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TV & Streaming

Joey Graziadei Talks New ‘Dancing With the Stars’ Role, Injury Secrets and More (Exclusive)

by jummy84 September 30, 2025

written by jummy84

Joey Graziadei wasn’t quite ready to leave the ballroom. After The Bachelor Season 28 star won the Season 33 Len Goodman Mirrorball Trophy with pro Jenna Johnson he’s back as the first-ever host of the Dancing With the Stars Official Podcast. He’s taken on an entirely new role, not unlike going from The Bachelorette to the lead of The Bachelor.

Instead of competing every week, Graziadei will be watching the performances closely and diving into what’s going on behind the scenes. Graziadei spoke with TV Insider about stepping into the hosting space, how he’s viewing the show in a completely new light, his secret injuries last season, and more.

How did you react to getting the call about staying in the Dancing With the Stars world with this podcast?

Graziadei: I was so excited when that call came through. Obviously, I stayed in touch with the whole family in general, especially the executive producers, and they knew that I really was looking to, after my time on Dancing With the Stars, get more into the hosting space and try to find those opportunities, just in any space, be able to do some more hosting. When the Dancing With the Stars call came to do something on the podcast side, it just seemed like a great fit. I was honored that they thought of me, super excited, and eager to get started, build that skill, and have an opportunity to really be a part of this new season, which everyone’s so excited about. There were a lot of emotions. There was excitement, there was relief, there were a lot of things that came through, but I’m honestly most of all just grateful that I got the opportunity.

ABC

Since you’re covering the season for the podcast, are you in the ballroom every week?

Graziadei: I’m going to be there almost every single Monday and Tuesday. That is the plan and what I want to be a part of. I guess the best way to describe it is I knew how it was on the show, where during the weeks, from Wednesday through Sunday, you’re kind of in your own little bubble, you’re in the studio, you’re working on your dance, but Monday is kind of when everyone comes together. That’s when they do the camera blocking. That’s when we start to get a feel for the ballroom and the dances that week. I really have made it a goal to try to be there on those blocking days, be able to catch up with everyone, and get a feel for what the dances are going to be like. And then the same thing for Tuesdays as well. I’m trying to be there the majority of the dance on Tuesday to get a feel for the sense of the ballroom when people are getting started. I think it’s just good to have a finger on that pulse before those dances come up, and then we’re shooting the podcast majority on Tuesdays after the show because we’re trying to get the reactions and what happens in real time. And then also it’s going to get to the point where we start talking to the eliminated couples, and we have to be there and available when that time comes.

You obviously have the perspective of someone who’s competed and won the show, but does watching and observing for the podcast make you look at the show differently now?

Graziadei: I definitely look at it with a different lens. After being on the show, it’s helpful to understand and relate to what the celebrities are going through, in terms of, for me, personally, how different it is. It’s funny. Sometimes I’m like, “Man, I wish I were just dancing.” It’s so exciting to see the energy in the ballroom and how excited all the celebrities are. And per usual, this is another one of those seasons that is a lot of great talent, but there’s a lot of great camaraderie. The different lens, for me, really is just an understanding of how difficult it is and trying to find a way to show how amazing the show is. In this podcast, we’re also touching on a lot of different things besides just the competition and what happens from week to week. We really want to start going and uncovering and talking about those things that people don’t see unless you have been on the show, or unless you go to a live show, whether that’s how the production crew works, how the stage managers work, everything from hair and makeup to costumes, there’s so many moving parts of this show that you have to be a pretty die hard fan to know about. And even the die-hard fans probably don’t get to see and uncover all those things. There’s a lot going into what we’re trying to do on the podcast. That’s probably one of my favorite things is just trying to shed light on how amazing these people are that really make up the show.

Danielle Fishel spoke about her injury in her video package. What did you do to stay injury-free last season?

Graziadei: I’ll be the first to admit I had plenty of injuries. It’s one of those things that, if it’s really bad, it gets talked about. I feel for Danielle, because I think there isn’t one person I know who has been on the show who hasn’t gotten some injury. It could be something really serious, like what happened with Danielle, and to have a small hamstring tear this early is obviously devastating, and I hope it just gets better for her. I remember after Week 3, I injured my heel during a backflip and had to dance my tango on a bruised heel. I think I had a small fracture in my heel, which could have been something that was nagging from before, but it just happened with the show. Most people don’t know is how many hours you put in consistently, and you’ve just got to keep dancing. It’s one of those things that you can be hurting, and everyone has a little nagging pain, or something serious like Danielle, but you want to be able to put as much time and energy into your dance as you can, to feel confident in what’s coming into it. For me, in terms of prevention, it took that Week 3 drive for me to have an injury. I was 29 years old the time, so I wanted to be invincible still, but I was like, “I need to still take care of my body.” They have a great PT team, and the people who have the ability to help on the show are unbelievable. You can go in to try to be able to have work done whenever something’s hurting, and just the stretching every single time before practice, and trying to make sure that you’re taking care of your body, you’re giving it rest, you’re icing, you’re elevating all those fun things from my heel to my shoulder to I think I had a little bit of a nagging knee pain at one point. I think the ones you see on the show are the ones that really get to the point that they have to adjust. It’s something that it’s obvious that there’s something that’s wrong, so they have to make a part of the story. People don’t know half the injuries that happen on the show, but it’s nice to highlight sometimes how hard it is. I give major props to Danielle for being able to push through and do as amazing as she did in the dance.

Joey Graziadei and Jenna Johnson on 'Dancing With the Stars'

Eric McCandless / Disney

Was there anybody in these first two weeks who just took you by surprise?

Graziadei: I mean, how long do you have? I feel like this whole cast is unbelievable. Obviously, everyone has some type of dance background in a lot of ways. Out of this crew, there’s people that have danced back early on their life and have taken a long break. There’s people that have have zero dance experience whatsoever. I think I would say the two biggest surprises for me, and I shouldn’t say surprises because I think all the others are so talented, but one in particular was Lauren [Jauregui] in the first two dances. She’s a beautiful dancer, and I knew she was going to be a beautiful dancer, but I’m more amazed at how effortless she makes it look. I think, especially with the new style of the ballroom, how she’s moving across the dance floor and how elegant she’s been is so spectacular and something that I’m really amazed by in the first two dances because she’s done two dances where she’s had to be in frame, and she’s had to work with Brandon [Armstrong] to move across the floor. Obviously, everyone was blown away by Robert Irwin in Week 1, with the fact that him having no dance experience and looked as good as he did in his drive was unbelievable. That was such a dance that fit him, and props to Witney [Carson] for getting him ready in such a short period of time and for having him look the way he did. Dylan Efron is another where you can tell how much energy and effort he’s putting into it, and how he’s improved from Week 1 to Week 2 already is amazing. But if I’m being honest, I could go through each one of the cast and tell you how surprised I am by how strong they are. I just see the competition getting tougher.

You’re hosting this podcast, and you’ve said you want to continue to be in the hosting space. If somebody got sick or something, as we saw with Carrie Ann Inaba during premiere week, if they called you and asked you to guest cohost, would you do it?

Graziadei: I mean, right now, I’m open to any opportunity that would come my way. Obviously, I’m hoping that the people who are there are in good health and stay in the position that they’re doing because they’re doing such an amazing job. The judges and the hosts, with Alfonso [Ribeiro], Julianne [Hough], Carrie Ann, Bruno [Tonioli], and Derek [Hough], they’re the heart of the show from week to week. I’ve actually really enjoyed, on my side, being able to learn from them and to talk to them and see how they operate being on this side now. I’m definitely taking notes. I’m definitely holding on to what I can so I can learn. I’m just impressed at what they do every day. I’m so grateful to be in this hosting position right now in the podcast space to build this skill. If an opportunity arises at some point down the line, I will always be open to it, especially if they think of me and they think I’m able and willing to do it. That would be an honor. But right now, I’m just in that process of trying to learn and take it in each day.

Tune in every Thursday to the Dancing with the Stars Official Podcast, available to stream on Disney+ and Hulu.

Dancing With the Stars, Season 34, Tuesdays, 8/7c, ABC

For more Dancing With the Stars, pick up a copy of TV Guide Magazine’s Dancing With the Stars: 20th Anniversary Special Collector’s Issue, on stands now or available at DWTS.TVGM2025.com.

September 30, 2025 0 comments

TV & Streaming

‘Tilly Norwood’ Is Not an Actor

by jummy84 September 30, 2025

written by jummy84

SAG-AFTRA has released a statement September 30 roundly condemning artificial intelligence talent studio Xicoia’s shopping of an AI actor named Tilly Norwood to the industry.

News broke from Deadline at the Zurich Summit on September 27 that Hollywood talent agents have been quietly circling Norwood for representation. For the past five months, Xicoia, launched by Dutch technologist Emily Van der Velden as part of her company Particle 6 Productions, has been soft-launching Norwood on Instagram.

The studio has been posting headshots, candids, and even motion graphics of the AI performer, who takes the form of a dewy teenage girl who is supposed to live in London. Just in the past week, Xicoia has posted hypothetical, AI-generated screenshots of Norwood in a kind of digital portfolio showing the different film projects she could appear in: There’s one of her in a dimly-lit thriller scenario, one of her on a subway (do AI characters need public transportation?), and one of her in a warm, candle-lit period romance setting where she appears to be having an emotional heart-to-heart with an object of her affection, her furrowed brow conveying anguish.

Needless to say, SAG-AFTRA sees this as an existential threat.

“SAG-AFTRA believes creativity is, and should remain, human-centered. The union is opposed to the replacement of human performers by synthetics,” the statement from the union began.

“To be clear,” the statement continued, “‘Tilly Norwood’ is not an actor, it’s a character generated by a computer program that was trained on the work of countless professional performers — without permission or compensation. It has no life experience to draw from, no emotion and, from what we’ve seen, audiences aren’t interested in watching computer-generated content untethered from the human experience. It doesn’t solve any ‘problem’ — it creates the problem of using stolen performances to put actors out of work, jeopardizing performer livelihoods and devaluing human artistry.”

“Additionally, signatory producers should be aware that they may not use synthetic performers without complying with our contractual obligations, which require notice and bargaining whenever a synthetic performer is going to be used.”

Since the Deadline report, the existence of Norwood has rankled many in Hollywood, including Melissa Barrera, who posted on Instagram, “Hope all actors repped by the agent that does this, drop their a$$. How gross, read the room.”

Actor and model Michael Aurelio tweeted, “Pretty telling that the industries first venture into this was to create a teenage girl they could control.”

For her part, Van der Velden responded to the growing backlash by writing on Instagram, “To those who have expressed anger over the creation of my AI character, Tilly Norwood, she is not a replacement for a human being, but a creative work — a piece of art. Like many forms of art before her, she sparks conversation, and that in itself shows the power of creativity.”

“I see AI not as a replacement for people, but as a new tool, a new paintbrush. Just as animation, puppetry, or CGI opened fresh possibilities without taking away from live acting, AI offers another way to imagine and build stories. I’m an actor myself, and nothing — certainly not an AI character — can take away the craft or joy of human performance.”

September 30, 2025 0 comments

TV & Streaming

Ryan Murphy on Menendez Parole, Luigi Mangione and Monster

by jummy84 September 30, 2025

written by jummy84

Few shows over the past few years can be said to have had as much impact as Netflix’s “Monster.”

In interviews for a Variety cover story about Charlie Hunnam, the star of show’s new season about serial killer Ed Gein, “Monster” co-creators Ryan Murphy and Ian Brennan reflected on the phenomenon of the second season about Erik and Lyle Menendez. As that installment blew up in fall 2024, a new generation of viewers discovered the Menendezes’ story, including their claims that their parents, whom they were convicted of killing, had abused them. Both Menendez brothers remain in prison after having been denied parole in August of this year, and, in September, a judge denied their petition for a new trial. Even still, the calls for them to be released have grown deafening — including from Murphy himself.

“I do wish they had been paroled,” says Murphy, “and when I started working on it, I thought the complete opposite. I thought, Nope, kill your parents, stay in jail.” Continuing to consider their case has shifted Murphy’s thinking. “I feel this about the prison system in general: What good does it do to keep people just sitting in jail? They could get out of prison and do something constructive with their lives. I don’t agree with the parole board that they’re a danger to their community — I don’t think that’s true.”

Co-creator Brennan was similarly dismayed that the Menendezes remain incarcerated. “I was surprised, and I was sad, even though my feelings about them are completely mixed,” he says. “I really thought it was going to go there because of this groundswell — people returning to that story 30 years later with a different set of cultural priors.” (Brennan notes that male sexual abuse, which the Menendezes say they suffered at home, is better understood today.)

“The state of California has no interest in keeping them behind bars at this point,” Brennan continues. “That verges on a kind of cruelty that I don’t quite understand.”

Brennan takes care to note that he has never interacted with the brothers, and the Menendezes, at first, were put out by what they understood to be the show’s depiction of them. Erik Menendez issued a statement from prison, when the season of “Monster” about his family debuted, declaring that the show was “rooted in horrible and blatant lies” and “disheartening slander.” Months later, though, Lyle credited the show with “shining a light” on their story and said he and his brother were “grateful.” Murphy wasn’t surprised.

“We’ve always felt wildly misunderstood about this show, from day one,” Murphy says. The Jeffrey Dahmer season, he says, was intended to be about father-son relationships and about social justice, as epitomized by Niecy Nash-Betts’s character. “That was the beating heart of the show. When the show came out, nobody wrote about that at all,” he says. “It was just a constant stream of ‘How dare they, it’s so exploitative.’ I found the same thing with ‘Menendez.’ The show had aired for three days, and Erik Menendez and his wife were speaking out against the show, although he would later come out and say ‘I was wrong, it really did help us.’ I found that interesting.”

The Gein season, like the Dahmer and Menendez seasons before it, sets out to, as Murphy says, “provoke the question” — in this case, to address the roots of America’s ongoing mental-health crisis through the story of a high-profile sufferer of mental illness. Those kind of stories are what fuel the show’s run; other stories, Murphy and Brennan say, they’ve ruled out.

John Wayne Gacy, Brennan says, has “nothing redemptive” in his story: “The second the name comes up for us, every year, both of us go, No. There’s no pathos.” The Golden State Killer has a similar chilling effect on brainstorming. And Ted Bundy sparks nothing in Murphy: “When you look at those crimes,” he asks rhetorically, “what are the themes there? It doesn’t ask you any questions about society. It feels too murderous — not interesting enough.”

Other stories just aren’t ready yet. “We have a ‘maybe one day’ file,” Murphy says, noting that he’s considered a “Monster” season about Luigi Mangione, the accused killer of UnitedHealthcare CEO Brian Thompson, but deemed it too early in the narrative to proceed. “We know nothing about him,” he says. “There was nothing to write — we didn’t have information yet. Maybe something will come out in the trial.”

Beyond Gein, the pair are already preparing a fourth season, which will feature Ella Beatty as purported axe murderer Lizzie Borden. “It’s a female ‘Monster’ season,” Murphy says. “It talks not just about Lizzie, but other infamous women who were branded as monsters.” (He cites Countess Elizabeth Báthory, a Hungarian noble accused of torture and murder at the turn of the 17th century, and Aileen Wuornos, executed for serial murder in 2002.) “There’s many different monsters that float through the season. This has the same approach: Profiling famous women who have been labeled as one thing, and we ask the question: Really, do you think so?”

September 30, 2025 0 comments

TV & Streaming

‘The Pitt’ Actor Wesley River Joins ‘Foster’ Alongside James Franco

by jummy84 September 30, 2025

written by jummy84

EXCLUSIVE: Five year-old child actor Wesley River, who recently made his screen debut on hit TV series The Pitt, has joined indie movie Foster, alongside James Franco, Ron Perlman, and Natalie Burn.

Filming has recently wrapped on the 1980s-set action-thriller whose plot reads: “Donald “Don” Foster (Franco) is a man haunted by his past and clawing his way through sobriety, who just wants peace — one day at a time. But when June (Burn), a troubled addict, leaves her young son (River) on his doorstep, Don is dragged back into the violent underworld he thought he left behind. Hunted by his former boss, Brooks (Perlman) — a ruthless crime lord who knows every secret Don swore to bury — Don must fight for redemption, protect the boy, and face the sins of the woman who pulled him back in… one bullet at a time.”

Born To Burn Films produces. Emmy winner Timothy Woodward Jr (Studio City) is directing, with Top Film Distribution handling international sales.

River booked his first screen appearance with a recurring role as Tyler Jones on The Pitt, playing a boy hospitalized after accidentally ingesting his parents’ weed gummies.

River is represented by Thruline Entertainment and Love Talent.

September 30, 2025 0 comments

TV & Streaming

Nickelodeon Acquires CGI Animated Series ‘The Marsupilamis’ Outside US

by jummy84 September 30, 2025

written by jummy84

Paramount’s Nickelodeon has acquired the rights to the CGI animated series The Marsupilamis, a fresh take on the beloved kids brand, for markets outside of the U.S.

“This fresh take on the iconic character, created over 70 years ago by Belgian author André Franquin, brings the legendary Marsupilami from the wild Palombian jungle into the heart of the city,” said Nickelodeon, which is part of Paramount, now owned by Skydance.

The 52 episodes of 11 minutes are produced by Ellipse Animation and Belvision.

“Slated to launch in 2026, the comedic, action-packed new series follows twins Jade and Mica who find their world turned upside down when their explorer parents entrust them with three mysterious Marsupilami eggs,” according to a plot description. “Once they hatch, the siblings must get creative to keep their new friends hidden – after all, no one knows these energetic creatures exist, and predators could be lurking around every corner.”

The series is directed by Célestine Jacquel-Plays (Grizzy and the Lemmings). Andrew Barnett Jones and Ciaran Murtagh (The Amazing World of Gumball) served as head writers, with Guilhem Deckers (Minions 2) being the artistic director.

“We are delighted to be partnering with Ellipse and to introduce The Marsupilamis to our Nickelodeon audiences,” said l Layla Lewis, senior vp, global acquisitions and content partnerships, at Nickelodeon. “This fresh take on a beloved character brings a vibrant mix of humor, heart, and adventure that makes it an excellent addition to our slate”

Caroline Duvochel, head of audiovisual & innovation at Média-Participations and managing director of Ellipse Animation, added: “We are thrilled to finally present The Marsupilamis, with our best talents bringing a new take on the most iconic IP of our portfolio. An ambitious and unique branding strategy unites all entities within the Média Participations group, placing The Marsupilamis at the forefront of our creative efforts. Collaborating with the top-tier Paramount team is a true delight, enhancing the global reach and impact of our beloved character.”

September 30, 2025 0 comments

TV & Streaming

Women’s Cricket World Cup 2025 on TV | Channel, schedule, live stream

by jummy84 September 30, 2025

written by jummy84

The Women’s Cricket World Cup 2025 will offer up a festival of ODI action across the autumn months – with 31 matches across 33 days.

England head into their first tournament under captain Nat Sciver-Brunt and coach Charlotte Edwards after a shake-up ahead of the summer.

The five-time winners will have their sights set on the trophy, but defending champions Australia are the clear favourites while co-hosts India will offer a stern challenge as they chase a first triumph on home soil.

The eight-team 50-over tournament begins with a round robin group stage before the top four teams progress into the semi-finals.

When the best white-ball players in the game are all in one place, there are bound to be fireworks. The good news for cricket fans is that there is extensive coverage throughout the tournament.

RadioTimes.com brings you all the details about how to watch the Women’s Cricket World Cup 2025.

When is the Women’s Cricket World Cup 2025?

The Women’s Cricket World Cup 2025 starts on Tuesday 30th September and runs until the final on Sunday 2nd November.

The tournament is being played in four Indian venues – Navi Mumbai, Guwahati, Visakhapatnam, and Indore – and one in Sri Lanka – Colombo.

How to watch the Women’s Cricket World Cup 2025 on TV and live stream

England coach Charlotte Edwards (left) and captain Nat Sciver-Brunt (right). Photo by Gareth Copley/Getty Images Photo by Gareth Copley/Getty Images

You can watch the Women’s Cricket World Cup live on Sky Sports.

Games are split between Sky Sports Main Event and Sky Sports Cricket – mostly starting at 10am.

Sky Sports can be added to any Sky TV package for just £22 per month for all nine sports channels, or you can pick up the complete sports package plus Netflix for £35 per month.

Sky Sports customers can live stream the tournament via the Sky Go app on a variety of devices including most smartphones and tablets as part of their subscription.

You can also watch the action via NOW with a day membership (£14.99) or month membership (£34.99).

NOW can be streamed through a computer or apps found on most smart TVs, phones and consoles. NOW is also available via TNT Sports.

Women’s Cricket World Cup 2025 schedule

All UK time. Full TV schedule not yet confirmed.

Group Stage

Tuesday 30th September

India v Sri Lanka (10am) Sky Sports Main Event / Sky Sports Cricket

Wednesday 1st October

Australia v New Zealand (10am) Sky Sports Main Event / Sky Sports Cricket

Thursday 2nd October

Bangladesh v Pakistan (10am) Sky Sports Cricket / (5pm) Sky Sports Main Event

Friday 3rd October

England v South Africa (10am) Sky Sports Main Event / Sky Sports Cricket

Saturday 4th October

Sri Lanka v Australia (10am) Sky Sports Cricket

Sunday 5th October

India v Pakistan (10am) Sky Sports Cricket

Monday 6th October

New Zealand v South Africa (10am) Sky Sports Main Event / Sky Sports Cricket

Tuesday 7th October

England v Bangladesh (10am) Sky Sports Main Event / Sky Sports Cricket

Wednesday 8th October

Australia v Pakistan (10am) Sky Sports Main Event / Sky Sports Cricket

Thursday 9th October

India v South Africa (10am) Sky Sports Main Event / Sky Sports Cricket

Friday 10th October

New Zealand v Bangladesh (10am) Sky Sports Cricket / (3pm) Sky Sports Main Event

Saturday 11th October

England v Sri Lanka (10am) Sky Sports Cricket / (3pm) Sky Sports Main Event

Sunday 12th October

India v Australia (10am) Sky Sports Main Event / Sky Sports Cricket

Monday 13th October

South Africa v Bangladesh (10am) Sky Sports Main Event / Sky Sports Cricket

Tuesday 14th October

New Zealand v Sri Lanka (10am) Sky Sports Main Event / Sky Sports Cricket

Wednesday 15th October

England v Pakistan (10am) Sky Sports Main Event / Sky Sports Cricket

Thursday 16th October

Australia v Bangladesh (10am) Sky Sports Cricket / (12:30pm) Sky Sports Main Event

Friday 17th October

South Africa v Sri Lanka (10am) Sky Sports Cricket / (12:30pm) Sky Sports Main Event

Saturday 18th October

New Zealand v Pakistan (10am) Sky Sports Cricket / (3pm) Sky Sports Main Event

Sunday 19th October

India v England (10am) Sky Sports Main Event / Sky Sports Cricket

Monday 20th October

Sri Lanka v Bangladesh (10am) Sky Sports Main Event / Sky Sports Cricket

Tuesday 21st October

South Africa v Pakistan (10am) Sky Sports Main Event / Sky Sports Cricket

Wednesday 22nd October

Australia v England (10am) Sky Sports Main Event / Sky Sports Cricket

Thursday 23rd October

India v New Zealand (10am) Sky Sports Main Event / Sky Sports Cricket

Friday 24th October

Sri Lanka v Pakistan (10am) Sky Sports Main Event / Sky Sports Cricket

Saturday 25th October

Australia v South Africa (10am) Sky Sports Cricket / (3pm) Sky Sports Main Event

Sunday 26th October

England v New Zealand (5am) Sky Sports Main Event / Sky Sports Cricket
India v Bangladesh (6am) Sky Sports Main Event / Sky Sports Cricket / (1:30pm) Sky Sports Cricket

Semi-finals

Wednesday 29th October

Semi-Final 1: TBC v TBC (9am) Sky Sports Main Event / Sky Sports Cricket

Thursday 30th October

Semi-Final 2: TBC v TBC (9am) Sky Sports Main Event / Sky Sports Cricket

Final

Sunday 2nd November

Final: TBC v TBC (9am) Sky Sports Main Event / Sky Sports Cricket

Check out more of our Sport coverage or visit our TV Guide and Streaming Guide to find out what’s on. For more from the biggest stars in TV, listen to The Radio Times Podcast.

September 30, 2025 0 comments

TV & Streaming

Is Donna Murphy Leaving ‘Brilliant Minds’? Boss Explains Muriel’s Decision, Talks Wolf and Josh Romance (Exclusive)

by jummy84 September 30, 2025

written by jummy84

[Warning: The below contains MAJOR spoilers for Brilliant Minds Season 2 Episode 2 “The Contestant.”]

Brilliant Minds isn’t about to say goodbye to Donna Murphy, right?! Especially not so soon after Wolf’s (Zachary Quinto) father left? Muriel does step down as CMO in the latest episode, but she and Wolf also discuss that now she’ll just be his mom, not his boss. That should make for some good television since those two are so great in scenes together.

Also in “The Contestant,” Carol (Tamberla Perry) successfully fights for her job, helped by Muriel, saying she told her to keep treating Alison, the woman with whom her husband was having the affair. Plus, it looks like Wolf and Josh (Teddy Sears) will be getting back on track when they go out for drinks, but then the latter pulls away when the former kisses him. He can be his friend, but that’s it, for now. And a new flashforward reveals that Carol is at Wolf’s side when he signs himself into Amelia’s (Bellamy Young) Hudson Oaks psychiatric facility.

Below, showrunner Michael Grassi breaks down this episode, reveals if Donna Murphy is going anywhere, talks Wolf and Josh’s moment, offers more information about the flashforwards, and much more.

Muriel steps down as CMO. Is Donna still a series regular?

Michael Grassi: Donna is still very much a part of the show, and we’ll be seeing more of her very soon.

I feel like that means we’ll be getting a lot more of the mother-son relationship. But can she step away from the hospital when her son works there as much as she should?

Good question. So, we’ll definitely be seeing more of Muriel in the first half of the season and even later, but I think that relationship is going to shift a little. But I think we’ve seen so much growth in the Wolf-Muriel relationship, and I love Zach and Donna on screen together so much. Some of my favorite scenes are them. We’ve seen them grow, and we’ve seen Wolf appreciate everything his mother did and even though it might’ve been hard for him growing up the way his mother was, sometimes I think he sees that she was really trying to protect him and that it wasn’t even that she wanted to keep what dad did a secret, but it was what dad wanted and she was just trying to protect him in so many ways. And I think Wolf really sees that for the first time, and we see their relationship evolve, and you’re so right that post 202, we’re going to see a bit of a shift. It’s like, what does it look like when Muriel isn’t at Bronx General and when she catches up with her son? That new dynamic of just mother and not boss is something we haven’t gotten to see yet really on the show since he was a kid in the flashback. So, it’s going to be really fun.

When you said seeing the growth, I just thought about when he checked on her after hearing the end of her phone conversation. A moment like that at the beginning of the series almost would’ve been impossible to imagine.

Yeah, and I have to say, too, I love Tamberla and Donna together as well. That’s one of my favorite scenes in 202. I love it. It is just so good, and I love the mutual respect they have, and they have so much in common, but also, Wolf is their main thing in common. They also just love him so much, and he’s such a big part of their lives, so it’s just nice to see that connective tissue between them.

Yeah, then Muriel has that line that Wolf is going to need Carol, and the flashforward in this episode shows he does, with Carol by his side. So, are the flash forwards going to be a bit disjointed like that, where that one clearly took place before the premieres? Should we expect that, and then it’s going to be piecing it all together?

Correct. I think it’s going to be a bit of a puzzle that the audience is going to be putting together for sure. We’re going to see different parts of what those flashforwards are, jumping in time a little bit.

With these first two episodes, it’s easier to tell, but will there be moments where it’s questionable when something took place?

I don’t want to spoil it too much. You’ll see.

What can you say about the new CMO and that person’s dynamic with Oliver? He’s adjusting to someone who’s going to be his boss, who’s not his mom?

Yeah, I would say stay tuned.

The good news is Carol is back. First of all, thank you so much for the Carol and Josh scenes in this episode. They were great,

They’re so good together.

Pief Weyman/NBC

But there is now the question of who reported her, since it appears it wasn’t Alison. Can you confirm it wasn’t Alison? Because she could have reported her and still decided to speak up on her behalf.

I can confirm it wasn’t Alison. She went in and she told them that Carol saved her life and she meant it.

How is Carol going to go about trying to get that answer?

I think Carol’s going to be torn about the ethics of getting that answer. And is it something that she even should do because whoever reported her, was it their right to report her? So, I think we’re going to see Carol be tested a little bit throughout the season, and that question will loom and it will weigh on her. She has to be at work, and somebody around her reported her for this. We’re going to see how Dr. Carol Pierce navigates something like that as a psychiatrist, which is going to be great.

Is she going to be changing her approach to work at all because of what she just went through?

That’s something we’re going to continue to explore in Episode 203, which I’m so excited for you to see.

Oliver kisses Josh, trying to just get things back to where they were before Noah showed up. But I can’t help but think about Oliver not returning his “I’m falling for you” and you telling me that he would in his own unique way, which he hasn’t yet. So, does that play into where Oliver is when it comes to being ready to resume that relationship?

I think when Wolf kisses Josh in 202, it’s a bit of a moment where he’s trying to reset, but it’s also that he’s doing it in the wrong way because it’s like, “We haven’t even had the conversation, and you’re kissing me at drinks.” And Josh literally thought, “Oh, he’s asking me to drinks to be like, ‘Hey, I have to talk to you. My dad left again. It’s messed up.’” It’s just a little bit cart before the horse, and I think it’s just part of Wolf trying to cope with what happened, and it’s Josh being like, “Oh, this is messy.” And I think it further complicates things to be honest.

Josh says he can be his friend. Why did you want to slow them down, and what can you say about any hope for their romance after 202?

I think they had a bit of a quick start. I think they shot out of the can a little bit. I think they had that amazing kiss in Episode 107 last season, but it might’ve been premature. And I think ever since that kiss, they’ve been trying to navigate, “Who are we to each other? We clearly have feelings for each other. We also work together and disagree in a lot of stuff. And that’s really complicated.” And then Wolf did what he did in 113 because he was dealing with personal stuff and I think they have a lot to figure out and it’s going to be a ride between them. But I really do think that there’s love there and mutual respect, and I think we see that on screen between the two of them. I think Zach and Teddy are so good, and those are some of my favorite scenes. Their dynamic is going to shift in a big way very soon.

Zachary Quinto as Dr. Oliver Wolf, Teddy Sears as Dr. Josh Nichols — 'Brilliant Minds' Season 2 Episode 2 "The Contestant"

Pief Weyman/NBC

I might be getting a bit dark with this question, but Ericka (Ashleigh LaThrop) sleeps through her phone going off about the patient and Charlie (Brian Altemus) has that comment about taking it easy on the benzos. Did he dose her or is it just that he knows that she’s taking pills?

He knows that she’s taking pills. He saw her take pills.

So it was just that, we shouldn’t be wondering how far this guy’s going to go?

No, no, no, no, no. I love that you asked that though. That’s a whole other show. Maybe Season 3, maybe Season 3.

Are there any episodes coming up like the building collapse from Season 1?

We have some really dramatic cases this season. I’ll tease Episode 203 has an opening sequence that is one of my worst nightmares, and I think a lot of people’s worst nightmares. So I’m excited for people to see that. And we will have some bigger episodes this season for sure. And some unexpected events happen.

Brilliant Minds, Mondays, 10/9c, NBC

September 30, 2025 0 comments

TV & Streaming

‘After the Hunt’ Awards and Box Office Chances After NYFF

by jummy84 September 30, 2025

written by jummy84

When Luca Guadagnino’s “After the Hunt” premiered at the Venice Film Festival in late August, it was greeted with some of the most divided reviews of the filmmaker’s career. Critics (candidly, including myself) were impressed by the performances and filmmaking but left bewildered by first-time screenwriter Nora Garrett’s muddled screenplay that tackles post-#MeToo society, privilege, and power in the academic world. Reviews were, generally speaking, mixed to negative, with a few standouts.

A month later, the film arrived as the opening night gala at the New York Film Festival. So how did his topical drama, about a Yale philosophy professor (Julia Roberts) tied up in her Black student’s (Ayo Edebiri) sexual assault accusation against a white colleague (Andrew Garfield), play at NYFF?

It opened the highbrow two-week program, overseen by artistic director and former film critic Dennis Lim and managing director Matt Bolish, last Friday at Alice Tully Hall. Past Guadagnino films to play NYFF include “Queer,” “Bones and All,” and “Call Me by Your Name” — all of which scored better receptions throughout their run than “After the Hunt” has so far.

But can new word-of-mouth — not necessarily good, but at the very least new — boost “After the Hunt” at this point?

A sampling of mostly millennial critics and journalists at Friday night’s “After the Hunt” premiere that I spoke with at the official after-party at Tavern on the Green on the edges of Central Park, were also left cold by the movie. It runs long at just shy of 2 hours and 20 minutes, and one journalist I talked to said that, while the film wasn’t necessarily boring, its length led them to feel the pains of an incoherent narrative. There are plot elements that don’t always add up or seem easily ascribed to recognizable human behavior (such as why Julia Roberts’ character Alma keeps a picture that’s extremely revealing about a past secret taped under her bathroom vanity, rather than in the pied-à-terre she maintains as a private office).

AFTER THE HUNT, Julia Roberts, 2025. ph: Yannis Drakoulidis /© Amazon MGM Studios / Courtesy Everett Collection — ‘After the Hunt’©MGM/Courtesy Everett Collection

But a colleague I’d spoken to who’d had a look at an earlier draft of the screenplay said that many elements were different in that script — including that very one. So we’re curious to hear from screenwriter Garrett about what changed and why.

The film, however, has its admirers, including another critic who appreciated what they felt was its astute look at how trauma is processed differently across generations. (Alma, it’s implied, is twice Edebiri’s character’s age.) “After the Hunt,” intended as Amazon MGM Studios’ big horse in the Oscar race this year, might not make it all the way to the Academy Awards despite hopes for Julia Roberts returning to the Best Actress category since she won in 2001 for “Erin Brockovich.” (Her last Oscar nomination altogether was for Supporting Actress in 2014 for “August: Osage County.”)

But where the movie could remain a player is the HFPA-dismantled Golden Globes, a handful of whose international spectrum of voters attended a packed press conference during the film’s weekend global junket. There, journalists (both in the room and joining via Zoom) asked engaging questions that Roberts and her cast and creative team praised — she was not having it at the Venice Film Festival, particularly when the first question asked at that Italian presser was, “Why does this movie undermine feminism?”

Roberts is a Globes darling, nominated most recently in 2023 for TV’s similarly on-topic “Gaslit” as Martha Mitchell. She’s won three times from 10 nominations, and the capaciousness of having two categories (Musical/Comedy and Drama) for Best Actress gives her room to play in. “After the Hunt” has a shot at playing better for two core audiences — the international coterie, and the Gen X or boomer audiences who didn’t necessarily come of age with such proximity to the topics investigated in this American film — many of which reflect the makeup of the 300-some Golden Globes body.

Amazon MGM Studios opens “After the Hunt” in select theaters on Friday, October 10 followed by a nationwide release on Friday, October 17. How it plays for non-trade critics will factor into its eventual theatrical business. And when the film eventually reaches Amazon’s Prime Video streaming service, fans of Edebiri, Roberts, Garfield, and Guadagnino can tune in with little risk, and share thoughts and soundbites and viral clips of the movie on social media, where it may well find an entirely new life.

September 30, 2025 0 comments

TV & Streaming

Beta Film Inks Secuoya Studios, William Levy’s ‘Volcano’ ‘Arcadia’

by jummy84 September 30, 2025

written by jummy84

In more big news at Madrid’s Iberseries & Platino Industria, Munich-based Beta Film has secured sales rights to Secuoya Studios’ William Levy-starrers “Under a Volcano” and “Road to Arcadia.”

Billed as a gripping crime thriller, six-hour series “Road to Arcadia” casts Levy as Pablo, the coach of a Canadian wrestling team living a fulfilled quiet life with son Bruno, whom he adores, and partner Irene (Paula Echevarría, ), until his wife (Michelle Renaud) resurfaces and with her their secret mutual dark past.

An often humor-laced romantic action thriller “Under a Volcano” toplines Levy as Captain Mario Torres, a dashing rescue pilot dispatched to Canary Island Tenerife as a volcano shows signs of activity. There Mario meets Dani (Maggie Civantos, “Locked Up”), a volcanologist known for her research and fiery character. When the volcano erupts, Mario and Dani have to navigate its danger and their sentiments for each other.

Directed by Jorge Saavedra (“Zorro”), “Road to Arcadia” is produced for SkyShowtime, a Comcast-Paramount join venture and Mexican SVOD operator ViX, part of TelevisaUnivision. “Arcadia” and “Volcano” also slot into a two-title three-way deal between Secuoya, William Levy Entertainment and ViX announced at the May 2024 L.A. Screenings.

Both titles carry large streaming service potential. Levy, a star of “Resident Evil: The Final Chapter,” also toplined RCN TV telenovela “The Scent of Passion” (“Cafe con aroma de mujer”), a huge hit on Netflix, and Secuoya Studios’ mini-series “Montecristo,” a big hit on ViX and Spain’s Movistar Plus+. Beta Film is also selling the third season of “El Inmortal – Gangs of Madrid,” a Movistar Plus+ production with Banijay’s DLO Producciones whose Season 1 world premiered at Canneseries 2022.

In Season 3 of the mob thriller, charting one man’s spectacular rise up the Madrid narco food chain, José Antonio has installed his most loyal gang member as the successor to his throne: La Rubia. But when a snitch blows the whistle on an upcoming shipment, José Antonio’s ultimate life-and-death battle for power ensues. The series is produced by Movistar Plus+ in collaboration with DLO Producciones.

The deals are the latest in a 15-year relationship between Beta Film and Spain which saw Beta sell the original versions of Bambú Producciones “Grand Hotel” and “Velvet” to Latin America, sidestepping format deals and without the need for a “neutral” Spanish-language dub.

That breakthrough arrangement made both some of the hottest propositions in Latin America’s cable market while also firing up subs for SVOD operator Netflix.

Beta Film released some of Movistar Plus+’s earliest of titles, such as “The Pier,”· Alex Pina and Esther Martinez Lobato’s follow up to “Money Heist” and one of the fastest-selling titles at Mipcom 2018.

Boffo sales led to Beta Film and Movistar Plus+ signing a multi-year production & distribution deal, announced at 2019’s MipTV, only ended when Movistar Plus+ moved to launch its own sales operation, Movistar Plus+ Internacional, in March 2022.

September 30, 2025 0 comments

TV & Streaming

Adler & Associates Buys Aneek Chaudhuri Doc On Patriarchy In Religion

by jummy84 September 30, 2025

written by jummy84

EXCLUSIVE: Adler & Associates Entertainment has acquired Aneek Chaudhuri’s feature documentary The Place Once Known as Earth and We, Homo Sapiens.

The film, from The Zebras director Chaudhuri, is billed as “a daring exploration of the intersection of religion, patriarchy, and gender oppression in India.” According to Chaudhuri, it “unearths how rituals, customs, and cultural double standards—often sanctified in the name of faith—perpetuate misogyny across generations.”

Arthouse director Chaudhuri has explored rural rituals and urban issues, with testimony from musicians, journalists, theatre practitioners, psychologists and citizens.

“The Place Once Known as Earth and We, Homo Sapiens is a mirror to a civilization where divine femininity is celebrated on pedestals while real women are condemned for the same natural cycles that make them human,” said Chaudhuri.

“We offer prayers to Durga, Kali, and Lakshmi with utmost devotion, yet in the same breath, we silence women at home, dismiss their ambitions, or even justify violence against them,” he added. “That hypocrisy fascinated me—how the sacred and the violent coexist without guilt.”

Though the film is focused on India, the film will draw parallels to other practises that could be considered misogynistic elsewhere in the world. Chaudhuri said that religion acts as the centerpiece, “not to vilify faith itself, but to examine how patriarchal structures manipulate its power.”

The Place Once Known as Earth and We, Homo Sapiens has played at festivals such as the Indian Film Festival of Melbourne in Australia.

“Aneek’s film is not just about India; it’s puts humanity’s contradictions under the microscope,” said Mark Belasco, Executive Vice President at Adler & Associates. “By placing religion at the center, he exposes how systems of belief can both empower and oppress.

“Told with honesty, and a refusal to sanitize, Aneek’s style makes the documentary universally compelling. This is the kind of work that resonates far beyond its cultural origins. Besides, it’s been a long-term association with Aneek. This film hopes to be universal.”

“Cinema cannot dismantle patriarchy in one sweep, but it can disturb,” added Chaudhuri. “It can make you confront the contradictions you live with daily. That disturbance is the first step toward change.”

Chaudhuri recently launched Mono Studios Entertainment, a Kolkata-based production house that’s positioned as a “creative sanctuary for emerging directors.”

September 30, 2025 0 comments

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