe.
Maisie brought in the concept of being in the womb, which Greg struggled to comprehend, so she received five points for the prize task.
Taskmaster has returned to Channel 4 for its 20th season(Image: Channel 4)
The contestants were then asked to identify five items from behind a screen, with the most correct items taking home the highest amount of points.
The Taskmaster didn’t make it easy for them, though. Each comedian could only choose one sense to help them guess, with certain senses earning more points than others.
If they chose hearing, they’d get five points for every correct item, with smell earning four points and taste getting three points. Touch was worth two points, while sight was only worth one point per item.
Both Maisie and Reece chose to use their taste, with the pair awkwardly licking various items through the screen, including a stapler, a frozen sock, yoghurt and wet teeth.
The show’s viewers were left frustrated on Thursday (September 18)(Image: Channel 4)
After watching the challenge, the show’s viewers quickly shared their frustration on social media, with many complaining about the “disgusting” nature of the task.
“Reece and Maisie licking wet human teeth in a bowl is one of the most disgusting things I’ve ever seen on #Taskmaster – and that’s saying something!” one person wrote on X (formerly Twitter).
Another added: “Just watched someone lick a bowl of human teeth. Ah yes taskmaster the silly game show,” while a third said: “Gross.”
Two comedians used their sense of taste to guess items(Image: Channel 4)
A fourth fan echoed the sentiment, saying: “I was going to take it back but no… this is STILL the round they should have deleted,” with another adding: “Omg this is so difficult to watch!”
A fifth viewer said: “My god watching Maisie and Reece doing that task was horrifying,” while another commented: “That task was the most disturbing thing I’ve ever seen.”
After receiving 22 points across all of the challenges, Reece won tonight’s episode.
EXCLUSIVE: Stand-up comic Maisie Adam is taking on the new series of Channel 4’s Taskmaster – but admits that it wasn’t always plain sailing in an exclusive chat with The Mirror
Taskmaster star Maisie Adam has revealed that she struggled with her outfit throughout filming the show(Image: Channel 4)
Given her chilled on-stage persona, you might think stand-up comic Maisie Adam never gets flustered. But she discovered a much angrier side to herself on Taskmaster.
The 8 Out O f 10 Cats star felt like a competition winner when she joined the cast of the hit Channel 4 series, alongside Unforgotten ’s Sanjeev Bhaskar, Inside No. 9 ’s Reece Shearsmith and comedians Ania Magliano and Phil Ellis. But she admits the show brought out some “deep-rooted anger” that she took out on hosts Greg Davies and Alex Horne.
“It’s really fun going into the tasks at the time, but I was so shocked at how stressed I got with each one,” she confesses. “I didn’t realise I was such a panicky person.
Ania Magliano, Maisie Adam and Phil Ellis taking on a Taskmaster challenge(Image: Channel 4)
“I was very quick to blame Alex and his silly little clipboard and quite quick to get personal with him. I would also protest to Greg if I thought he’d been unfair with the points-awarding.
“I know I can be competitive but competitiveness mixed with a total lack of ability is a dangerous mix to have exposed to you with a mirror held up.”
Maisie credits her husband Michael Dobinson, who works in the tech world, for keeping her grounded. The pair got married in 2023, shortly before she took part in that year’s Soccer Aid.
“He’s very supportive and likes to watch stuff that I’ve been on, but it’s really nice that he isn’t in comedy. If you’re both in it, it can sometimes be a bit of a bubble. You forget there’s a real world out there,” she admits.
“Comedy is quite a self-absorbed job. It’s always about you, whether you’re funny or not. It’s quite a validation-seeking profession. I would worry that if I was with somebody who was also in comedy, we’d end up asking each other for feedback.”
Maisie is more than happy not to talk about her work when she’s at home with Michael.
“I guess some people really enjoy being able to both relate to the same frustrations and highs and lows of their job, but some, like me, can’t imagine anything worse than discussing it when you’re in your own home,” she says.
“There’s comedian Maisie and there’s Maisie at home. I quite like getting home and turning off Maisie the comedian and just being a football-obsessed normal person.”
Maisie Adam, Sanjeev Bhaskar, Alex Horne, Greg Davies, Phil Ellis, Ania Magliano and Reece Shearsmith on Taskmaster(Image: Channel 4)
Maisie has been on TV panels with comedy greats and has interviewed football legends on her Big Kick Energy podcast, but Taskmaster gave her the chance to finally spend time with her childhood hero: host Greg Davies.
“My mum and dad took me to see Greg when I was 14 at our local theatre,” she says. “He had this bit about a student who got locked in a storage cupboard from when he was a teacher. It was the first time I’d seen live stand-up comedy where I’d been literally bent double and my ribs hurt from laughing. Tears were streaming down my face.
“If you’d told that person that 15 years later she’d be on Taskmaster with him, that would have blown her mind. I couldn’t bring myself to fangirl over him on set – I didn’t want him to feel awkward, so I played it cool.”
But it was hard to stay nonchalant when dealing with wardrobe malfunctions throughout the series.
“My plan was to be like Sandy from Grease – she does whatever it takes to come out on top. She changes herself and takes up smoking to win the top prize. In that case it’s a man, which doesn’t reflect well any more.
“The difficulty was, I didn’t blow the budget when it came to getting the outfit. It was cheap and synthetic, so I slipped on everything because of the cheap shoes – and the flammable leggings would catch on everything.”
As a result, Maisie’s trousers regularly fell down on the show. “It was mortifying and it got progressively more humiliating and, dare I say, depressing as the studio records went on,” she cringes.
“This was going to be a common theme – flashing my underwear thanks to a pair of synthetic leggings on the biggest comedy show I’ve been waiting years to be booked on. That’s probably my number one regret.”
Welcome to Screen Gab, the newsletter for everyone who needs a mental health break from the Taylor Swift-Travis Kelce engagement vortex.
Three years after “The Terminal List” ended its first season, Prime Video’s prequel to the military-espionage thriller arrives. The debut season of the flagship series concluded with — spoiler alert! — Navy SEAL commander James Reece (Chris Pratt) discovering his closest ally, Ben Edwards (Taylor Kitsch) was involved in the ambush mission that led to the death of his platoon, as well as his wife and daughter. “The Terminal List: Dark Wolf” traces Ben’s journey from Navy SEAL to CIA operative. Creator and showrunner David DiGilio stopped by to discuss expanding the Jack Carr book universe and working with Kitsch.
Also in this week’s Screen Gab, our streaming recommendations are different types of nostalgia plays: Noah Hawley’s timely television prequel to the ‘Alien’ film franchise that is set on Earth, and “Gunsmoke,” the classic western that first hit TV screens 70 years ago and is finding new life in the streaming era.
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Must-read stories you might have missed
Olivia Colman, left, and Benedict Cumberbatch of “The Roses,” a remake of “The War of the Roses,” photographed in London in June.
Recommendations from the film and TV experts at The Times
Sydney Chandler as Wendy in FX’s “Alien: Earth.”
(Patrick Brown / FX)
“Alien: Earth” (Hulu, Disney+)
Reimagining a nearly 50-year-old franchise like “Alien” isn’t for the faint of heart (or stomach). The iconic sci-fi horror saga has already spawned a tangled web of sequels, prequels and spin-offs of wildly varying quality. But Noah Hawley — who turned “Fargo” and “Legion” into bold, brainy extensions of their cinematic roots — brings a jolt of fresh, unnerving life to “Alien: Earth.” The horror is real, the xenomorphs still terrifying (and, yes, there are new critters too). But this isn’t just eight hours of people running from acid-blooded monsters. It’s a sprawling, idea-rich vision of a future ruled by tech oligopolies, where minds are uploaded into synthetic bodies and morality is outsourced to machines — a world as indebted to Ridley Scott’s “Blade Runner” as his original “Alien.” The monsters are back, but the deeper thrill is how Hawley keeps you thinking even as you’re bracing for the next kill. Now midway through its eight‑episode run, “Alien: Earth” doesn’t just extend a franchise. It reanimates it with a mind of its own and a brand-new set of fangs. — Josh Rottenberg
James Arness, Amanda Blake, Ken Curtis and Milburn Stone in “Gunsmoke.”
(CBS)
“Gunsmoke” (Peacock, Pluto TV)
I long for the simple times when my family and I would gather around the television to watch the latest episode of “Gunsmoke.” The drama that featured James Arness as no-nonsense Marshal Matt Dillon was a staple in millions of households throughout its 20-year run, which ended in 1975. In the streaming era, “Gunsmoke” is now sparking a lot of new heat, and has ranked at least twice among Nielsen’s top 10 list of most-streamed acquired series. Beginning Saturday, MeTV will kick off a month-long 70th anniversary salute to the drama, airing specially-themed weeks such as “Best Characters of Dodge City” and five made-for-TV movies. — Greg Braxton
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A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Ben Edwards (Taylor Kitsch), James Reece (Chris Pratt) in “The Terminal List: Dark Wolf.”
(Justin Lubin / Prime)
Taylor Kitsch rose to fame with his portrayal of brooding football player Tim Riggins on “Friday Night Lights,” but he’s spent a good portion of his career since then stepping into the military mindset — as my former colleague Michael Ordoña astutely unpacked in his profile of the actor. With “The Terminal List: Dark Wolf,” which further expands Jack Carr’s book universe, Kitsch reprises his role as Navy SEAL-turned-CIA operative Ben Edwards in Prime Video’s prequel to 2022’s Chris Pratt-led series. Premiering its first three episodes earlier this week, the series takes place five years before the events of the first season of “The Terminal List” and explores Ben’s origin story and his crisis of faith that eventually led to his betrayal of James Reece (Pratt). Showrunner David DiGilio stopped by Screen Gab recently to discuss why Ben is a worthwhile character for a spin-off, the story behind that AC/DC needle drop and more. — Yvonne Villarreal
What was it about the story of Ben Edwards that resonated with you and made you so passionate about wanting to explore his origin story?
Ben is an ever-evolving character. He was different in the book than he was in our scripts for Season 1 of “The Terminal List.” Then Taylor arrived and brought a whole new layer of empathy, complexity and danger to the role. Unlike Reece, who represents a light wolf character pulled into a dark place by a conspiracy, Ben Edwards is a man with innate darkness inside him. But he also values loyalty, brotherhood and freedom. And that dichotomy in a character means we can give Taylor a ton of great stuff to play. It makes Ben unpredictable. And we get to watch how Ben evolves from a leader in the SEAL Teams to a Black Side Operator who thinks he can use his dark wolf for good.
You had involvement from real veterans in the making of the series, including in the writing of the season. There are seven episodes and five were written by veterans. Walk me through finding the voices to join the room and how did that enrich discussion as you broke stories?
As we were making Season 1 of the flagship series, we made a commitment to military authenticity. The lived experience is what defines Jack Carr’s writing in the books, and we wanted to make sure it translated to the shows. During Season 1 of “The Terminal List,” two military veteran storytellers in particular — Max Adams, a former Army Ranger, and Jared Shaw, a former Navy SEAL — really stepped up our action and authenticity and our storytelling overall. When it came time for “Dark Wolf,” we elevated Max and Jared to executive producer[s]. And we were able to include Jack Carr in more of the writing and creating side of the show as well. But we didn’t stop there. We brought writer-producer Kenny Sheard — also a former SEAL — into the writers room and brought back Ray Mendoza — a former SEAL and technical advisor on Season 1 — to second unit direct. So, between Max, Jared, Kenny, Ray and Jack Carr himself, I don’t think you have a show that’s more committed to getting it right for the military veteran audience.
Is there a personal connection — for you or the veterans who worked on the show — behind the use of AC/DC’s “Hells Bells” to score the time jump in the first episode?
Interesting story. We were trying to use Led Zeppelin for that training montage in the pilot. The band is notoriously tricky to clear, but we made it to about the five yard line before it got denied. Sadly, we’d been temp-editing with that song for months and were all quite attached. So we now had to pivot … quickly. We found AC/DC’s “Hells Bells” by asking our military veteran storytellers for bands/songs that were big for them during deployments. AC/DC was near the top of the list, and the civilian side of our EP team had connections to the music as well. We tried three AC/DC songs for the sequence, and “Hells Bells” was a no-brainer. But, truly, a classic example of the adage “don’t fall in love with the temp.” We made this music selection way tougher than it needed to be!
Tell us a good story about Taylor Kitsch and his time on the inflatable boat.
I think the biggest thing we learned from putting Taylor on that boat in the pilot is that we weren’t in Kansas anymore. Meaning, Budapest production is very different than production in the U.S. In the States, you would have a full “marine unit” dedicated to getting a scene like that. Half a dozen camera boats and follow boats built specifically to capture that sequence. In Budapest, we were tying camera men down on the boat itself, and turning tourist river boats into parts of our armada. Boats could not keep up with those beastly gunship engines. Smaller boats got waked. We got the scene, and we got it safely. But after the ease of filming the flagship series in Los Angeles, I think that day told all of us that Budapest would be a city with unique production challenges. But I give a huge hat tip to the Budapest crew, because even on a day like that, they never complained. And I think having the cast and American crew together in a foreign city really helped bond us all into one big family.
What have you watched recently that you are recommending to everyone you know?
My last watch was probably while flying to and from South Africa and Toronto for the filming of “The Terminal List” Season 2. I downloaded and binged “Adolescence” [Netflix] and Season 2 of “Andor” [Disney+]. I’m surprised more folks don’t talk about “Andor.” It’s probably the most smartly-written show on streaming these days. A World War II resistance film wrapped up in incredible sci-fi visuals. And on “Adolescence,” the performances were incredible. But note to all, whatever you do, don’t watch that show’s finale in a crowded airport lounge in London. I was bawling.
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
Might not surprise folks to hear, but it’s either “Saving Private Ryan” [Prime Video, Pluto TV] or “Gladiator” [Prime Video, Paramount +]. Both movies capture the warrior’s ethos and sense of brotherhood that we strive for in the “Terminal List” shows. They also combine great action with big emotional character-driven scenes. Hollywood’s balance of VFX and character work was probably at its zenith right around the turn of the century. So I love to rewatch those films as a reminder of the balance I strive for in my writing, and for the balance we try to build into the Jack Carr Universe shows.
Schools are (mostly) back in session, and the threat of pumpkin spice has already made the marketing rounds — it’s still summer, but the fall scaries have crept in. As some of us try to process how we’re basically a sneeze away from 2026, there’s at least comfort in knowing there’s a promising slate of new films and TV shows to keep us entertained as we hurtle through time. For our special Fall Preview issue, The Times staff gathered to share our picks for the most anticipated movies and TV shows to watch this fall: from a Bruce Springsteen biopic to the movie version of Stephen King’s “The Running Man” and the “Wicked” sequel, here’s our list of 21 films to be excited about; meanwhile, the Jude Law-Jason Bateman-led “Black Rabbit,” the docuseries “Mr. Scorsese” and broadcast comedy “DMV” are among the 16 intriguing shows in our TV roundup.
(Sian Roper / For The Times)
But, hey, we get it if you’d rather not think about the future just yet. In fact, the theme of this week’s Screen Gab is all about traveling back in time. Our streaming recommendations include a documentary exploring the quirky style and misunderstood message of art-rock band Devo, and a reminder of 2003 HBO drama “Carnivale,” which starred Amy Madigan long before she was creeping us out with her chilling performance in “Weapons.” Plus, Matthew B. Roberts, the showrunner behind Starz’s expanding “Outlander” universe, discusses the new prequel series and the art of making love letters swoon-worthy.
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Recommendations from the film and TV experts at The Times
The members of Devo in director Chris Smith’s documentary about the band.
(Barry Schultz)
“Devo” (Netflix)
They are Devo, and this is a film about them. A pseudoscientific theme — “de-evolution” — taken from an old book — led to a band that led to a career. (And looking around, it’s hard to argue that civilization isn’t racing rapidly backward.) Chris Smith’s breezy film neatly recaps the group’s career, from their earliest performances, when they had long hair and were still in college — Kent State, where in 1970 the National Guard opened fire on student protesters, killing four — to MTV fame, to their finally running out of gas. Founders Mark Mothersbaugh and Gerald Casale offer good-humored, incisive commentary on the rise and fall of their satirical art project whose social criticism paled in the glare of big pop success — “Whip It,” you remember” — and the usual major-label misadventures. Smith floats his narrative on a river of ephemeral films that echo the spirit of the group’s own aesthetic. Brian Eno, David Bowie, Mick Jagger and Neil Young, who put them in his movie “Human Highway,” make anecdotal appearances. (The band has since gotten off the couch — they’ll be at the Hollywood Bowl Oct. 18-19 with the B-52’s as part of a “Cosmic De-Evolution” tour.) — Robert Lloyd
Clancy Brown and Amy Madigan in “Carnivale.”
(Doug Hyun / HBO)
“Carnivale” (HBO Max)
The huge success of the horror film “Weapons” has put a fresh spotlight on star Amy Madigan. Her sinister portrayal of the eccentric Aunt Gladys, a witch whose spells wreak havoc on the children and adults of a small community, is already sparking early awards buzz and is the latest in a gallery of distinctive performances in films such as “Field of Dreams,” “Streets of Fire” and “Places in the Heart,” to name a few. Madigan also was featured in “Carnivale,” which premiered in 2003 and ran for two seasons on HBO. In the eerie drama about a struggling carnival of freaks and outcasts that traveled around the Dust Bowl during the Depression, Madigan played Iris Crowe, the soft-spoken sister of the demonic Brother Justin Crowe (Clancy Brown). — Greg Braxton
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A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
A still from “Outlander: Blood of my Blood,” the prequel to the popular period drama, that features Jamie Roy as Brian Fraser and Harriet Slater as Ellen MacKenzie, the future parents of Jamie Fraser.
(Sanne Gault / Starz)
“Outlander” meets “How I Met Your Mother”? Not quite. But “Outlander: Blood of My Blood” is a prequel to Starz’s romance epic that focuses on the parents of both protagonists from the original series, Jamie Fraser and Claire Beauchamp. The series alternates between WWI-era Scotland and the Scottish Highlands of the 18th century, often intertwining, as it chronicles the courtship and obstacles faced by Jamie’s parents — Brian Fraser (Jamie Roy) and Ellen MacKenzie (Harriet Slater) — and Claire’s — Julia (Hermione Corfield) and Henry Beauchamp (Jeremy Irvine). Here, showrunner Matthew B. Roberts discusses the inspiration for the show’s swoon-worthy love letters and reveals which TV drama he recently watched that echoes themes explored in “Outlander” through a modern lens. — Yvonne Villarreal
What do you find intriguing about each couple’s story and what it telegraphs about Claire and Jamie’s connection and their attitudes on love?
With Brian and Ellen, it’s the rush of first love — all passion, risk and discovery, which foreshadows Jamie’s all-in devotion to Claire. With Henry and Julia, it’s the strength of a tested love — the daily choice to stay together. Both show that true love requires surrender and courage, the same foundation that Claire and Jamie build their lives on.
The original series has delved into the complexities of PTSD. How did what you’ve explored there, particularly as it relates to Claire and her experiences as a combat nurse, inform how you shaped Henry Beauchamp’s journey? Are there connections you wanted to draw between father and daughter?
War scars everyone differently. Henry’s wounds are visible, Claire’s more contained — but both live with that same survival instinct. Even though Henry leaves when she’s young, Claire inherits his resilience. That ability to keep going when the world tries to break you is in her DNA.
Love letters are a hallmark of the “Outlander” universe. And the correspondence between Claire’s parents, Henry and Julia, are a key narrative element in their quest to be reunited — the declarations within have to be top tier. Any interesting references or sources of inspiration?
The inspiration came from my father, who fell in love with someone online before ever seeing her face. He said, “It doesn’t matter, I already love her.” He did meet her, they married, and they stayed together until his passing. That experience taught me how love can bloom through words alone. That’s what we aim for with Henry and Julia’s letters — each one has to feel like a real step deeper into their hearts. Everyone in the room weighs in, but the test for me is always the same: Does it feel authentic, does it honor the magic of falling in love?
What have you watched recently that you are recommending to everyone you know?
I really don’t recommend shows or movies. Everyone has their own tastes. But I did recently watch “The Better Sister” [Prime Video]. It’s a sharp look at family — love, betrayal, loyalty — all the same themes we explore, but in a modern world with cellphones and social media. The technology changes, but the struggles don’t. Families still compete, hide secrets and fight for trust. [It has] some great acting.
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
When “Butch Cassidy and the Sundance Kid” [VOD] or “Fargo” [Tubi, MGM+] come on, I’m in — they just never get old. “Butch Cassidy” has that perfect mix of charm and tragedy; and “Fargo” is dark, funny and somehow still feels authentically real. For TV, my go-tos are “The Sopranos” [HBO Max] and “Seinfeld” [Netflix] — totally different, but both perfect at what they do. And true-crime shows are always in the mix. They are research. It’s the human condition on full display.
Welcome to Screen Gab, the newsletter for everyone who struggles with setting boundaries in any type of relationship.
That sound you hear is the lingering sigh of relief — or is it sadness? Confusion? The frustration over what could have been? — as “And Just Like That” completed its last sprint in heels this week. The “Sex and the City” sequel concluded its three-season run with a Thanksgiving from hell and an epilogue for Carrie, Charlotte, Miranda, Lisa and Seema that will surely generate plenty of TikTok analysis to occupy us all weekend. The decision to end the series was surprising, sure, but hardly shocking — even if it still feels like a fever dream that’s not quite over. Our crew of dedicated watchers unpacked some of what they’re feeling — grab a slice of pie, pull up a chair and join the attempt to process it all. It’s a safe place.
But don’t fret, there are some other peeps you can add to your friend group to help ease the loss. Rose Byrne and Seth Rogen prove that men and women can be strictly (incredibly co-dependent) friends in Apple TV+’s “Platonic.” The comedy returned earlier this month for its second season, and creators Francesca Delbanco and Nicholas Stoller dropped by Guest Spot to discuss the challenges of making opposite-sex friendship more compelling than a romance, plus the story behind the perfectly pathetic pet name they have Rogen’s character saying all season.
Also in this week’s Screen Gab, our streaming recommendations include a crime drama that sees a “Clueless” star enter her sleuth era? That’s right, TV critic Robert Lloyd tells you about a new Acorn series that stars Alicia Silverstone as an L.A. divorce lawyer who hightails it to Ireland after receiving a mysterious message from her estranged father. If you’re in the camp of people who prefer shows with a lighter touch on death, culture columnist Mary McNamara drops in to suggest an old-fashioned workplace/fish-out-of-water comedy set in the world of probate law — Huh, you say? Trust us! It’s funny!
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Must-read stories you might have missed
Daniel Dae Kim is the star and executive producer of Prime Video’s “Butterfly.”
Alicia Silverstone stars as Fiona Murphy, an American divorce lawyer — no husband for her! — whose unsuspected past comes calling in form of a photograph mailed from Ireland, showing a picture of a locker with a phone number written on the backside. Not being me, she calls it right away and so begins a dark treasure hunt that brings her to Wicklow, Ireland, where she discovers the father (Jason O’Mara in flashbacks) who left on her 10th birthday was living, and is now dead, under possibly suspicious circumstances. She also discovers a briefcase full of clues; family she didn’t know she had; an inherited house; potential romance with the local owner of a boxing gym (Leonardo Taiwo); and a quirky policewoman (Ruth Codd), excited to help when Fiona is mysteriously attacked. As in many, or most, stories in which a city person travels to the country — “I Know Where I’m Going” or “Local Hero,” just to be Celtic about it — Fiona will experience a feeling of renewal, notwithstanding the threat of death. The mystery keeps you guessing, the characters are appealing, and Silverstone gives a lovely, lived-in performance. — Robert Lloyd
“Fisk” (Netflix, Season 3 premieres Wednesday)
I can’t say I was looking for a comedy that revolved around Australian probate law, but one found me and now I’m hooked. Co-created by and starring Australian comedian Kitty Flanagan, “Fisk” is an old-fashioned workplace/fish-out-of-water comedy that follows recently divorced Helen Tudor-Fisk (Flanagan), who has fled the shining lights of Sydney for the more sedate Melbourne where her father, a retired Supreme Court justice, lives. And she needs a job. After a disastrous interview with a legal recruitment firm — Fisk only wears brown, has no references and “is not a people person” — she lands at Gruber & Gruber, a small firm dealing mostly with wills. Ray Gruber (Marty Sheargold), an easily distracted schlub, is thrilled to hire the daughter of a Supreme Court justice; his sister Roz (Julia Zemiro), a woman so tightly wound she controls the key to the firm’s one restroom, is not. But Roz has been suspended; hence the need for Helen. Misanthropic and quietly contentious, Helen has little patience for client hand-holding, social niceties and, well, patience; but, as time inevitably tells, she is a good lawyer and her heart is not nearly as hard as she wants everyone to believe it is.
With a revolving cast of clients, and the requisite Gen Z assistant (here played to great effect by Aaron Chen), “Fisk” is a deceptively small show — “The Office” seems hectic and flashy by comparison — but it deftly mines the mundane and often quiet absurdities of life to laugh-out-loud effect. Flanagan, too, plays it close to the vest (or in this case, an over-large brown suit), making Helen the queen of the raised eyebrow and muttered aside. She is neither savior nor saint — many of her problems are of her own making — but anyone who has ever wondered why ordering a smoothie, or renting an Airbnb, or having a straight-forward conversation about just about anything has to be so complicated these days will find a “but that makes no sense” advocate in “Fisk.” — Mary McNamara
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Rose Byrne and Seth Rogen in Season 2 of Apple TV+’s “Platonic.”
(Katrina Marcinowski / Apple TV+)
In “Platonic,” the only will-they/won’t-they tension is about whether two longtime friends with co-dependency issues can avoid a breakup of their friendship. The Apple TV+ series stars Seth Rogen and Rose Byrne as formerly estranged besties who, in the first season, rekindled their friendship at pivotal junctures in their lives — Sylvia (Byrne) is a married mother of three children who feels unfulfilled, while Will (Rogen) is a middle-aged hipster and brewer going through a divorce — and help each other in their quest to get back on track. The series returned earlier this month with Will experiencing cold feet at the prospect of marrying his fiancée (and boss), while Sylvia, who is helping to plan the ceremony, gets caught in the crosshairs just as she must contend with developing sore spots in her own marriage. Creators Delbanco and Stoller stopped by Guest Spot to discuss how platonic friendships can be love stories, too, and the story behind this season’s embarrassing pet name.
What is the challenge in depicting a platonic friendship between people of the opposite sex when viewers enjoy character shipping? How do you make “just friends” something to root for?
Stoller: It’s definitely a challenge to break story as almost all TV show plots involve either sex or murder. But the funniest comedies explore human relationships honestly. Our artistic project with “Platonic” is to delve into the complications and rewards of male-female friendships. We think anyone who’s ever had this kind of friendship will find the show relatable. While “Platonic” is a hang-out show, we also are invested in the show having a strong story drive. We think we have figured out series arcs for our characters that go deep on midlife and hopefully will make you laugh out loud.
Delbanco: In a way, platonic friendships are love stories too — not exactly the same kind of love stories, of course, but they do have certain similar preoccupations: Can we survive our disagreements? Are we ultimately good for each other or not? Is our relationship going to last through all of the phases of our lives as we change and grow? Ultimately, we’re hoping we can make viewers feel the same degree of investment in “will they make it” as friends that we’re all accustomed to feeling in rom-coms. It’s definitely a creative challenge, but we all know how important friendships are to our overall emotional health, so it stands to reason that they deserve some exploration onscreen too.
This season provides an opportunity to explore the intimidation factor of a new significant other experiencing the Sylvia-Will dynamic. How did that make you think about Will’s fiancée, Jenna [Rachel Rosenbloom]?
Stoller: We originally conceived of “Platonic” as an anthology series where we were going to explore a different platonic friendship each season. While shooting the first season, we had such a great time making it that we asked Seth and Rose if they wanted to do more of the show together, and luckily for us they said yes. The Jenna character had been created to give Will a happy ending. We knew that to make more episodes of the show we would have to give Will a new conflict. We knew that Sylvia needed to understand Will in a way Jenna just didn’t. But we also wanted Jenna to be a legitimate partner for Will. So in the Season 2 writers’ room, we reconceived Jenna to just be operating at a slightly different wavelength than both Will and Sylvia. We worked with Rachel Rosenbloom, who plays Jenna and is super funny, to figure out a character that was just a little out of step with both Will and Sylvia.
Delbanco: We really wanted to write Jenna as a human, relatable character rather than a one-dimensional “lame girlfriend” type of comedy villain, because at its core, the insecurity that Jenna feels about Sylvia is a feeling most of us have had before: Who is this woman my boyfriend/fiancé/husband spends so much time with, and how can I be sure he isn’t actually in love with her? Likewise, we didn’t want Jenna to be someone Sylvia could easily dismiss: In many ways she’s good for Will, and intimidating in her own right. There have been so many amazing comedies about introducing a significant other to your parents, and your family, but there’s a lot of great dramatic tension to mine when new love interests collide with old friends.
What is the backstory with the “penguini” pet name? What were other iterations before you landed on that one?
Stoller: We just tried to think of the most embarrassing thing that Will would have to say in front of Sylvia. And so “penguini” was born. Hilariously, one of our locations where we shot this season turned out to be right next to a restaurant called Caffe Pinguini.
Delbanco: It made us laugh so hard to imagine Seth having to use a private baby-talk, lovey-dovey voice — it just doesn’t suit his character, and it’s so mortifying to be overheard in that mode. It felt like a strong way to announce that something new was going on with him this season.
What have you watched recently that you are recommending to everyone you know?
Stoller: I just watched the Billy Joel documentary [“Billy Joel: And So It Goes,” HBO Max]. I’ve always been a fan of his, but the documentary uncovers a lot of pain and history I was unaware of. It made me revisit his music and understand it in a whole new light. I also just saw the film “Sorry, Baby” [VOD], which is hilarious, beautifully-shot, moving and even, at times, slightly scary.
Delbanco: I recently finished the second season of “Wolf Hall” [PBS.org], and I can’t stop thinking about it — I loved the novels and was floored that they were adapted for the screen with such incredible depth and power. The finale is still haunting me even though I watched it weeks ago. Main takeaway: I am so freaking glad I wasn’t born during the reign of Henry VIII.
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
Stoller: I watch “Rushmore” [Hulu, Disney+], “When Harry Met Sally” [VOD] and “The Shining” [VOD] once a year. The endings of both “Rushmore” and “When Harry Met Sally” never fail to make me cry. Every time I watch “Rushmore,” I notice a new detail. And “The Shining” casts a hypnotic spell that makes me want to revisit the Overlook [Hotel] again and again.
Delbanco: I guess we’re an early Wes Anderson household, because “The Royal Tenenbaums” [Hulu, Disney+] is the movie I see on repeat when I close my eyes. It makes me laugh and also cry in all the right ways, and I love its desultory, romantic mood. I don’t think any scene has ever worked for me as well as Gwyneth Paltrow’s walk towards Luke Wilson when she gets off the bus. The bus station! Her fur coat! Nico! What could ever top it?
Welcome to Screen Gab, the newsletter for everyone who channels Wednesday Addams’ contemptuous energy every day of the week.
After a nearly three-year absence, everyone’s favorite unamused teenager is back. “Wednesday,” Netflix’s spinoff of “The Addams Family” franchise that stars Jenna Ortega, became a megahit when it debuted — spawning memes and a dance craze that took TikTok by storm. Revolving around Wednesday’s adventures at Nevermore Academy, the boarding school for outcasts she’s forced to attend, the supernatural comedy returned this week with the first half of its eight-episode second season. (The rest will drop in September. And a third season has already been ordered.) Alfred Gough and Miles Millar, who created the series, stopped by Guest Spot to talk about the new episodes, including the unforgettable way Steve Buscemi, who plays the new school principal, made early-morning shoots more bearable.
Also in this week’s Screen Gab, our streaming recommendations are a bit off the beaten path: TV critic Robert Lloyd encourages you to dive into the oeuvre of Australian-based internet humorist Natalie Tran, and film critic Amy Nicholson tells you about a different body-swapping film if the new “Freaky Friday” sequel isn’t your thing.
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Must-read stories you might have missed
After years working a propane job in Saudi Arabia to earn their retirement nest egg, Peggy and Hank Hill return to a changed Arlen, Texas. Meanwhile, Bobby, center, is living his dream as a chef in Dallas, enjoying his 20s.
A thousand thanks to whatever algorithm brought Natalie Tran, a brilliant Australian internet humorist, back into my feed. In a typical video essay, Tran will notice an odd or annoying thing about modern life or take a random idea that’s crept into her head and create a speculative playlet in which she takes on all the parts. The great library of this work, which posted pretty regularly from 2006 to 2016, and irregularly since, resides on Tran’s YouTube-based communitychannel (1.77 million subscribers), but it is timeless, smart and funny across years, generations, continents and hemispheres. She might take on matters as mundane as a lost phone on silent, the types of friends you shouldn’t see movies with, or her inability to keep house plants alive; or as left-field as imagining monsters dressing up as humans on Halloween, a school for flies, or the person whose job it is to measure the height of celebrities. Nowadays she posts at communitychannel on Facebook and natalie.tran on Instagram, and co-hosts “The Great Australian Bake Off,” the down-under franchise of the British original, whose current season you can also find online, officially or not. — Robert Lloyd
“Dating the Enemy” (Tubi, Prime Video)
Wanna get freakier than this week’s “Freaky Friday” sequel? This edgy 1996 body swap rom-com stars Claudia Karvan and a pre-fame Guy Pearce as estranged exes Tash and Brett — she’s a nerdy science journalist, he’s an egomaniac veejay — who are horrified to wake up in each other’s skin. Both are workaholics, yet neither respects the other’s career goals. (“What’s Pearl Jam?” Tash asks.) Australian writer-director Megan Simpson Huberman’s inspired idea is that the girl is the geek, and the man is the sex symbol. “I have got a great ass!” Pearce’s Brett gloats. The future Oscar nominee has a gas peering down his undershorts to understand his new mechanics. While the former lovers’ mutual hostility leads to several funny bits of vengeance, Huberman smartly notes the tiny differences in how each one is treated as they stumble through the world — and their moments of reconnection, while incredulous, are incredibly sweet. — Amy Nicholson
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Joonas Suotamo as Lurch, left, Catherine Zeta-Jones as Morticia, Jenna Ortega as Wednesday, Isaac Ordonez as Pugsley and Luis Guzmán as Gomez in “Wednesday.”
(Helen Sloan / Netflix)
“Wednesday” makes its big return this week with its morose titular character (Jenna Ortega) now navigating life as a local celebrity. But even after saving Nevermore Academy, the school for supernatural misfits that she attends, from destruction, things are hardly sunshine and rainbows — a relief, really, because she’d hate that. There’s a new mystery and looming threat to keep her psychic powers occupied. And this time, her family — namely, her mother Morticia (Catherine Zeta-Jones) and father Gomez (Luis Guzmán) — figure more prominently in the spooky and morbid tension. The season is broken up into two parts — the first four episodes were released this week; the rest will be released Sept. 3. Creators and showrunners Alfred Gough and Miles Millar stopped by Guest Spot to discuss why they wanted to make the new season a more familial experience and the standout guest star moments. — Yvonne Villarreal
Wednesday Addams has often been described as “emotionless,” “antisocial” and “morbid.” How would you describe her? And how did you want to push against that perception of her in Season 2?
Millar: While Wednesday would certainly self-identify with all three, I would argue she is, in fact, deeply emotional. She is a character who struggles to express herself, often engaging in a silent internal war when she breaks her own personal code. She’s boxed herself into an identity and considers any emotional response as a kind of failure.
Gough: Our goal is to consistently place her in situations that challenge this rigid self-perception. We think of her emotional development in terms of micro-progressions. For most protagonists, a “hug” might be a throwaway gesture — for Wednesday it’s seismic. Her internalized struggle with vulnerability is something she’ll carry into adulthood. She may never feel fully at peace with the world, but hopefully she will discover a way to co-exist with it — on her own terms.
The season brings Wednesday’s family more into focus. What is most appealing about delving into their dynamic?
Millar: In Season 1, we focused on Wednesday carving out a life away from her family for the first time — we didn’t want the show to feel like a retread of a traditional Addams Family movie. Now that audiences are grounded into the world of Nevermore, it felt like the right moment to see more of the iconic members of the Addams family.
Gough: We loved the idea of her family literally living next door — its a delicious complication for a character like Wednesday. She can’t escape them, especially her mother. The Morticia-Wednesday dynamic is a central thread this season, and their mother-daughter tension felt very real — even when it culminates in something as heightened as a sword fight in the woods.
You have a number of prominent names, including Steve Buscemi, Christopher Lloyd and Lady Gaga, joining the ranks this season. What’s been the biggest “pinch me” moment so far?
Millar: There were so many “pinch me” moments. One that stands out for me: Joanna Lumley, who plays Grandmama Frump, sipping a Bloody Mary in the middle of a vast Irish graveyard. Surreal doesn’t begin to cover it.
Gough: An unforgettable moment for me was watching Steve Buscemi dad-dance to Bruce Springsteen at 3 a.m. We were shooting the scene in the middle of July, but it was bone chillingly cold as only an Irish summer can be. Still, Steve would come out dancing with the same off-the-wall energy every single take. He was the only reason the extras made it through the night. It was weird and wonderful — and very, very “Wednesday.”
What have you watched recently that you are recommending to everyone you know?
Millar: “Dark Winds” on AMC. It’s led by the phenomenal Zahn McClarnon, and it’s a show I had heard buzz about but never had a chance to watch until recently. The premise isn’t flashy — a ’70s set police procedural on a Navajo reservation — but the acting and storytelling are exceptional. I binged all three seasons in a week. Despite its limited budget, the series manages to capture the haunting beauty of the Southwestern landscapes. It deserves a lot more critical and audience attention.
Gough: A show I am genuinely going to miss is “The Handmaid’s Tale” [Hulu]. It’s been remarkably consistent across its run. Miles tapped out midway through Season 2 as it veered into “torture porn territory,” but I stuck with it and am glad I did. The storytelling is razor-sharp, and is written with deft craft and humanity. Cinematography is sumptuous and the performances are universally excellent. It’s definitely not comfort TV — it challenges you — but it rewards your attention. It’s a show I always recommend.
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
Millar: Generally, I don’t rewatch TV shows. There is simply too much out there to keep up with. But movies? That’s a another story. I have a particular weakness for movies set in Los Angeles — “Heat” [The Criterion Channel, Prime Video], “Drive” [VOD], “Blade Runner” [VOD]. And anything by Spielberg, honestly — from “AI” [VOD] to “Jaws” [Netflix] to “Lincoln” [VOD] — his visual storytelling is so masterful, it feels like a free film school in every frame.
Gough: Having collaborated with Tim for over 5 years now, I have a soft spot for his work, especially “Edward Scissorhands” [Disney+] and “Ed Wood” [VOD]. If “Ed Wood” were released today, I am convinced it would win best picture. It remains one of the greatest love letters to filmmaking ever made.
Remember when Heidi Klum drilled into our reality TV heads that, in fashion, one day you’re in, and the next day you’re out? Well, even she knows the past can come back in style. After a 16-season run on “Project Runway” as host and judge, Klum departed the fashion competition series in 2018 and, along with the show’s original mentor Tim Gunn, went on to create “Making the Cut,” their version of a fashion tournament for Prime Video that ran for three seasons. (Model Karlie Kloss assumed Klum’s “Project Runway” duties in subsequent seasons.) Now, as “Project Runway” launches its 21st season, moving homes yet again (to Freeform from Bravo), Klum brings the nostalgia factor to the show’s revamping, which includes the addition of super stylist Law Roach to the judges panel. Roach stopped by Guest Spot to discuss joining the ranks of the long-running reality competition.
Also in this week’s Screen Gab, our streaming recommendations include an illuminating documentary that explains how “The Ed Sullivan Show” amplified Black music and culture, and a collection of ‘90s films that defined an era through their soundtracks.
ICYMI
Must-read stories you might have missed
Luis Guzmán, Jenna Ortega and Catherine Zeta-Jones, photographed in London this month, return for the second season of Netflix’s “Wednesday.”
Recommendations from the film and TV experts at The Times
Ed Sullivan with the Jackson 5 and Diana Ross.
(Netflix)
“Sunday Best: The Untold Story of Ed Sullivan” (Netflix)
Ed Sullivan was so famous, such an institution in his time, that his name became the text of a number in the musical “Bye Bye, Birdie.” It’s been half a century since “The Ed Sullivan Show” ended its 24-season run, but Sullivan, who gave Elvis Presley a platform and introduced the Beatles to America, will be seen as long as they continue to matter, which is to say, forever. The “Untold” in Sacha Jenkins’ affecting documentary is the show’s history with the many Black artists it presented to an audience of many millions, through years in which television networks bowed to the bigotry of what it called the Southern audience. Yet even had you taken Black acts on “Sullivan” for granted, the extent of the host’s progressivism might come as surprise. Those sharing memories include the late Harry Belafonte, Smokey Robinson and the Temptations’ Otis Williams; seen in performance are Stevie Wonder, Jackie Wilson, Bo Diddley, James Brown, Nina Simone, Mahalia Jackson and the Jackson 5, in all their youthful glory. — Robert Lloyd
Guided by the words of an ancient samurai text, Ghost Dog (Forest Whitaker) is a professional killer able to dissolve into the night and move through the city unnoticed in “Ghost Dog: The Way Of The Samurai.”
(Ghost Dog / Artisan Entertainment)
’90s Soundtrack Movies (Criterion Channel)
Now they exist as relics: banged-up soundtrack cassettes that slid around in the passenger side of everyone’s cars. But we all listened to them and in many cases, they ended up being more memorable than the films themselves. A lot of good was done when acts like U2, Talking Heads, Depeche Mode and Nick Cave lent their drawing power to director Wim Wenders’ mystifying 1991 sci-fi art thinker “Until the End of the World.” The songs were an adventure (though I couldn’t quote you a single line from the script). More substantially, Jim Jarmusch introduced his fan base to Wu-Tang Clan’s RZA, who contributed a superb head-bobbing soundtrack to 1999’s “Ghost Dog: The Way of the Samurai,” proving there was plenty of crossover between Soho and Shaolin. David Lynch, always plugged in musically, drew from David Bowie’s underrated “Outside” album for the white-line opening credits of 1997’s “Lost Highway.” And even when Bowie wasn’t game — as with the bio-in-all-but-name “Velvet Goldmine” — an inventive glam-saturated soundtrack could carry the day. Criterion’s new series is programming you can play in the background and still enjoy. — Joshua Rothkopf
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
“Project Runway” adds Hollywood stylist Law Roach to its judges panel.
(Rankin / Disney)
As one of Hollywood’s biggest stylists and image architects, Law Roach has bolstered the fashion profile of stars like Zendaya, Hunter Schafer and Anya Taylor-Joy and set the tone for every red carpet he’s touched with his viral styling choices. Now, he’s bringing his unparalleled fashion sense to the judge’s panel of “Project Runway.” The new season premiered Thursday on Freeform with two episodes; it will air weekly and also stream on Hulu and Disney+. Roach stopped by Screen Gab to discuss his feelings on constructive criticism, the fictional character he’d like to style and what he’s watching. — Yvonne Villarreal
As a creative in the fashion world, is “Project Runway” a show you watched at any point over its run? What value did you see in it and how do you hope your involvement elevates the show?
Yes, I watched it religiously, of course. The season that Christian won is hands down still my favorite. I think it gave me an inside look at an industry that I was craving to be a part of. I think my real-world experience and passion will come through not only to the viewers but also to the contestants.
You bring a bold and direct feedback style to the judges panel from the start. How do you prefer to receive feedback on your work and when do you trust it?
Criticism is a part of every job. I think it is important to hear it and if it fits you or can help you grow, take it in, and learn from it, but if it doesn’t, ignore it.
As a stylist and image architect, which fictional character of TV or film — past or present — would you most like to create a fashion profile for?
Jessica Rabbit because we only got to see her in one look!
What’s your go-to “comfort watch,” the film or TV show you return to again and again?
“Top Chef” [Peacock] or any cooking competition show. I love food and witnessing the thought that goes into making the food.
Taskmaster creator Alex Horne has teased a new series of the Bafta-winning Channel 4 comedy.
Alex Horne has dropped a major hint about Taskmaster season 21(Image: Rob Parfitt / Channel 4)
Taskmaster creator Alex Horne has teased big changes in store for the Channel 4 programme’s 21st season.
For the uninitiated, the long-running comedy series sees a batch of five celebrities pitted against each other as they take on various bizarre tasks to be crowned the winner.
From filling an egg cup with their own tears, attempting to make a bridge out of straws, rubbers and chewing gum, to hula hooping on stage in front of a live audience, or making a creepy nursery rhyme, Taskmaster really has seen it all.
The series, hosted by Greg Davies and “Little” Alex Horne as his assistant, first aired in 2019, and over that time has seen more than a hundred celebrities take part, including Munya Chawawa, Judi Love, Joe Lycett, Katherine Ryan and Bob Mortimer.
The latest season featured Fatiha El-Ghorri, Jason Mantzoukas, Matthew Baynton, Rosie Ramsey and Stevie Martin battle it out, with Ghosts actor Mathew crowned the winner.
And although season 20’s line-up has only just been announced, with the series yet to air later this year, Alex has already teased the following instalment.
Taskmaster season 20 has yet to air, though the cast has been revealed(Image: Channel 4)
In an interview with Radio Times , he shared: “There are two things that are new. We’re filming somewhere as well as the house – somewhere that’s pretty mad.”
He then added: “And we have a special guest this series from somewhere exotic who you’ll recognise. That’s all I can say.”
He went on to tell the publication: “20’s coming out soon. All going well. We’re just in the middle of filming the next one and I’m still enjoying it. I’m still weirdly finding it exciting.”
Though there’s no telling who that could be, fans were left delighted when the season 20 line-up dropped.
Horrible Histories actor Mathew Baynton was crowned champion of season 19(Image: Lion Television/BBC)
It will see Ania Magliano, Maisie Adam, Phil Ellis, Reece Shearsmith and Sanjeev Bhaskar go head to head to be named champion, while a New Year ’s special is also presumed to air, with past specials having seen the likes of Claudia Winkleman, Sir Mo Farah, Carol Vorderman, Martin Lewis and Rylan Clark take part.
After a teaser showing the five new comedians filming a task for season 20, as part of the line-up announcement, fans were left delighted.
One wrote: “My prayers have been answered I have wanted maisie adam on taskmaster for so long.”
Another said: “Oh this is going to be GOOD!!”
“FINALLY REECE OH MY GOD IVE WAITED MY WHOLE LIFE FOR THIS,” a fourth commented.
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Meanwhile, Horrible Histories star Mathew reflected on his win in a recent interview with Metro, and revealed his plans to return.
“I’m just really happy. I was having so much fun…,” he shared.
After a suggestion of returning for the Champion of Champions series, which has the previous winners battle it out against each other, he added: “I did start thinking, oh, it would be really nice [to win] because winning means a repeat of the experience. The number one thing about winning is thinking, Oh, great, I get to go back.
“I guess the only sadness about getting to go back is that I won’t be sat with those guys [the season 19 contestants] because they were so much fun.”
Welcome to Screen Gab, the newsletter for everyone who can’t stop watching their favorite fictional serial killer.
The “Dexter” universe expands this week with the arrival of another spinoff. And it brings Dexter Morgan, the titular antihero played by Michael C. Hall, back from the dead. “Dexter: Resurrection” picks up after the events of “Dexter: New Blood” — we promise, we’re not trying to start a drinking game here — where the serial killer vigilante was seemingly killed. In anticipation of the show’s Friday premiere, Greg Braxton, our certified “Dexter” expert, spoke with Hall about reviving the killer role — check it out here. And this week’s Guest Spot features David Zayas, Hall’s co-star who plays Angel Batista, discussing his return.
Also in this week’s Screen Gab, our streaming suggestions include a cozy crime comedy featuring an antiques expert heroine and another home improvement series from the Chip and Joanna Gaines factory.
ICYMI
Must-read stories you might have missed
“Girls” creator Lena Dunham, right, returns to TV with the Netflix rom-com series “Too Much,” led by “Hacks” breakout star Megan Stalter.
Recommendations from the film and TV experts at The Times
Steve Edge as Dom and Sally Lindsay as Jean in a scene from Acorn TV’s “The Madame Blanc Mysteries.”
(Mark Cassar / AcornTV)
“The Madame Blanc Mysteries” (Acorn TV)
Back for a fourth season, this series set among British expatriates in the south of France (played by the island of Malta) is nominally a detective show — there’s always a crime to solve — but at heart it’s a small-town comedy more interested in the lives of its quirky repeating characters than in whodunit. Series co-creator Sally Lindsay stars as Jean White, an antiques expert regularly called upon by Police Chief André Caron (Alex Gaumond) to analyze some clue or give the history of vintage stolen goods. Completing her world are alliterative, spritely rich oldsters Judith and Jeremy (Sue Holderness and Robin Askwith); garage owner Gloria (Sue Vincent); taxi driver Dom (Steve Edge), whose long-simmering passion for Jean has at last come to a boil; and, excitingly, Tony Robinson, who was Baldrick on “Blackadder,” as Dom’s formerly larcenous Uncle Patrick, now running the local bar where all the characters inevitably wind up. As is the case with many such shows, it gets sillier as it goes on; but if you want serious, there are plenty of dark serials happy to take your time. This place is sunny. — Robert Lloyd
“Mini Reni” (HBO Max, Discovery+)
As someone who can spend an alarming amount of time watching Sunday-reset cleaning videos on TikTok as a way to convince myself it has motivating powers, I am always on the lookout for home improvement shows that have the same effect. In the series, shiplap queen Joanna Gaines ditches hubby Chip to tackle “quick” home makeovers. With each episode, she has about a week to transform three rooms — “There’s no demo day. We’re just using things like paint, trim, tile and furniture” to change a space, she assures us. It’s still an ambitious undertaking for the average person — I have towel hooks that I’ve needed to hang for months, so the thought of having secret doorways installed anywhere in my space is just not happening — but it feels just as good to believe you’re getting ideas for a project down the line. — Yvonne Villarreal
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
David Zayas as Angel Batista in “Dexter: Resurrection.”
(Zach Dilgard / Paramount+ with Showtime)
“Dexter: Resurrection,” the latest addition to the ever-expanding “Dexter” universe, makes good on its title. After being shot in the chest — by his son, no less — and pronounced dead in the 2021 series “Dexter: New Blood,” Dexter Morgan (Michael C. Hall), the forensics specialist who moonlighted as a serial killer vigilante, is now very much alive and well enough to deliver some more narrative intrigue in the series for Paramount+ with Showtime. While there are newcomers added to the mix, returning characters include Angel Batista (David Zayas), Dexter’s friend who is now a captain at the Miami Metro Police Department where they once worked together — and he’s on a mission to fill in questions about Dexter’s past. Zayas stopped by Guest Spot to talk about what to expect in the new sequel series and how his own experiences in law enforcement inform his onscreen roles. — Yvonne Villarreal
Fans had hoped for the long-teased face-off between Batista and Dexter in “Dexter: New Blood,” but it didn’t happen. “Dexter: Resurrection” provides that anticipated reunion. What can you tease about the dynamic that plays out between these characters?
The dynamic between Batista and Dexter is now a cautious cat-and-mouse game. Batista is also still in shock about the revelation that Dexter been alive all these years.
One would imagine that your own experiences in law enforcement have loosely inspired or informed at least one scenario in the police or detective roles you’ve played in your career. What’s interesting to you about getting to explore that other career dramatically and/or cinematically?
I always explore the human element and the circumstances of the scene regardless of the position the character holds. Having been a real police officer, it helps me break down certain characters that I have encountered in my previous career.
You’re back in the new season of “The Bear,” as the supportive husband of Tina, who is played by your real-life wife,Liza Colón-Zayas. Describe what one of the show’s intense workplace scenes would look like if it were set in the Zayas kitchen.
I think a scene in our kitchen would become intense. Liza would just kick me out. She calls the shots in the kitchen.
What have you watched recently that you’re recommending to everyone you know?
Season 4 of “The Bear” [Hulu]. The characters are so real and unapologetically flawed. It makes every moment of the show important and captivating.
What’s your go-to “comfort watch,” the film or TV show you return to again and again?
“The West Wing” [HBO Max]. It always gives me hope of how our political system should work for the people of this country.
Channel 4 hit show Taskmaster has announced the comic line-up for its upcoming 20th series, with stars of Unforgotten, Doctor Who and A League of Their Own set to take part
22:00, 03 Jul 2025Updated 22:22, 03 Jul 2025
Taskmaster has announced the next comedians taking on the Channel 4 show(Image: Rob Parfitt / Channel 4)
Taskmaster has revealed its comedian cast for its 20th series, with ITV and BBC stars joining the upcoming line-up. Tonight’s finale of the Channel 4 show saw hosts Greg Davies and Alex Horne crown their latest winner after a nail-biting semi-final with Fatiha El-Ghorri, Jason Mantzoukas, Mathew Baynton, Rosie Ramsey and Stevie Martin.
Now, Channel 4 has revealed that Inside No. 9 star Reece Shearsmith and Unforgotten’s Sanjeev Bhaskar are among those taking part in the next series. They will be trying their best to impress Taskmaster Greg and faithful sidekick Alex in a bid to become the next champion.
The two TV stars will be joining stand-up comic Ania Magliano, A League of Their Own’s Maisie Adam and BBC Radio 4 star Phil Ellis in the series 20 line-up.
Ania Magliano, Maisie Adam, Phil Ellis, Reece Shearsmith and Sanjeev Bhaskar will be taking part in the next series of Taskmaster
Ania is best known for her appearances on Live at the Apollo, Off Menu, The Stand Up Sketch Show and for writing on Amelia Dimoldenberg’s Chicken Shop Date. She recently took on a role in the Prime Video comedy Deep Cover alongside Bryce Dallas Howard.
Meanwhile, Maisie has appeared on Celebrity Mastermind, Outsiders, The Big Fat Quiz of the Year and several series of A League of Their Own. Stand-up comic Phil hosted his own BBC Radio 4 show Phil Ellis is Trying and has appeared on The Russell Howard Hour, Drunk History UK and Roast Battle.
Reece is the star of BAFTA-winning dark comedy Inside No. 9 and has taken on roles in Good Omens, Doctor Who, Peter Kay’s Car Share and Saltburn, while Sanjeev rose to fame in sketch show Goodness Gracious Me and his sitcom The Kumars at No. 42.
Last year, Taskmaster star and creator Alex Horne was revealed to be one of Channel 4’s highest earners. According to accounts posted by his company Shakey Productions, Taskmaster earns the comedian £7.5million a year.
Earlier this week, Channel 4 quietly added the gripping crime drama The Shadow to its online catalogue, based on Melanie Raabe’s 2021 novel. In the series, Deleila Piasko stars as journalist Norah, who hopes for a fresh start in Vienna but is haunted by a prophecy that she will murder a man.
Earlier this year, Sanjeev Bhaskar opened up to The Mirror about losing out on a film role after gaining weight for the character. “The main character was a Singapore-based sleuth who was really overweight, so I got fat by eating anything and everything for an appreciable period of time,” he explained.
“But the financing on Inspector Singh Investigates fell apart, it was no longer happening, leaving me to lose a stone and a half.”
Welcome to Screen Gab, the newsletter for everyone who needs something to watch while complaining about the annoying people shooting off fireworks well past the celebratory window.
In anticipation of the long holiday weekend, we’re forgoing the usual Screen Gab format this week to give you an extended list of home viewing recommendations that our pop culture experts at The Times plan to binge — or what they think you should binge. It’s an eclectic guide of new and old favorites, comforting and under-the radar picks — and there’s cats too!
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Recommendations from the film and TV experts at The Times
Michael B. Jordan in a scene from “Sinners.”
(Warner Bros. Pictures)
“Sinners” (Max, beginning Friday)
Anybody who has yet to see “Sinners”: It’s time. Ryan Coogler’s Mississippi-set period vampire horror film stars Michael B. Jordan as twin brothers who’ve come back to their hometown to open a new juke joint together. They bring their musically gifted cousin, played by Miles Caton, along for the ride. And it’s quite a ride! Audiences were so excited to see this original film that some people traveled across state lines just to catch it in Imax 70mm — in fact, the demand was so high, the genre-bending hit received a second run at these larger-than-life Imax 70mm theaters. Even a standard format showing at my local suburban multiplex was packed on a weeknight the first time I went to see it. So while my TV is a poor substitute for a movie theater, I’ll definitely be watching “Sinners” again this weekend. And in a step toward accessibility, at-home viewers have the option to watch a version with Black American Sign Language. — Tracy Brown
Andor (Diego Luna) in Season 2 of “Andor.”
(Des Willie / Lucasfilm Ltd.)
“Andor” (Disney+)
As a kid of the original “Star Wars” generation — a wide-eyed 5-year-old when “A New Hope” opened in 1977 — I often imagined what this galaxy might look like in a more grown-up light: complex, morally messy, beyond good and evil. “Andor” comes as close as anything — maybe a little too close. As compelling as its second season is, I’ve found myself needing to take it slow: In an age of endless conflict, deepening divides and the shadows of authoritarianism, it cuts deep. The season traces the brutal machinery of empire: propaganda, collaborators, betrayal and the looming massacre of civilians on Ghorman, a peaceful planet crushed for daring to protest. At the recent nationwide “No Kings” protests, some demonstrators carried “Andor”-inspired signs that read “We are the Ghor” and “The galaxy is watching.” Finishing it on the Fourth feels right — like binge-watching as an act of civic reflection. — Josh Rottenberg
A still from Netflix’s “Trainwreck: Poop Cruise.”
(Photo from Netflix)
“Trainwreck: Poop Cruise” (Netflix)
At a time when the headlines have you wondering — “Has everything gone to s—?” — we’re reminded of a 2014 maritime disaster where that sentiment very much applied. This installment of Netflix’s “Trainwreck” docuseries tells the tale of the infamous cruise ship disaster involving an engine fire on the Carnival Triumph that left 4,000 people aboard without electricity and plumbing. You can imagine where things go from there. If you always thought cruises were a terrible idea, this documentary will be validating. It’s a wild and bizarre 55 minutes that’ll forever change the way you look at lasagna. And it’ll make you ask an existential question you never thought to consider: Would you be this dramatic about pooping in red biohazard bags if you were stranded out at sea? — Yvonne Villarreal
Matt Bomer and Nathan Lane in Hulu’s “Mid-Century Modern.”
(Chris Haston / Disney)
“Mid-Century Modern” (Hulu)
Three gay men “of a certain age,” one of whom is named Bunny and played by Nathan Lane, move in together in Palm Springs under the gimlet eye of Bunny’s mother, played by the late, great Linda Lavin? Honestly, I couldn’t explain under oath why I haven’t watched this series yet. An increasingly rare multi-cam comedy filmed in front of a live audience, it promises the comfort of nostalgia — remember when you knew it was a comedy because you could hear people laughing? — and the bittersweet pleasures of lived-in lives. And though Bunny’s claim that he and his friends Jerry (Matt Bomer) and Arthur (Nathan Lee Graham) are all in the same boat life-cycle-wise (Bomer and Graham are, respectively, 22 and 13 years younger than Lane), well, “The Golden Girls” had a similar grouping and look how well that turned out. — Mary McNamara
Nathan Fielder in Season 2 of “The Rehearsal.”
(John P. Johnson / HBO)
“The Rehearsal” (Max)
Confession time: Whenever I’m preparing for an event that requires me to speak in front of a large crowd, I write it out, practice and keep the notes handy as I’m doing said activity. That’s what makes Nathan Fielder’s “The Rehearsal” refreshing — I’m not the only one who rehearses something — though he goes to some extremes with his stunts. The replica of Alligator Lounge in Season 1, which he creates so a man named Kor Skeete can reveal his education status to his trivia buddy, was nothing short of remarkable — I remember walking past the actual bar many times when I lived in Brooklyn. And the rest of the season was just as wild; one simulation has Fielder rehearsing to be a parent with Angela, a woman who is considering motherhood, leading to many awkward moments and conversations. Season 2 is no different, focusing on plane crashes and pilot communication, which sounds serious, but like the first season, Fielder takes many interesting tangents along the way. I’ll take a cue from our awards columnist Glenn Whipp, who wrote about the show, and not spoil the conclusion, but you’ll want to come along for the ride. — Maira Garcia
Crowd Scene at Live Aid on July 8, 1985, in London.
(FG/Bauer-Griffin / Getty Images)
Live Aid (YouTube)
July 13, 1985, was a formative day of TV for millions of Gen-Xers, sincerity and irony swirling on the biggest concert stage imaginable. Phil Collins made a stink about flying transatlantically on the Concorde so he could play both in London and, later that night, in Philadelphia. But even though he had the No. 1 album in the country (“No Jacket Required”), now he seems like the least significant presence there.
Return to the show for its two high points: Queen somehow condensed the whole of its grandeur into 21 unforgettable minutes. It’s been called the greatest live set in rock history, but that actually happened earlier in the day when U2 played the hypnotic “Bad” and Bono leapt into the crowd to hug a fan in danger of getting crushed, photographers circling them like it was a peace summit. It was everything I wanted pop to be. My band (average member age: 14) learned the song the next day. — Joshua Rothkopf
“Superman and the Mole Men,” released in 1951, starred George Reeves as the superhero from Krypton.
(LMPC via Getty Images)
“Superman and the Mole Men” (VOD)
How else can Superman rewind time without flying so fast he reverses the planet’s spin? By whisking fans back to his feature film debut in 1951’s “Superman and the Mole Men,” a kitschy adventure with an unexpectedly moving moral compass. This black-and-white indie launched George Reeves’ short and tragic career as the hero from Krypton. The producers considered it a teaser for his more famous TV series, “Adventures of Superman,” which was released the next year. The plot is simple: Clark Kent and Lois Lane trek to a rural oil town to investigate a well that’s drilled all the way to the center of the Earth. Small, hairy hominids emerge — but the twist is that Superman must protect these Mole Men from the prairie mob who want to shoot the outsiders on sight. It’s rousing to watch this classic defender of truth, justice and the American way bend guns, take bullets and huff: “I’m going to give you one last chance to stop acting like Nazi stormtroopers.” — Amy Nicholson
Damson Idris as Franklin Saint, left, and DeRay Davis as Peaches in FX’s “Snowfall.”
(Ray Mickshaw / FX)
“Snowfall” (FX on Hulu)
The race car epic “F1” is as hot as burning rubber at the box office, and is expected to bring in large crowds over the Fourth of July weekend as it re-establishes Brad Pitt as a top movie star. Pitt is joined in the winner’s circle by Damson Idris, who plays rookie driver Joshua Pearce. Idris’ star turn is a sharp departure from his portrayal of Franklin Saint, a ruthless drug kingpin in “Snowfall,” the FX drama streaming on Hulu about the rise of crack cocaine in South Los Angeles during the ‘80s. The series was one of the most popular shows in FX history, and was a vivid showcase for Idris, as Saint evolved from ambitious, charming entrepreneur to lethal thug. Although he was born in Peckham, London, Idris was cast in “Snowfall” by co-creator John Singleton, who believed that he could convincingly portray the demeanor of a youth growing up in the rough streets of South Los Angeles. When “Snowfall” completed its six-season run in 2023, the actor said in a Times interview that he was “obviously focused on movies. I want people to see me on the big screen.” — Greg Braxton
Emilia Schule stars as the titular French queen in “Marie Antoinette” on PBS.
(Caroline Dubois / Capa Drama / Canal Plus)
‘Marie Antoinette’ (PBS.org)
History’s punching bag and France’s last queen, Marie Antoinette, is reimagined as a wily, independent thinker in this inventive, lush and revisionist drama. Season 1 of “Marie Antoinette” opens in 1770, when at 14, she’s married to Louis Auguste, the Dauphin who later became King Louis XVI. The beauty of France and opulence of Versailles play a starring role though out the series, as does actor Emilia Schüle, who masterfully portrays the queen as she learns how to deal with the pressures of her role.
Released earlier this year, Season 2 finds the royal couple at the height of power but on the precipice of danger when France drops into alarming debt, the royal’s political enemies launch a misinformation war against the crown (thus the fabricated “Let Them Eat Cake!” line) and the starving masses are ready to revolt. Antoinette becomes a de facto leader when her meek husband crumbles under pressure. It’s a must for those who love a fresh takes on oft-trod chapters of history. — Lorraine Ali
A scene from “Nyaight of the Living Cat.”
(Crunchyroll)
“Nyaight of the Living Cat” (Crunchyroll, starting Sunday)
If you’ve ever watched “The Last of Us” or “The Walking Dead” and thought “this would be so much better with cats,” “Nyaight of the Living Cat” is the show for you. The anime series is set in a world where a mysterious virus turns humans into cats after they come into contact with afflicted felines, making places like cat cafés the ultimate danger zones. I can’t say I’ve ever wondered about a cat version of a zombie apocalypse, but now that this show is on my radar, I can’t wait for its premiere. And considering “nya” is Japanese for “meow,” I am hoping the show will lean into cat-related puns as it traces the fallout of this catastrophic viral outbreak. — T.B.
Philip Michael Thomas as Det. Ricardo “Rico” Tubbs and Don Johnson as Det. James “Sonny” Crockett in a promo shot for “Miami Vice.”
(NBC / NBCUniversal via Getty Images)
“Miami Vice” (VOD)
Legend has it that NBC programming exec Brandon Tartikoff scrawled “MTV Cops” on a cocktail napkin, setting the template for what became “Miami Vice.” It’s not true, but it’s a good story. Watch the two-hour pilot episode and wait for the moment, near the end, when Phil Collins’ “In the Air Tonight” comes on while Crockett (Don Johnson) and Tubbs (Philip Michael Thomas) are driving the black Ferrari Daytona Spyder en route to take down a Colombian drug lord. The lighting, the editing, the integration of images and the music … yeah, it’s “MTV Cops.” But it’s “MTV Cops” made by Michael Mann, who, as executive producer, signed off on every aspect of the series in its first two seasons, using the show as a sandbox to hone techniques and themes that would show up in his 1986 crime thriller “Manhunter” and “Heat” and pretty much everything else he has done. My son once asked me what the Eighties were like. I played him Jan Hammer’s synth-laden “Miami Vice” theme. And, yes, with the pastels, the Wayfarers and contemporary music, it’s a Reagan-era time capsule. But those first two seasons are really timeless — thrilling, ambitious, outrageous to this day. Watch the pilot and then the two-parter “Calderone’s Return.” You’ll be hooked. — Glenn Whipp
Jason Schwartzman, left, Ted Danson, Zach Galifianakis in “Bored to Death.”
(HBO)
“Bored to Death” (Max)
Before streaming ate the world, I could measure my love for a series by whether I bought the seasons on video, and I am happy to say I am the proud owner of all three seasons of this excellent, quirky, nonjudgmental 2009 comedy, starring Jason Schwartzman, Zach Galifianakis and Ted Danson. Set against, of all things, the New York literary world, it features Schwartzman as writer Jonathan Ames — also the name of the series’ creator, adapting his own “long short story” into this fairy tale of Brooklyn — who, suffering after a breakup, fueled by an excess of Raymond Chandler, white wine and pot and unable to finish a second novel, advertises himself as an “unlicensed private detective.” Adventures follow, taking the very formal, very serious Jonathan into odd corners of the city and odder corners of humanity. With Galifianakis as best friend Ray, an angry comic book artist, and Danson as other best friend George, a hedonistic magazine publisher (and later restaurateur, publishing being even then what it is), rounding out television’s greatest three-way bromance. — Robert Lloyd
Welcome to Screen Gab, the newsletter for everyone who can’t stand the heat outside, but can tolerate it onscreen.
The eerie and bizarre story of John Orr, a Southern California arson investigator who authorities say moonlighted as a serial arsonist suspected of setting some 2,000 fires in the 1980s and 1990s, has been chronicled in the 2021 podcast “Firebug” and, earlier this year, received the deep-dive treatment from L.A. Times writer Christopher Goffard. Now, there’s a new Apple TV+ series, “Smoke,” loosely inspired by the true crime case. Author and screenwriter Dennis Lehane, who created the new drama, stopped by Guest Spot to discuss it.
Also in this week’s Screen Gab, TV critic Robert Lloyd reminds us that Bravo used to dabble in scripted programming, recommending “Odd Mom Out,” the short-lived comedy about a stay-at-home mother and her experiences navigating the bizarre and outrageous world of Manhattan’s elite; and film reporter Josh Rottenberg suggests finding time to watch a hybrid documentary-biopic film about the ‘90s indie band Pavement.
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Must-read stories you might have missed
Jerry Bruckheimer, whose new movie “F1” hits screens this week, poses for a portrait in his Santa Monica office.
‘Countdown’ makes Los Angeles a prominent character — and it’s in danger: The Prime Video action series follows a task force consisting of members from various law enforcement agencies that are brought together after the murder of a Department of Homeland Security agent. But it’s Los Angeles that is in serious danger.
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Recommendations from the film and TV experts at The Times
Jill Kargman as Jill and Andy Buckley as Andy in “Odd Mom Out.”
(Barbara Nitke / Bravo )
“Odd Mom Out” (Peacock)
In my review of the new season of “The Bear” this week, I neglected to mention Abby Elliott, who plays Sugar, the level-headed sister of Jeremy Allen White’s Carmy (or to mention Sugar’s new baby, the most adorable infant I have ever seen on screen); ironically, it was because, laboring to express how great she is in it, I had set that bit aside — as it turned out, permanently. Happily, I was already planning to use this space to recommend her earlier series, Jill Kargman’s very funny “Odd Mom Out,” Bravo’s brief experiment (2015-17) in scripted comedy, giving me this chance to self-correct. In “Mom,” whose three seasons stream on Peacock, Kargman, a very talented amateur, stars as a version of herself in a series based on her 2007 book “Momzillas,” about competitive parenting among Upper East Side New Yorkers, a war her boho-punk mother of three character declines to enter. (She is what most of us would call rich, but not obscenely so, and has good values.) Elliott, in a whimsical comic turn, plays Brooke, the pregnant and thin wife (later ex-wife) of her brother-in-law, whose charities include providing “prophylactic gastric bypasses for at-risk kids with morbidly obese parents” and sending bouncy castles to Africa. — Robert Lloyd
Stephen Malkmus in “Pavements.”
(Utopia)
“Pavements” (available on various VOD platforms)
If you were young and vaguely disaffected in the ’90s, Pavement was either your favorite band or the band your favorite band wanted to be — a group whose slanted (and enchanted) songs defined slacker cool, mixing lo-fi chaos, shaggy pop hooks and a shrugging disinterest in “career, career, career,” as they put it in their semi-hit “Cut Your Hair.” So it’s only fitting that Alex Ross Perry’s drolly funny anti-rock-doc ditches the usual mythology-building formula in favor of something far weirder. Blending real tour footage, a faux biopic, a tongue-in-cheek jukebox musical and a museum filled with half-fake relics, the film is part tribute, part Gen X time capsule, part absurdist prank. “Stranger Things” star Joe Keery is the film’s unexpected MVP, playing himself with deadpan commitment as he fixates on nailing lead singer Stephen Malkmus’ Stockton accent — right down to requesting a photo of his tongue for research. By the end, “Pavements” becomes both a joke about the band’s legacy and a surprisingly sincere celebration of it. — Josh Rottenberg
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Taron Egerton in Apple TV+’s “Smoke.”
(Apple TV+)
He spent his days as a fire captain and arson investigator in Southern California, but authorities say John Orr lived a secret life as a prolific arsonist responsible for a string of fires that terrorized the region in the ‘80s and ‘90s. An unpublished novel he wrote, “Points of Origin,” detailed an arson spree that mirrored real-life incidents and helped authorities secure enough evidence to arrest him. The firefighting veteran was eventually convicted on 20 counts of arson and 4 counts of murder and is serving life in prison. Orr continues to maintain his innocence. This true story, chronicled in the 2021 podcast “Firebug,” is the basis for Apple TV+’s new nine-episode crime drama “Smoke.” Created by Dennis Lehane (“Black Bird”), the series follows arson investigator Dave Gudsen (Taron Egerton) and Detective Michelle Calderone (Jurnee Smollett) as they pursue two serial arsonists. The first two episodes are available to stream, with the remaining seven releasing weekly every Friday until Aug. 15. Lehane stopped by Guest Spot to discuss the show’s gnarly fire sequences and getting Radiohead frontman Thom Yorke to provide the show’s theme song. — Yvonne Villarreal
You’ve authored several well-known novels, including “Gone, Baby, Gone,” “Mystic River” and “Shutter Island,” and you’re familiar with exploring moral ambiguity. What stood out to you when you first listened to “Firebug”? And what about it made it a story you wanted to tell for the screen?
What really stood out for me with “Firebug” was John Orr’s myopic duality. He clung to the identity of a hero arson investigator even as he was running around lighting up Glendale and surrounding areas, resulting in several deaths. On top of that, he was writing a book about an arson investigator chasing a serial arsonist. And the book was quite bad. I found that kinda delicious. I was also intrigued by his methods for setting the fires and was taken by the fact that he’d once nearly died in a fire when he mistook his reflection for another firefighter and ran deeper into a burning house.
Everything else in the show is pure fiction. I didn’t want to tell a story about John Orr in 1980s California; I wanted to tell a story about our culture now, about people who feel so unmoored they’d rather cling to the fiction of themselves over the fact.
Tell me about the planning and work that went into crafting the fire sequences in the series — how you decided when to use special effects or real fire, and the precautions that needed to be in place for the latter. And is there a fire sequence in the series that stands out for you?
The moments that stand out most are the first fire — Dave’s dream — and the last — the sawmill fire. The first of these was 100% real. It was shot on a burn stage with pipes blasting flame all around the room as Taron — not a stunt man — walked through it. It looks so impressive because a) we planned really hard; and b) Sam McCurdy, our director of photography, is a painter with light and reflection. Our sawmill fire and the subsequent car ride thru the burning forest was the opposite — it was predominantly CGI, but we’d realized by then that the key was to shoot as much real fire as we could (which, in this case, wasn’t terribly much), so the CGI wizards had real flame to compare their work to.
How did you get Thom Yorke to write a song (“Dialing In”) for the show’s theme?
Our music supervisor, Mary Ramos, had heard that Thom was a fan of “Black Bird” [Lehane’s previous Apple TV+ series that also starred Egerton and featured much of the same creative team]. We reached out to see if he had any interest in writing a song for our credit sequence. And he actually called us back. He and I spoke about the underlying themes of the show and he read a bunch of the scripts. Then he went off and wrote the song. He sent it back to us and someone, I think it was Mary, said, “Now you have to give him notes.” And I was like, Um … no, no, I don’t. He’s Thom Yorke. Giving him notes on music would be like telling Scorsese where to put the camera. I passed along this note:”Thank you.”
What have you watched recently that you’re recommending to everyone you know? (Please explain)
“Dept. Q” [Netflix]. Scott Frank, as always, crushes it as both a writer and a director. It’s got one of the best pilots I’ve ever seen, and the cast, led by Matthew Goode and Kate Dickie, is impeccable. It’s so rich in character and atmosphere that I wanted to fly to Edinburgh to simply hang out with every character after I finished watching.
What’s your go-to comfort watch, the film or TV show you return to again and again? (Please explain)
“Midnight Run” [Netflix] is my cinematic chicken soup for the soul. It’s smart, hilarious, infinitely quotable, sports one of the greatest casts ever assembled, and it’s non-stop, breakneck fun from the first shot to the last. I’ve probably seen it 30 times.
Welcome to Screen Gab, the newsletter for everyone who needs a break from politicians’ interpretations of the Bible.
The fifth season of “The Chosen,” the faith-based TV series that has found success releasing select seasons in theaters, has begun its three-week rollout on Prime Video. George Xanthis, who plays John the Apostle, stopped by Guest Spot to discuss the show.
Also in this week’s Screen Gab, our streaming recommendations include a documentary that delves into the origin story of New Orleans’ first Black Mardi Gras krewe, and the latest installment in the travelogue adventures of actors/BFFs Ewan McGregor and Charley Boorman, known for their motorcycle journeys in “Long Way Round” and “Long Way Down.” This time, the pair is riding from McGregor’s home in Scotland to Boorman’s in England.
ICYMI
Must-read stories you might have missed
Showrunners R. Scott Gemmill (“The Pitt”), Lauren LeFranc (“The Penguin”), Craig Mazin (“The Last of Us”), Debora Cahn (“The Diplomat”), Seth Rogen (“The Studio”) and Jen Statsky (“Hacks”) pose for The Envelope’s Writers Emmy Roundtable.
Recommendations from the film and TV experts at The Times
Randolph Davis in a scene from “A King Like Me.”
(Netflix)
“A King Like Me” (Netflix)
Matthew O. Henderson has made a lively, lovely documentary about the Zulu Social Aid and Pleasure Club of New Orleans, preeminent among the krewes that parade on Mardis Gras. (You will know them by the painted coconuts they toss, their makeup and grass skirts.) It’s a history, a celebration and a disquisition, whose interests range from the benevolent societies that provided a form of neighborhood insurance, to the electioneering of men hoping to become that year’s king — Louis Armstrong served in 1949 — to surviving racism, Katrina and COVID (or not). The question is raised of whether the Zulus, Black men who have paraded in a sort of altered blackface and “African” dress for more than 100 years, should give up the long-controversial makeup or preserve it as a generations-old tradition; Henderson doesn’t take a side, but lets his subjects have their nuanced say. And as any film about New Orleans must, it’s full of music and food, hanging out and dancing in the streets. — Robert Lloyd
Charley Boorman, left, and Ewan McGregor in AppleTV+’s “Long Way Home.”
(Apple TV+)
“Long Way Home” (AppleTV+)
When “Outlander” debuted on Starz in August 2014, many Americans were as dazzled by Scotland, with its looming fells, pristine lakes and lyrical accents as they were by the time traveling love story. Since then, Scotland has become the new England, at least on television. Streamers are bursting with all manner of Scottish series, from the classics (“Rebus,” the 2000s original available on BritBox and the remake, on ViaPlay) to the brand new (“Dept. Q” on Netflix). In between are shows too numerous and diverse to name but given my penchant for murder mysteries, it is not surprising that my favorites include: “Case Histories” (Acorn TV, Tubi), “Shetland” (BritBox), “The Loch” (BritBox), “Karen Pirie” (BritBox) and “Annika” (PBS) — all of which offer breathtaking scenery, ancient stone edifices and, most important, a glowering, windswept alternative to Los Angeles, particularly in summer That’s exactly what I was looking for when I tuned into “Long Way Home” on Apple TV+.
The fourth installment of Ewan McGregor and Charley Boorman’s motorcycle adventures around the world begins at McGregor’s Scottish home, winds its way through Scandinavia into the Arctic, thence through the Baltic states and through continental Europe before finishing up back in Scotland. Having no European vacation plans of my own, it seemed a fine visual substitute; McGregor is always a charming screen presence, as is Boorman. It’s been five years since they joined forces for “Long Way Down,” 20 since their first trip in “Long Way Round,” and watching two 50-somethings hitch themselves onto vintage bikes to embark on a 19,000-mile journey to the Arctic and back is pretty inspiring — even if one of them has a name and face that guarantees a certain starstruck quality from even citizens of rural Finland and both have a multiperson camera crew/backup team should anything go seriously wrong.
Unlike other travelogues, this series does not linger over cuisine, haute or otherwise (there is a continual quest for coffee), aiming instead for a scattering of local crafts, traditions and events. The ever-shifting landscape is, in fact, amazingly beautiful, the people they meet along the way are often quite fascinating. The best parts, of course, are the unexpected bad weather, an unexpected road closure, an impromptu concertand mosquitoes. The bikes grumble and occasionally break down, as do the 50-somethings, which is reassuring to us ordinary folk who get to see the glory of all without having to straddle a motorcycle for two months. At 10 episodes that average 40 minutes, “Long Way Home” covers a lot of ground in a way that is both slow and speedy. My only complaint? Not nearly enough Scotland. — Mary McNamara
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
George Xanthis, left, as John and Jonathan Roumie as Jesus in “The Chosen: Last Supper.”
(Photo from Prime Video)
Season 5 of “The Chosen,” the TV series about the life of Jesus that became a surprise hit, already played in movie theaters earlier this year, but fans looking for ways to fill prime rest hours can now watch all eight episodes at home. Created by Dallas Jenkins, the faith-based drama has attracted a devoted audience since its premiere in 2017 with its look at Jesus’ life and teachings — and has found success leaning into an unconventional distribution strategy, with theatrical releases of Seasons 3 through 5 that have made millions at the box office. The first two episodes of the fifth season, which is titled “Last Supper” and chronicles the events of Holy Week, are available to stream on Prime Video, with the next three episodes dropping Sunday, before concluding with another three-episode release on June 29. Australian actor George Xanthis, who plays John the Apostle, stopped by Guest Spot via email to talk about the show’s success and the Pixar film that’s become scripture to him. — Yvonne Villarreal
“The Chosen” is striking a chord with an underserved audience often overlooked by major Hollywood studios. As an actor, did you feel any stigma about venturing into faith-based content? What has the experience of making it — and the response to it — illuminated for you?
I’ll start by saying that upon reading the first episode and finding out I was playing a “fisherman” by the name of “John,” I actually had no idea the project was faith-based! I think that tells you where this series has found success — it doesn’t read or play like something that is strictly faith-based, or something that is attempting to convert you. It’s a show about the real people that would have lived through first century Judea, how they battled against crippling Roman occupation and how they found refuge in a peaceful, love-preaching Rabbi. I guess I didn’t have time to feel any stigma, and before I knew it, we were a megahit all around the globe!
For the audience, there’s often a blurring of lines between performer and role. That would seem to be an interesting dynamic when portraying a figure of faith — how do you grapple with that push and pull of serving as a conduit for someone’s relationship to their faith while maintaining your grip on your function as an actor?
The show’s success has come from taking these “saints” in the apostles and bringing them away from the paintings and iconography we recognize and telling an origin story that audiences can relate to. At the end of the day, I am not necessarily depicting a saint as a figure of faith, but rather, I am a fisherman from Capernaum with a hot temperament learning to control his impulses with the lessons of love and compassion his Rabbi is teaching him. It’s important to respect people’s identification with these figures in whatever way they want to, but for me the best feedback I’ve received from fans about my portrayal of John has been how they see parts of themselves in John, when he makes mistakes, when he learns from his mistakes, when he makes them AGAIN and so on.
You’ve played real-life figures like George Stephanopoulos in “Impeachment: American Crime Story” and John Travolta in an Olivia Newton-John TV biopic. How does your approach and your mission with those known figures compare to what you’re striving to achieve with your portrayal of John the Apostle?
I started out in this industry in comedy, both stand-up and sketch comedy. A large part of my comedic success has come from doing impressions and impersonating notable people. When I got the roles of John Travolta and George Stephanopoulos, my process was the same as any impression — find the voice, find the body, mold myself into the people based on what I could see of them and mimic them as well as I could. With John [the Apostle], I’m depicting a real person but I don’t have the luxury of watching videos of him. So instead, the character arc helps govern my character building. An eager-to-please “Son of Thunder” has a short temper, sometimes waning patience but at the center of him is a compassionate soul who always looks out for others he cares about. It means my palate to play with is quite broad, and John’s temperament for any given moment usually exists somewhere between these extremes of “thunder” and “love.”
What have you watched recently that you’re recommending to everyone you know?
The most recent series I finished was “Peaky Blinders” (Netflix). Being an Australian and part of the Commonwealth, British-based television holds a special place in my heart, and I loved watching Birmingham come to life through the brutal eyes of Thomas Shelby. It’s a bucket list item of mine to be in a British film or series watching so much of it growing up. Here’s to hoping!
What’s your go-to comfort watch, the film or TV show you return to again and again?
There are so many, but becoming a new father, I realized just how much I have watched “Toy Story” (Disney+) and how much time I still have for that film. I’ll still watch it on planes as I make the 14-hour commute between Australia and the U.S. when there’s nothing else to watch. Fun fact: I can quote the movie word-for-word from beginning to end. Pick a moment, and I can carry on the movie verbatim — voices, music, sound effects and all!
