The Last of Us Season 2 just stops, abruptly and somewhat confusingly / Harry Potter finds its Harry, Ron and Hermione / Byron Allen to again fill post-Stephen Colbert slot
PLUS: Nathan Fielder: "I had never had a desire to be a pilot, ever."
The Last of Us Season 2 just stops, abruptly and somewhat confusingly
"In a way, referring to this as the Season Two finale of The Last of Us feels like a misnomer," says Alan Sepinwall. "Yes, it is the final installment that we will be getting this year — or possibly, according to co-creator Neil Druckmann, for more than another year. But it in no way feels like a conclusion to anything, other than this period where Ellie was the series’ primary point-of-view character. There’s a silly cliffhanger where it seems as if Abby has shot and killed Ellie — a classic case of what TV writers refer to as ‘schmuckbait,’ where only someone who knows nothing about storytelling or television would believe what just seemed to happen — and then the story rewinds to the day Ellie and Dina arrived in Seattle, only now we’re following Abby as a member of WLF. The season doesn’t so much end as it just stops, abruptly and somewhat confusingly. This is the inherent risk of splitting your source material across multiple films or TV seasons. When it works, you get the two recent Dune movies, where it felt like Denis Villeneuve needed that much time to properly cover the important material from the book. When it doesn’t, like with the end of the original Hunger Games movie series, it can feel like a naked cash grab, padded out to the point of pleasing only the most hardcore fans. (And not even them sometimes.) At only seven episodes compared to Season One’s nine, this round of The Last of Us doesn’t so much feel padded as incomplete. Yes, serialized dramas are built for stories to bleed from one season into the next. But usually there’s some sense of a clear character and/or story arc for an individual season — whether it’s fully resolved within that season, or comes to an important turning point at the end. This is not that. This is four episodes (minus the opening chapters and the Joel flashback) of Ellie seeking revenge against Abby, and various people suggesting why it might be a bad idea, all leading to a literal bang and then the perspective shift. It feels like we’re getting only half the story, because we are, with no way of knowing how long it will take for the other half to arrive. It’s a deeply unsatisfying way to begin an extended hiatus, regardless of whatever issues may have existed previously."
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Despite some effectively brutal twists, the show struggles to tie this disparate run of episodes together: "Cliffhangers are a TV staple," says Caroline Siede. "Who killed J.R.? How will Picard escape the Borg? Who will Negan smash with his bat? The difference is TV used to operate on a reliable schedule. When the first season of Lost ended with Jack and Locke staring down a hatch, we knew we only had to wait four months to find out what was inside it. And once we did, we’d get 24 episodes to unpack where the story goes from there.
Things are different now, however, in an era where we’re lucky to get a new seven-episode season of a prestige genre show every two years. And that production reality was on my mind as the last scene of The Last Of Us’ second-season finale finally revealed the structural gambit that gamers have long known was coming: The reason the show has made a point of labeling Ellie’s time in Seattle is because it’s now going to flashback and revisit those same three days from Abby’s perspective too—building to the moment where she’s holding Ellie at gunpoint on Day Three. The question is: Are we still going to care about all the emotional minutiae of this season in two years?"
Season 2 abandoned the self-contained episodes that made Season 1 so special: "Gone are the self-contained episodes that helped build out the show’s world as more than just two people," says Nadira Goffe. "And it’s not as though this season doesn’t present some good candidates for the self-standing-episode treatment. Take, for example, Isaac, played by the incomparable Jeffrey Wright (who also voiced the character in the game). We first meet Isaac in Episode 4, 'Day One,' with one of the most ruthless character introductions thus far. The episode starts with a flashback to 2018 Seattle, where Isaac is a sergeant for FEDRA, the federal disaster relief agency turned authoritarian government. Within minutes of meeting Isaac, who is disgusted with how FEDRA has abused and disenfranchised the citizenry it’s supposed to be helping, we watch as he defects to the opposition in dramatic fashion, locking his subordinates inside a transport truck after casually tossing in a pair of grenades. Later in the episode, we see Isaac as the cold-blooded leader of that now-dominant resistance group, torturing a captive member of its enemy, a cult known as the Seraphites, for information on where it will strike next. I could spend hours with Wright’s Isaac—in the episode, he delivers a deliciously twisted monologue about wanting a Mauviel pan 'with lid' but having spent almost his entire life being too poor to afford one, a speech he concludes by using a hot Mauviel pan to sear the hand of the Seraphite—but would gladly take just one."
The Last of Us viewers spot a subtle Game of Thrones reference in the Season 2 finale
Kaitlyn Dever on Season 3: "Just get ready for what’s to come because it’s going to be crazier"
Craig Mazin "This show is going to be a different show every season": On ending Season 2 on a cliffhanger, Mazin says: “We considered everything. Maybe we should just interlace the stories (of Ellie and Abby)? I just remember saying, ‘Isn’t (switching perspectives) part of the genetics of how this story functions?’ It’s just part of the genetics. Now what it means is we have to take risks as a television show, and HBO is backing us taking risks. But then again, we just did kill Pedro Pascal. Like (HBO) understands that this show is going to be a different show every season, which is a tricky thing to do when you’re a hit show. You keep asking people like, ‘I know you love this, we’re taking it away and giving you this now.'”
Bella Ramsey expects to have a smaller role in Season 3: “I haven’t seen any scripts, but yes, I do expect that, says Ramsey. “I think that I’m going to be there, but not a whole bunch. We’ve had conversations about that. I sort of have a rough idea of what it’s going to be, but I can’t tell you.”
The Last of Us Season 2 finale was down 30% from the Season 2 premiere and down 55% from the Season 1 finale
HBO's Harry Potter series finds its Harry, Ron and Hermione
Dominic McLaughlin will play the role of Harry Potter, Arabella Stanton will play Hermione Granger and Alastair Stout has been cast as Ron Weasley, taking over the roles respectively played by Daniel Radcliffe, Emma Watson and Rupert Grint in the Harry Potter movie franchise. “After an extraordinary search led by casting directors Lucy Bevan and Emily Brockmann, we are delighted to announce we have found our Harry, Hermione, and Ron. The talent of these three unique actors is wonderful to behold, and we cannot wait for the world to witness their magic together onscreen. We would like to thank all the tens of thousands of children who auditioned. It’s been a real pleasure to discover the plethora of young talent out there,” said showrunner Francesca Gardiner and executive producer and director Mark Mylod in a statement.
CBS taps Comics Unleashed with Byron Allen to again take over the post-Stephen Colbert timeslot, succeeding After Midnight
The syndicated Comics Unleashed with Byron Allen, which followed The Late Show with Stephen Colbert in fall 2023 and early 2024 to temporarily fill the timeslot left by The Late Late Show with James Corden, will take over the 12:37 a.m. timeslot again starting on Monday, Sept. 22. Comics Unleashed succeeds Taylor Tomlinson's After Midnight, which is ending June 12. Comics Unleashed will air two back to back episodes. As The Hollywood Reporter's Tony Maglio notes, "CBS said it will no longer program the time slot, though it was unclear if the hour would be kicked back to local stations — it was not." Byron Allen, the media mogul who kicked off his entertainment career in 1979 as an 18-year-old standup comic on Johnny Carson's Tonight Show, said of his show: “Comics Unleashed is a true passion for me, simply because this world can never have enough laughter. I created this show so that the best comedians can all come together and help bring non-stop laughter.”
Hoda Kotb to reunite with Jenna Bush Hager on Today's fourth hour
Kotb will return to Today for the first time since leaving in January to guest co-host Wednesday's Today with Jenna & Friends. Kotb plans to share details of the new venture, which also will launch on Wednesday.
Nathan Fielder: "I had never had a desire to be a pilot, ever"
"It’s totally scary to me," Fielder told Vulture last week in discussing The Rehearsal's Season 2 finale. "You also realize when you do start flying that a lot of people who get into this are people who love cars, and they ride motorcycles, and they know all about engines. I didn’t know any of that stuff. I didn’t even know what an engine was, really. I knew it produced power, but I didn’t even understand what the ‘power’ is. I put oil in my car, but I didn’t know why I needed that, really. I’m, like, so dumb with all of this stuff, but I realized I had to learn all of that. So when I had this idea of this recurring issue of the communication between the two pilots and how it leads to a lot of crashes, I was like, I only know about aviation from what I’ve read, but I really want to understand what it actually feels like to be a pilot." Fielder added that he 'was immediately insecure that I’d be able to do this because my fear would be that pilots would think this is only a joke or that they’re being made fun of in some way. Not only did I want to understand the experience of being a pilot, but I thought that being a pilot would disarm some of them in a conversation; I could be like, 'I’m a pilot too, and here’s my experience, and I do understand some of these things.' I actually talked throughout the season to most of the pilots, and we’d talk as pilots more as it went on. But in the edit, we ended up deciding that delaying that idea until the end was a better storytelling device. So in the last episode, we say ‘Two Years Earlier’ because I actually did start that at the very beginning of the process. Basically, around January 2023, I had this idea, and before I even talked to HBO about the concept, I started doing some flight training. Then a couple months in I was like, 'Here’s the idea.' I was filming it, so I showed them some footage of me doing it. It’s interesting, because I am trying my best; I’m truly, truly just trying my best to do this in as quick of a time as possible, and I was struggling! It’s crazy what pilots have to go through. It’s really hard. And the knowledge stuff you have to complete — which we don’t even get into in the show — is so immense to get these licenses...I set a goal in my head of getting private pilot, instrument, and commercial. I liked the sound of that — 'commercial.' It sounds impressive, even though a lot of people don’t know that 'commercial pilot' doesn’t mean you can fly a big plane; it just means you can be paid to fly."
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The Rehearsal returned to its core principal with the Season 2 finale: "The brilliant finale of The Rehearsal works like the prestige of a magic trick, when all the smoke and mirrors fall away and we return to the core principle of the show itself, which is that anything is possible with diligence and practice," says Scott Tobias. "Throughout the series’ run, when Fielder says lines like 'I’ve always believed that if you rehearse long enough and hard enough, nothing will be left to chance,' it’s been easy to understand them as ironic. After all, the environments he’s creating for these rehearsed scenarios are hardly scientific: No matter how much work goes into re-creating, say, a cramped San Jose apartment circa 2011 on a soundstage, there’s nothing remotely authentic about the actors, cameras, and production crew that’s bringing this place to life. The elevated, reality-TV-level artifice of Fielder’s shows has often been the funniest thing about them, but it’s also a natural obstacle for believing anything serious he wants to say." Tobias adds: "The Rehearsal may not seem a likely candidate for uplifting, inspirational television, but that has been Fielder’s hidden agenda all season. The thing that seems to bother him most about the cockpit-communication issue is that it’s unforgiving of human vulnerability, which can be as figuratively destructive in everyday life as it is literally destructive on airline flights."
What this season argued, in its strange, hilarious way, was that the human desire to avoid discomfort is narcotically powerful, even dangerous: "This focus on avoidance is where the personal story line — and boy, we need to get into this — connects, I think," says James Poniewozik in a conversatiuon with The New York Times colleague Alyssa Wilkinson. "The final episodes take a turn, as Fielder (all together: or at least his character!) faces the suggestion that he might be neurodivergent. (He notes that The Rehearsal has resonated with people on the spectrum, and he has said he’s researched Asperger’s syndrome as part of his work.) In the end, he chooses not to pursue an answer, continues flying and concludes that if you’re in the cockpit, 'you must be fine.' It’s an old move of Fielder’s going back to Nathan for You, to portray his character as having blind spots as much as his subjects do. But I don’t think he’s ever done it quite so poignantly. After undertaking a yearslong project on the lure of denial, he still can’t listen to his internal co-pilot." Wilkinson adds: "From the very start of the show, I found myself thinking it was sort of a dramatization, or maybe unpacking, of two mental experiences that can be unsettling. One is dissociation, the feeling that everything around you is unreal, and you’re disconnected from it. The other is Asperger’s, which for some can manifest as the feeling of always observing the world rather than being part of it. The 'rehearsal' impulse seems like a literalist way to cope with those sensations: replaying and trying out social situations in the hopes of navigating them properly. But it has also felt like a way for Fielder — or his character, anyhow — to actually have 'normal' experiences that seem mysterious and out of reach."
Season 2's finale seemed like a response to criticism of Season 1: "Fielder began Season 2 by framing his mission as an altruistic exercise, intended to help the people who drive and use air travel. (Judging by recent headlines, it seems like they need it.)," says Alison Herman. "The finale makes clear this retooled rehearsal practice, just like the original, is first and foremost about Fielder — and not just in the sense that Fielder, like everyone, has his issues with saying what he feels. In fact, it’s one of precious few times The Rehearsal has hinted that the events of Season 1, including a disastrous experiment in simulated parenthood, have weighed on the protagonist. What if Fielder is so disturbed by his own dysfunction, and outside observers’ attempt to taxonomize it, that disproving their analysis drives him to increasingly over-the-top acts of one-upsmanship? Could an irredeemable loner doomed to a life peering from the outside in do this?"
The Rehearsal began as an attempt to improve aviation safety, but slowly morphs into a meditation on the sincerity of the comedian: "Nathan Fielder is a character," says Lindsay Traves. “Yes, he’s a real person and a comedian, but like his predecessors in Rowan Atkinson, early Stephen Colbert, and Larry David, Fielder has created a character so deep into the bit that it’s nearly impossible to know who Fielder would be, say, sitting across from you having a morning coffee. It’s something he examines throughout this season, beginning on a note about how he is viewed as a clown, and later in the penultimate episode of this season remembering how even on talk shows and in interviews, he is doing a bit or playing a character." Traves adds: "In his finale, his copilot calls him an actor, and Fielder corrects him that he is an actor and a pilot, presumably acting as a pilot in the current circumstance. Most of us probably won’t see the real Nathan Fielder, at least not while he is crafting this kind of media, but for now, his latest stunt has perhaps given us the longest glimpse at the man behind the mask."
The Rehearsal revels in those productive contradictions: "While Fielder insists on making perfect reproductions of various physical environments, his scenarios are in other ways designed to shake the subject out of any possible immersion," says Lili Loofbourow. "Getting waterboarded (milkboarded?) by a giant doll’s breast milk seems unlikely to help Fielder experience the close relationship heroic pilot Chesley 'Sully' Sullenberger had with his mother. But that silly sequence wasn’t a signal meant to undermine the project’s more serious aims. It was a joke version of something he was genuinely attempting: trying to understand what it’s like to be a pilot. Fielder, who facetiously leans into comparisons to Willy Wonka, offers his subjects the opposite of a chocolate factory. The fantasies he indulges are decidedly pedestrian. Instead of an escapist wonderland, he uses the magic of his production to make exact copies of people’s homes, transforming their lives into sets. The expense alone makes it outrageous. Who would spend this much money on such a thing? Why? One of Fielder’s answers is: It’s funny!"
This season’s experiments have been enthralling, illuminating, even occasionally beautiful: "The pilot/co-pilot dynamic is useful to Fielder because it is, at bottom, a relationship," says Phillip Maciak. "This is the point. Sometimes in obvious ways and sometimes in surprising ways, every ‘rehearsal’ boils down to relationship problems, usually outside the cockpit. There’s the young co-pilot who has a hard time being assertive and ends up having a long-avoided confrontation with his girlfriend in a simulated cockpit. There’s the couple who’ve cloned their dog but don’t feel like they ‘recognize’ their old dog in its replicas. Fielder hires a team of actors to study the couple and try to raise the clone in a simulation of the original dog’s puppyhood, only for the scenes to all devolve into arguments about whether or not to have children. Then there’s Colin, another young co-pilot who is too painfully shy to have a functioning love life. Fielder has a crowd of actors surround Colin everywhere he goes in a ‘Pack,’ mimicking and mirroring his words and behaviors in order to give him confidence. It’s a deeply stupid stunt until, every once in a while, it becomes incredibly moving."
The Season 2 finale combines several of The Rehearsal’s underlying preoccupations into a single narrative arc: "If you’ve seen the now-legendary 'Dumb Starbucks' episode of Nathan for You, Fielder’s beloved Comedy Central series, you know he’s always loved gonzo stunts, and the 737 flight is one of his best. It combines several of The Rehearsal’s underlying preoccupations into a single narrative arc," says Brian Phillips. "There’s Fielder’s slightly creepy-seeming desire to be in control. There’s his equally creepy-seeming attraction to scenarios that combine care and exploitation. And then there’s his comic determination to go to extreme lengths for seemingly ludicrous motives, 3) a determination that both sets up The Rehearsal’s main plotlines and makes its tone strangely hard to describe. What I mean by that is that the tone of the series seldom seems to emerge naturally from the action on-screen; describing what happens makes the show sound zanier than it really is. In fact, the vibe is austere. The music is dour and repetitive. The lighting is clinical. Fielder’s voice-overs are deadpan to the point of sounding pained. For long stretches, the show isn’t particularly funny, and I don’t get the sense that it’s trying to be. Rather, Fielder seems to be using the paraphernalia of comedy to put his viewers in the same position of anxious uncertainty that he and his characters constantly experience. Life is unpredictable, other people are hard to understand, and rejection hurts; these are the core human crises that The Rehearsal seemingly wants to save us from, but it has a strange way of making us feel them more intensely rather than less, as if the audience itself were another diorama to be filled with Fielder’s anxieties."
Season 2 was, somehow, even more berserk than Season 1, but it’s also more disciplined and coherent: "Acting, as he sees it, isn’t about convincing yourself but convincing other people," says Gideon Lewis-Kraus. "Fielder populates his own shows with actors because their remit is to convey feelings—a crucial part of his incessant rehearsals—without actually having them. He can experiment with his own performances without worrying they might take his responses personally. They are not, after all, regular people. They’re professionals. The object of Fielder’s rehearsals is not the nurturance of some elusive inner truth; it’s the hope that he might make his own performance of self in everyday life more convincing. He is not interested in authenticity or inner depth. He would just like to learn how better to be taken at face value." Lewis-Kraus adds: "The finale of this season, ‘My Controls,’ is one of the most astonishing, ridiculous, and sublime episodes of television I think I’ve ever seen."
The Rehearsal twists reinvents the show into something thrilling and terrifying: "It’s almost miraculous that he was able to keep his pilot skills a secret so that he could use that reveal to flip the script on our assumptions about him, shattering the notion that the host of the last five episodes was coming at the cockpit communication problem with anything less than 100-percent commitment," says Tara Bennett. "And it suddenly provides a reason why his actors agreed to go on a rehearsal flight with him as a pilot, and why an expert like John Goglia would give him the time of day outside of an initial polite conversation. With the power of that turn, Fielder reinvents the finale of The Rehearsal into something thrilling and terrifying: a genuine opportunity to prove his theories in real time and potentially change aviation-pilot training by exploiting a flight hour loophole pertaining to 737 pilots. Fielder theorizes to Goglia that if he finds a flyable 737 and passes his 737 SIM pilot training, he could potentially pilot a plane full of actors, not paid passengers, to test his rehearsal method between actual flying pilots. It’s the ultimate rehearsal exercise that, if successful, could prove to the FAA the worthiness of this hyperspecific but reasonable remedy. Watching Fielder throw himself into preparing for the rigorous training is like bearing witness to a much nerdier, but equally gripping, version of the training montage from Rocky."
Trying to suss out what’s real and what isn’t is an inevitable response to The Rehearsal, and also, by design, an impossible one: "Both as a performer and as a director, Fielder shapes his interactions with his subjects (or, if you like, targets) for maximum unease, sharpening Nathan for You’s comedy of cringe into genuine discomfort, sometimes with a splash of ethical murk," says Sam Adams. "At the end of The Rehearsal’s first season, Nathan played “pretend daddy” to a 6-year-old who seemed to develop a genuine emotional attachment to him, and Lana Love, a contestant on the second season’s airline-themed singing-competition show Wings of Voice, said she’d been duped into spending more than $5,000 traveling to and from its bogus auditions. (The show within a show’s transparently absurd name was not revealed during the early round, and Fielder kept his distance from most of the participants.) But when one episode opened with a genre-mixing medley of the top 50 contestants performing 'Amazing Grace,' several of the finalists posted videos of themselves gleefully reacting to their moment in the national spotlight, as fleeting and faintly ridiculous as it was. And Love, who sneered her way through the show’s pop-punk take on the Christian hymn’s chorus, got a glamorous headshot published in a lengthy Variety article as well."
Redditors express doubt over The Rehearsal finale after finding evidence of three flights of the same Boeing 737 over two days
CBS News’ Scott Pelley: "Journalism is under attack. Universities are under attack. Freedom of speech is under attack"
The former CBS Evening News anchor and current 60 Minutes correspondent's warning about the Trump administration — without mentioning Trump's name — were made at Wake Forest University's May 19 commencement ceremony, but it took until Memorial Day Weekend to go viral among Trump fans. “To move forward, we debate, not demonize; we discuss, not destroy. But in this moment, our sacred rule of law is under attack,” Pelley said. “Journalism is under attack. Universities are under attack. Freedom of speech is under attack. And insidious fear is reaching through our schools, our businesses, our homes, and into our private thoughts. The fear to speak, in America.”
Netflix's Little House On The Prairie reboot adds Jocko Sims, Warren Christie and Alyssa Wapanatâhk
Meegwun Fairbrother, Wren Zhawenim Gotts, Xander Cole are also boarding the Netflix Laura Ingalls Wilder adaptation. Sims and Christie will play characters from the books while Gotts, Fairbrother, Wapanatâhk and Cole will play newly created characters, members of the same extended Osage family.
How The Handmaid's Tale's series finale surprise came about
Elisabeth Moss' June seemed to be taken aback by the series finale actor, who said of their visit: “I hope viewers take away to keep hope alive when things seem impossible. Even if it seems like seeds you plant couldn’t possibly grow, plant seeds of hope anyway. You never know; they might find a way.”
Marvel's Vision casts T’Nia Miller as Jocasta
The Fall of the House of Usher and The Haunting of Bly Manor vet is expected to play the cunning and powerful Jocasta, who is driven by revenge, opposite Paul Bettany's Vision.
Dark Winds adds Isabel DeRoy-Olson and Luke Barnett
DeRoy-Olson will portray Billie Tsosie, a decisive and resourceful Navajo teenager, in a series regular role. Barnett will recur as an FBI special agent.
Amazon orders R.J. Cutler's docuseries on the inaugural Esports World Cup
The Emmy-winning documentarian's five-part docuseries, premiering June 6, will document the first-ever Esports World Cup. “Esports World Cup: Level Up takes fans inside a new global sport and worldwide competition that’s redefining what it means to be a champion for the next generation of athletes and fans," per the official description. "R.J. Cutler and his team were there to go behind-the-scenes of the EWC, which was watched globally by over 500 million viewers last summer. The expert storytellers took in all the excitement and drama, both in and out of the arena, revealing the intense rivalries, personal sacrifices, and extraordinary talent fueling the sport’s elite.”
Indy 500 viewers express frustration over the amount of commercials now that the race is on Fox
"For the first time in the illustrious century-plus long history of the Indianapolis 500, the race on Sunday was broadcast on Fox," says Awful Announcing's Reice Shipley. "And fans quickly noticed one significant difference on the network compared to broadcasts in past years on NBC: the sheer number of commercials throughout the event. In some ways, Fox pulled out all the stops in their coverage of the Indy 500, including featuring several prominent former athletes from the network’s NFL coverage. Rob Gronkowski, Michael Strahan, and Tom Brady all made appearances during studio coverage of the event. However, in terms of the action on the track on Sunday, fans felt that there were far too many cutaways for commercials that took away from key moments and ruined much of the rhythm on the broadcast." ALSO: Fox showcases paid actors at MLB game pouring milk on themselves to promote the Indy 500.
ESPN to fill Around the Horn's timeslot with SportsCenter
Matt Barrie and Christine Williamson will anchor the 5 p.m. SportsCenter that will air before Pardon the Interruption. ALSO: Tony Reali explains why original Around the Horn host Max Kellerman wasn't part of the final episode.
Pierce Brosnan responds to the roasting over his MobLand Irish accent
The Irish actor was asked about the backlash to his accent as mob boss Conrad Harrigan. ““My own accent is very soft. Conrad’s accent is a million miles away from me," he told Radio Times, adding that his performance was the result of a suggestion from his dialect coach. “I told him that I needed a Kerry accent,” he added. “So he gave me the name of a man, and I Googled the guy and that was it. It was a Kerry accent. And so, I just gave it full tilt.”
Check out the first look at Outlander: Blood of My Blood
Premiering Aug. 8, Starz's Outlander prequel series revolves around the parents of Caitríona Balfe and Sam Heughan’s characters.
Sydney Sweeney says Euphoria Season 3 is even more "unhinged"
"I have such a spot in my heart for Cassie, and I hold her really close and dear," Sweeney told Empire magazine. "She is crazy. She makes so many mistakes. She’s flawed on so many levels, but she does it all from a place of love." Sweeney added: "It could be a sad version of love, as well. It’s so much fun to play a character that is as crazy as she is. (Creator Sam Levinson) is such a brilliant filmmaker to work with, because I’ll read something, then I’ll call him, and I’m like, 'Let’s go crazier.' And he’s like, 'I’m all in.' And this season is unhinged." Asked if Season 3 is "More unhinged?," Sweeney replied with a laugh, "Yes."
Domhnall Gleeson received advice on doing The Paper from The Office alums Steve Carell and John Krasinski
"He was wonderful. I mean, his big advice that he gave me was to do it," Gleeson tells People of Fountain of Youth co-star Krasinski. "And the same with Steve Carell, another just wonderful actor who I'd worked with before. And their advice was, if it's Greg Daniels, you should do it because getting to work with him is a treat that not many people get to have."
One Piece teases a special Netflix Tudum announcement
"Straw Hats! We’re headed for the Grand Line!" the live-action anime adaptation says of next week's Tudum event.
Man v. Food's Adam Richman reveals he's made it through a second operation
“I’m home, and grateful to have made it through,” the former Travel Channel host wrote on Instagram Friday without revealing any details. “Feeling quite rough, but that’s to be expected. Looking to use this summer to rebuild mentally and physically and come out with some new bangers for you this fall.”
James McEachin, Perry Mason TV movie regular and star of NBC's Tenafly, dies at 94
McEachin, who died Jan. 11, was a writer and producer of Otis Redding songs before embarking on an acting career that included four Clint Eastwood films. McEachin starred as family man Harry Tenafly, a Los Angeles cop turned private detective, in the short-lived 1973-1974 NBC drama Tenafly, one of the rare 1970s TV dramas starring a Black man. Tenafly lasted five episodes. Later, McEachin played Lt. Ed Brock on the NBC Perry Mason telefilms that starred Raymond Burr. He also recurred on Matlock's first season, playing another police lieutenant, Frank Daniels. Additionally, McEachin had many guest-starring roles, including as an IRS tax examiner on All in the Family.