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Matt Bomer, Nathan Lee Graham and Nathan Lane on 'Mid-Century Modern'
TV & Streaming

‘Mid-Century Modern’ Canceled at Hulu After One Season

by jummy84 September 30, 2025
written by jummy84

Hulu has canceled its comedy series Mid-Century Modern after a single season.

Co-creator Max Mutchnick wrote in an Instagram post Monday that the show is done: “Ten great episodes … Not enough. But we loved making every single one of them. We’re gonna miss our very special show. Thanks to everyone who watched.”

Mutchnick and David Kohan (Will & Grace) created the series, which centered on three gay men “of a certain age” (Nathan Lane, Matt Bomer and Nathan Lee Graham) who, after an unexpected death, decide to move in together in a house in Palm Springs. The late Linda Lavin, in one of her final roles, also starred as the mother of Lane’s character.

Hulu took Mid-Century Modern to series in August 2024, less than two months after ordering a pilot. The Disney-owned streamer released the season as a binge drop in late March. It received generally positive reviews from critics but didn’t break into the upper echelon of streaming series, never making Nielsen’s top 10 original streaming shows list.

The series earned four Emmy nominations, for director James Burrows and for production design, sound mixing for a half-hour series and picture editing for a multicamera comedy.

Disney’s 20th Television produced Mid-Century Modern. Creators Kohan and Mutchnick executive produced along with Ryan Murphy, Burrows, Lane and Bomer.

September 30, 2025 0 comments
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4 Coronation Street spoilers next week: Asha Alahan in devastating suicide story and are Abi and Carl exposed?
TV & Streaming

4 Coronation Street spoilers next week: Asha Alahan in devastating suicide story and are Abi and Carl exposed?

by jummy84 September 30, 2025
written by jummy84

And Abi Webster (Sally Carman-Duttine) makes a mistake that finally sees her affair with Carl (Jonathan Howard) revealed to Kevin (Michael Le Vell).

Tim Metcalfe (Joe Duttine) is reunited with an old flame, but their history isn’t all it seems.

Also, Todd Grimshaw (Gareth Pierce) heads to the hospital for an appointment concerning bowel cancer, keeping this from his controlling partner Theo Silverton (James Cartwright).

Read on for all your Coronation Street spoilers for Monday 6th October – Friday 10th October 2025.

4 Coronation Street spoilers next week

1. Asha Alahan is rushed to hospital after trying to take her own life

Asha is found unconscious. ITV

Bernie Winter (Jane Hazlegrove) and Dev have finally had their wedding night at the hotel, but now Bernie reveals she’s worried about Asha.

In the shop, an exhausted Asha drinks from a bottle of wine, then suddenly orders Brody Michaelis (Ryan Mulvey) to mind the shop before heading out.

A tearful Asha is found by Theo slumped on the bench in Victoria Gardens with an empty bottle.

Theo raises the alarm and Amy Barlow (Elle Mulvaney) alerts Dev, while a paramedic tends to Asha, asking Dev and Amy if Asha might have taken any drugs in addition to the wine.

Dev and Bernie sitting in a hospital waiting room as she rests a hand on his leg in Coronation Street

Dev is distraught. ITV

As Dev waits for news in A&E, Sienna (Charlotte Tyree) approaches and gently reveals they’ve found drugs on Asha.

Dev is reeling as Bernie asks if Asha has tried to take her own life.

An image from later in the week confirms that physically, Asha will be okay, but there are continued concerns for her mental wellbeing as Dev struggles to contain his emotions.

He tells Bernie he can’t help feeling angry that Asha was prepared to put the family through so much pain.

Asha sitting in a chair as Dev lays on a hospital bed talking in Coronation Street

Dev visits Asha in hospital. ITV

Dev later visits Asha, but can he support his daughter?

Meanwhile, in the Rovers, characters including Kirk Sutherland (Andrew Whyment) and Tyrone Dobbs (Alan Halsall) discuss Asha’s situation.

As they share their concern for Dev, the group open up over their own worries and agree to share them rather than bottling things up.

If you need help and support on issues raised within this article, please visit Samaritans, CALM, Rethink Mental Illness and Mind for guidance.

2. Abi Webster and Carl Webster’s affair exposed in text blunder?

Carl and Abi feel awkward for different reasons!

Carl and Abi feel awkward for different reasons! ITV

At Ronnie Bailey’s (Vinta Morgan) birthday bash, Carl is awkwardly sandwiched between both his secret lovers Abi and James Bailey (Jason Callender).

When young Alfie knocks over his drink, Carl helps as Abi mops up the spillage, and a furious Debbie Webster (Sue Devaney) notes their intimacy and spells out to Abi that she must end things with Carl.

Debbie then advises Kevin to hire a lawyer as Abi can’t be trusted.

Carl panics

Carl panics. ITV

Abi sees them talking but can’t hear what’s being said, and, assuming the worst, she sends a panicked text to Carl warning him that Kevin knows. Only, Abi’s texted Kev instead!

Carl tries to get hold of Kevin’s phone to delete the message, but the following day, it would seem that Kev has learned the truth, as he turns Abi away when she checks on him and Jack (Kyran Bowes), and makes clear that she’s no longer welcome.

Kevin demands her house key back, but later, Bernie tells Abi and Carl that she’s seen Kev chucking Abi’s belongings onto the street.

With Kevin heartbroken, will Abi come to regret her actions all the more when she inevitably finds out that Carl has been deceiving her?

3. Tim Metcalfe meets an old flame – and reveals a dark secret

Tim smiling at Trisha in Coronation Street

Tim recognises Trisha. ITV

Tim recognises a fare as Trisha Pinkerton, a girl he knew in the ’80s.

Meanwhile, it’s Tim and wife Sally’s (Sally Dynevor) anniversary, and she encourages Tim to go to the Rovers to help cheer up Kevin.

Trisha arrives and catches Tim’s eye, and he explains to the blokes that she’s a blast from his past.

Trisha Pinkerton in Coronation Street

Trisha Pinkerton in Coronation Street. ITV

Kevin disapproves, and the next day, Trisha visits Tim at the cab office, leaving Sally taken aback when she finds her there.

Sally explains she’s Tim’s wife, and is fuming with Tim as she points out that not only did he miss their anniversary meal, now he’s entertaining his ex at work!

Tim looking conflicted in Coronation Street

Joe Duttine as Tim Metcalfe. ITV

As Sally storms off, Tim tells Brian Packham (Peter Gunn) that he was only 14 when he got together with Trisha, who was nearly 20 at the time.

Brian is quietly shocked, and later, he accuses Trisha of grooming Tim as a child.

Sally Dynevor as Sally Metcalfe in Coronation Street

Sally Dynevor as Sally Metcalfe. ITV

Trisha is horrified while Tim rounds on Brian, who insists he needs to face up to what really happened with Trisha.

Sally confronts Tim, who admits he was only 14 when Trisha took his virginity.

Sally is shocked, but can she make Tim face up to the fact he was groomed?

For support on Tim’s story, visit NSPCC or call the helpline on 0808 800 5000.

4. Todd Grimshaw shields abusive Theo Silverton from his medical fears

Theo looking angrily at Todd in Coronation Street

Theo looking angrily at Todd in Coronation Street. ITV

Todd is upset as he confides in George Shuttleworth (Tony Maudsley) that Theo still hasn’t been in touch.

George reckons Todd is better off without Theo, and later, after Theo finds Asha, Todd rails at Theo for his disappearing act.

Theo stomps off once more, while Amy tells Todd that if Theo hadn’t found Asha, things could have turned out so differently.

By the end of the week, Todd tells Theo he wishes he could support him at Noah Hedley’s (Richard Winsor) funeral but he has to work.

But instead, Todd confides in Billy Mayhew (Daniel Brocklebank) that he has a hospital appointment to check for bowel cancer, but he hasn’t told Theo as he has enough on his plate.

Theo looking angrily between Tidd and Billy in Coronation Street

Theo has no idea that Todd’s also had a difficult day. ITV

Todd is grateful when Billy accompanies him, and in the pub, Todd thanks Billy and assures him he’ll tell Theo once he’s got the results.

Theo is later annoyed to see Todd and Billy together, and even more so when Todd explains he’s agreed to dinner with George and Christina Boyd (Amy Robbins).

With Theo exhibiting increasingly controlling signs as he takes issue with Todd having a life outside of him, how will he react?

Coronation Street has been working with Galop on the portrayal of abuse within an LGBTQ+ relationship.

For advice and support, visit Bowel Cancer UK.

Read more:

Visit our dedicated Coronation Street page for all the latest news, interviews and spoilers.

Add Coronation Street to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more.

Check out more of our Soaps coverage or visit our TV Guide and Streaming Guide to find out what’s on. For more TV recommendations and reviews, listen to The Radio Times Podcast.

September 30, 2025 0 comments
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Zachary Quinto Talks Wolf and Josh's Kiss, Carol in Flashforward (Exclusive)
TV & Streaming

Zachary Quinto Talks Wolf and Josh’s Kiss, Carol in Flashforward (Exclusive)

by jummy84 September 30, 2025
written by jummy84

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

It has not been an easy start to the season for Dr. Oliver Wolf (Zachary Quinto) on Brilliant Minds. First, his father Noah leaves with just a letter (after Wolf avoided him, despite the other man living in his house). Now, his mother, Muriel (Donna Murphy), has stepped down as CMO of the hospital and will just be his mother. Then there’s the complicated relationship with Josh (Teddy Sears) — the two are trying to just be friends — and the fact that Wolf will be a patient at Hudson Oaks’ psychiatric facility in six months.

First, Quinto is quick to assure us that Murphy isn’t going anywhere, though the show has lost the mother and son working together. “We spent so much of the first season watching Wolf deal with his trauma that originated in his family, his primary family of origin. I think Michael [Grassi, showrunner] wanted to open up some new storytelling landscape for Wolf,” Quinto explains in the video interview above. “And so I think that the vacuum that Muriel’s absence creates at the hospital will be a very interesting thing to chart and to navigate. I also think that it gives space and room for Wolf to become his own doctor in a way that working with his mom always had him maybe up against some degree of expectation that he’s no longer beholden to.”

Pief Weyman/NBC

He also reveals that the line about him looking forward to her being his mom and not his boss was something that they came up with on the day of shooting that scene. “I felt like it was something that Wolf needed to say and that it is nice to consider exploring their relationship from a different angle and not from the angle of Muriel having to be the messenger of the hospital mandates,” he says.

Elsewhere in the episode, Wolf invites Josh out for drinks and kisses him in what Quinto says was “an impulsive, vulnerable moment.” He also says that Josh was right to stop him because it was, in part, an attempt at a distraction from the fact that his father left.

He continues, “I don’t think Wolf is particularly comfortable in his own vulnerability. I think he’s able to show up for other people and their vulnerabilities when he is dealing with his patients. But I think in that moment, he felt like Josh showed up for him, supported him, and he wanted to connect on a level that allowed him to put things behind him that he didn’t want to really look at. And I think rightfully so, Josh interrupts that moment and says, ‘I can’t be a part of your distraction. I can be a part of your support system, but I can’t be a part of your distraction.’ And so I think it’s an attempt for Wolf to avoid looking at the magnitude of the impact that Noah’s return and then immediate disappearance or relatively immediate disappearance has had on his emotional and mental wellbeing.”

Wolf also understands why Josh hit pause on them. “He respects Josh’s boundaries. I think he has to understand that he wasn’t behaving in a way that was particularly respectful or particularly generous toward Josh at the end of the first season, according to Quinto. “I think he realizes that Josh deserves better and maybe in time Wolf will be able to provide that for him, but maybe not.”

In the Season 1 finale, Josh told Wolf he was falling for him. Wolf didn’t respond in kind. Grassi then told us he would in his own unique way. What might that look like?

“I think he finds different ways to communicate the way he’s feeling to Josh throughout the course of the second season,” teases Quinto. “I think part of what he’s learning is how to be present with his feelings and communicate them in real time. I think he’s somebody who’s lived a lot of his life not doing that —compartmentalizing and intellectualizing and processing in different ways. I think one of the catalysts that Josh is for Wolf is to kind of just be more present and be more comfortable in his own vulnerability.”

This episode ends with another flashforward, and in this one, Carol is by Wolf’s side, telling him it’s for the best, as he signs himself into Hudson Oaks, the psychiatric facility run by Amelia (Bellamy Young).

“I think there’s no one that Wolf trusts more than Carol, and probably at this point, including his parents,” Quinto tells us. “And so I think bringing her with him for that moment of surrender is very telling. And I think they have each other’s backs in a way that you can probably rest assured that it is the best place for him to be, at least in that moment if she’s advocating for it.”

Watch the full video interview above with Zachary Quinto about Muriel’s news, Oliver and Josh’s relationship, the flashforwards, Amelia showing up in the present, and much more.

Brilliant Minds, Mondays, 10/9c, NBC

September 30, 2025 0 comments
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Can PTA's Best CinemaScore Help 'One Battle After Another' Leg Out?
TV & Streaming

Can PTA’s Best CinemaScore Help ‘One Battle After Another’ Leg Out?

by jummy84 September 30, 2025
written by jummy84

When we wrote that “One Battle After Another” was unique in Paul Thomas Anderson’s filmography, one thing we didn’t count on was that general audiences would love the movie too. “One Battle After Another” made a modest $22.4 million domestic this weekend, but it also scored an “A” CinemaScore, something that PTA simply hasn’t done in his career.

Most of PTA’s movies, because they didn’t open wide, didn’t also receive the audience exit polling that other wide releases do, but the ones that were graded were “Boogie Nights,” which got a C; “Magnolia” with a C-; and “Punch Drunk Love” with a D+. We imagine some unsuspecting Adam Sandler fans stumbled into that one. It’s also one of the better exit-polling numbers for Leonardo DiCaprio in decades, as you’d have to go all the way back to “Titanic” and its A+ to see a film that scored better. Recent titles like “Killers of the Flower Moon” got an A- and “Once Upon a Time in Hollywood” got a B.

Andrew Garfield and Julia Roberts

It’s no guarantee, but an A is the type of thing a movie like “One Battle After Another” needs if it’s going to have any chance at long-tail success. Bringing in $22.4 million domestic, plus another $26.1 million internationally for a global total of $48.5 million, was a hair above initial projections. But with a budget of $130 million before marketing, you’d hope to see a little more if this movie is going to be in the black.

And no, dollars and cents aren’t everything, nor are Oscars, which this film should certainly get, but it does matter if Anderson or other filmmakers like him are going to keep getting ambitious and big bites at the apple, or if studios like Warner Bros. are going to continue taking risks. Warner Bros. now has eight movies to open No. 1 at the box office this year, and many of those, including “Minecraft,” “F1,” “Sinners,” and “Weapons,” are for original films, not sequels. It’s in everyone’s best interest for original ideas with big movie stars like “One Battle After Another” to do well.

So what would be a reasonable long-term expectation for “One Battle After Another”? Movies like “Weapons,” “Sinners,” and even Leo’s “Once Upon a Time in Hollywood” all opened in the $40-48 million range, higher than “Battle,” but it could be eyeing similar multiples based on strong word of mouth. “Sinners” has had a staggering multiple of 5.8, a true sleeper hit that has defied all expectations, and the studio thinks that with the remarkable reviews “Battle” is receiving, something like that is not out of the question for this film.

“Once Upon a Time in Hollywood” had a domestic multiple of just shy of 3.5, as did “Weapons” this year. But a source points us to some other aggressive comps for eventual Best Picture winners like “Argo,” which opened to just $19.4 million and would do 7 times that domestically, or “The Departed,” which also stars DiCaprio, opened to $26.8 million from Warner Bros. and had about a 5 times multiple.

The best comparison might be to “Killers of the Flower Moon,” which in 2023 opened to a similar $23.2 million and had a multiple just shy of 3 to wind up at $68 million domestic. “Killers” also made more than half of its gross internationally, and “Battle” could wind up looking at similar ratios. But this film has had even better reviews, audience reaction, and is shorter, so outperforming isn’t out of the question. A multiple of 3 domestic would get it in the ballpark of $67 million, and twice that internationally could land it somewhere in the $134-140 million ballpark globally, surely a let down for a movie with as high a budget as “Battle” has. A movie like this really needs an epic word of mouth on par with “Sinners” to justify its price tag. If the movie, in Week 2,has a drop that’s under 30 percent (the drop for “Sinners” in weekend 2 was virtually non-existent), that’s a solid sign.

The good news is that “One Battle After Another” should hang on to its many premium screens for the long haul. The VistaVision showings will be active in their four current locations for about six weeks, and it should maintain the same 70mm footprint without ceding too many IMAX screens, though the re-release of “Avatar: The Way of Water” next week and “Tron: Ares” the week after could have something to say about that.

Not just that, but the movie has quickly been the source of memes on Film Twitter, and the WB marketing department is actively courting repeating viewings from celluloid-obsessed crazies by putting out a so-called punch card allowing you to check off every format you’ve managed to see the film in (we’ll skip the 4DX screening, thanks). It’s the type of movie too that, while the initial trailers didn’t do “One Battle After Another” a ton of favors in hinting at what the movie is actually about, audiences will quickly appreciate how ripped from the headlines and current the film seems once more people have actually gotten the chance to see it. You just have to have a little faith that audiences will find “One Battle After Another” eventually and that this is the type of movie we’ll still be talking about long past Oscars season.

September 30, 2025 0 comments
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Martin Freeman Controls Time in Sentimental Fantasy
TV & Streaming

Martin Freeman Controls Time in Sentimental Fantasy

by jummy84 September 30, 2025
written by jummy84

Given the pressures of modern existence, it’s clear why an adaptation of Michael Ende’s 1973 novel “Momo” would appear utterly relevant in 2025. More than ever, the hours in the day seem insufficient.

In writer-director Christian Ditter’s glossy take on the fantastical story about the preciousness of time, an enigmatic red-haired girl named Momo (Alexa Goodall) lives inside the amphitheater of an unnamed European city (perhaps closest in look to Rome). Locals take an interest in Momo given her special talent for listening to people. When someone confides in her, the speaker feels magically compelled to be truthful. They leave the exchange feeling relieved and acknowledged, a rarity in the attention-starved era of the internet. Strangely, instead of being integral to the narrative as a whole, Momo’s fit serves as the vehicle for her to learn the Grey corporation’s villainous plans.

Those who work for Grey are “time thieves,” otherworldly entities that rely on stealing hours from humans to live. Their ploy to do so is convincing the populace to wear bracelets that monitor when they use their time in a productive manner or when they “waste” it on enjoyment. All the time saved, they think, will accumulate for them to spend it with their loved ones or pursue their passions later in life. It’s a straightforward cautionary tale about how modern economic systems demand productivity and consumption, while robbing the masses of the energy and space to chase fulfilment during their all-too-finite lives. However, the way time is actually extracted or how it might be returned to the person saving it is left unexplained. For a film that also introduces other well-defined futuristic technology as not-so-distant threats, the lack of concrete mechanics for this core aspect feels disappointing.

Momo’s mysterious origin as a young girl who appeared without a family makes for an intriguing departure point. But once she accepts her mission to save everyone else from the time thieves, the heroine isn’t allowed any ambivalence or contemplation about her future or her past. And while that’s in line with the notion of living in the moment, one wonders if the character doesn’t long for a parent, or to go to school, or to experience life as other kids her age do. Does she not question why she was chosen or created? Momo comes across more like a concept than a person. Goodall’s charismatic performance should certainly further her nascent career, but within “Momo,” there are built-in limitations to what she can showcase emotionally beyond unwavering determination.

Aside from the amphitheater’s good-natured janitor Beppo (Kim Bodnia), Momo’s most meaningful relationship is her friendship with Gino (Araloyin Oshunremi), a teenager working multiple jobs to help his mother Liliana (Jennifer Amaka Pettersson) support his siblings. When Grey offers him a platform to realize his dream of building a fanbase, Gino becomes a digital star via high-tech contact lenses that people wear to watch content. As with most ideas in “Momo,” this nod to how social media warps our worldview and eats away our time is blatantly obvious, but only skin deep since the filmmaker won’t engage with the whys.

Partway through, Momo, aided by a tortoise whose shell displays glowing text to communicate, travels to an alternate reality to meet Master Hora (an amusing Martin Freeman), a generic benevolent magic man who discloses a bit more exposition in the form of narration throughout the adventure. Carefully deployed VFX enhance the whimsy in this realm where a giant pendulum over water represents the passage of time. There’s an atemporal quality to the film’s stylized alternate reality, which blends an old-world charm with signs of a technocratic dystopia, all contained to a few blocks in an imaginary town. The film’s impressive production values at least makes for an eye-catching watch.

“Momo” struggles to shape its derivative components into a cohesive whole, but as soon as one digs any deeper about the lore or the characters’ motivations or inner conflicts, the film reveals itself to be shallow. The commentary on how responsibilities take over our lives, forcing us to dismiss what’s truly valuable, never dares to substantially poke at the reasons why this occurs, such as economic inequality, lack of opportunities and corporate greed. In evolving the original text for current times, keeping the theme’s profundity to “time doesn’t exist in their watches but in their hearts” feels almost disingenuous, even if aimed at young audiences.

When Momo inevitably saves the day, after stopping time and facing off against the leader of the Grey antagonists (played by a stoic Claes Bang), it all seems to go back to normal. Everyone has presumably learned the value of time, but have their material conditions changed for them to actually be able to focus on the things they want to do? That much remains a mystery.

September 30, 2025 0 comments
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Noah Baumbach and Adam Sandler at the Venice Film Festival for the world premiere of their movie Jay Kelly
TV & Streaming

Deadline interview with Noah Baumbach and Adam Sandler On ‘Jay Kelly’

by jummy84 September 30, 2025
written by jummy84

Although Adam Sandler has forever been known as a comedic force in movies, most recently in the long-awaited Netflix sequel to Happy Gilmore, his performances in such films as Hustle, Paul Thomas Anderson’s Punch Drunk Love, Noah Baumbach‘s The Meyerowitz Stories and the Safdie Brothers’ Uncut Gems have proven this is a star with serious dramatic acting chops. Now he is getting major Oscar buzz (again) for his role as Ron, the ever-loyal but conflicted manager to George Clooney‘s major movie star going through an existential crisis of identity in Jay Kelly. It has brought Sandler critical raves (and so has the film for Baumbach who directed it) after its Venice and Telluride launches, and now tonight premieres at the New York Film Festival.

While in Telluride I sat down with Sandler and Baumbach to talk about their second teaming together and just what made Sandler perfect for this role.

DEADLINE: So after working with Adam in The Meyerowitz Stories what inspired this reunion on Jay Kelly?

NOAH BAUMBACH: Emily [Mortimer] and I were writing the character, I wanted it to be Adam, because, you know, I’d gotten to know Adam, and we’re very close, and our families are claiming we’re in love.

ADAM SANDLER: Yeah.

BAUMBACH: Adam has such generosity of spirit and such love and such loyalty to the people he works with, you know, the way he takes care of his family, it’s just really remarkable to me. I think we share that, this love of life and movies and having the people you love to be there in the movie, because you love your movie, and you want to love the people in them and I always use my friends, either depending on their abilities or the roles, I use people in my movies who I’ve known my whole life, or you know, I bring my own family into it. But I felt like with Ron, it would be a way for Adam to sort of play something that I feel is actually quite close to him, but in a character that actually isn’t that close to him. Adam obviously, lives Jay Kelly’s life in reality.

SANDLER: At times.

BAUMBACH: I mean in terms of, like, being a worldwide movie star, and so you know, it’s something exciting to me that he would be playing something that was kind of close to him, but in disguise in a way.

DEADLINE: Why did you decide to do this very industry showbiz centric story now?

BAUMBACH: It uses the movie business, the sort of notion of the movie star and all the people around them. All of that’s compelling and fun, and it’s a world I know really well. Making a movie about an actor is making a movie about persona and performance and identity and choices and all the things that are inherent in that. In a way I feel like it’s one of the most universal stories I’ve told, even though it actually takes place in a kind of somewhat rarified world, but it’s rarified only in terms of where Jay Kelly exists in the culture. I mean, as we actually discover Jay Kelly was a kid from Kentucky with no money whose dad worked for the John Deere corporation. And you see Ron is dealing with all the sort of ordinary work-life questions that could be in any profession, right?…The story of success is the same story as the story of failure. It’s like it’s a barrier between you and who you might actually be, and in the case of a movie star, it’s such a specific thing. It’s like his name means something different than what his name meant when he was young. So, it’s like he lost his name, and I think that’s such an interesting way to explore how we all sort of deal with this gap between who we present ourselves as, and who we might actually be, and as we all get older we’re all hopefully getting closer to ourselves.

DEADLINE: Adam it looks like you just slipped into this role, like you knew this guy. So, what do you base it on, besides their script?

SANDLER: I base it on conversations with Noah and talking about my own teams, my own people that I’ve seen throughout the years, Noah’s people that he’s seen throughout the years and just that sense of a person who’s so dedicated to one person or all his clients and how much damage that can cause at home, just because of the amount of time that takes to be dedicated to someone, and the arts. 3AM in the morning, things can come to that person’s mind that is very important to them, and you have to be there for them. So, yeah, it’s about kind of giving away any privacy and just being okay with that, and I thought that was fun to be a man like that, to be a guy that said, ‘hey, even though it pains me right now, you guys know the drill. This guy comes first.

BAUMBACH: It’s also like, to be good at your job…But to be good at your job in that instance means that you’re dedicating yourself and your time and your life, If you’re younger and you love it you’re happy to devote all day long to it, but then, as you start to have a life and a family, but you’re still doing it….You know, when I was starting, I would edit seven days a week. I still love editing as much as I ever did, but you know, I want a weekend with my family, and I want to knock off at six and go have dinner with the kids and do all that. Liz (Laura Dern’s publicist character) even says it to Ron. ‘In the beginning, it was fun. You know, he was our baby, and we take care of him, but now we have real babies’.

SANDLER: It’s a heartbreaking scene on the tennis court, just how much my daughter needs me there, how important it is, and just it’s out of my control. Something’s going on with the man I’m dedicated to, and I’m going to Europe with him, and you can’t talk me out of it, because I know what’s best.

BAUMBACH: Ron is like Jay’s shadow. I mean, the opening of the movie, when, you know, we make our way through the set, and Jay actually is a shadow when we first see him in the tent, and Ron and the shadow move together and then kind of converge. It was sort of a way to tell that story right off the bat… Jay’s having a sort of existential dark night of the soul, and Ron’s having the more ordinary version of ‘I’m away from my family. I’m trying to do a good job at work. I’m also trying to be a good parent, and how do I do this? And this is what I chose, or I need to re-choose this or not’.

DEADLINE: This wouldn’t have worked if we didn’t believe the relationship between Ron and Jay. Adam, you and George Clooney go back decades, don’t you?

SANDLER: Yes. We knew each other, George and I were always nice to each other, but we spent a lot of time on and off the set, and I’ll tell you what, no one was pulling for me like George every scene. Every scene, he was so excited about the stuff we’d do together and so excited…he was so quick to, on hearing cut, compliment what I did, and I would say, ‘well, do you just know how great you are and how easy it is to do this with you?’ And he doesn’t like compliments. He’s just like, ‘no, no, no, no, no, it’s okay, thank you, but what you’re doing’. He’s such a nice, giving actor, and we did have a nice time on set. When Noah was setting up a shot, we’d sit with each other, George and I, and just talk and get close and run scenes or just talk about life and talk about our families, and we’re very kind to each other.

George Clooney as Jay Kelly and Adam Sandler as Ron Sukenick in 'Jay Kelly'

George Clooney as Jay Kelly and Adam Sandler as Ron Sukenick in ‘Jay Kelly’

Peter Mountain/Netflix

DEADLINE: You’re running away with the reviews in this, if you read them.

SANDLER: Just so you know, I don’t read them, but I’ll take it. Thank you.

DEADLINE: There’s major awards buzz around your performance. How does that feel?

SANDLER: It’s really nice, man. I get to talk about it…I don’t know what a right answer to that is, you know, but it’s just all exciting. I do have to say, whatever compliment comes my way goes back to my man Noah. I’m proud to be this man but I know it came from Noah, and I’m really thankful that he gave me this part that had so many different things to do and ways to think.

DEADLINE: And it’s not the first time. Obviously, Uncut Gems and Punch-Drunk Love put you in the conversation, and on and on.

SANDLER: Man, I’m so happy. Noah called me, it was probably two years ago, and said he has an idea, and he wants to include me, and so, right away, you say, well, that’s big, because Noah’s writing, and how serious and how hard he works, you know there’s going to be something there that, as an actor, you say, ‘okay, man, this is the big time’, and you don’t want to waste a word of it. Then I got to read it, and then I said, ‘okay, this is something that I will never forget. I’m diving in deep and trying to be this guy, and I’m going to love being this guy’, and you don’t think of the other stuff. Others have brought stuff up while we were shooting, to me, and I would say, ‘I don’t think I want to talk about anything but how great this movie could be’, and so, that’s where you land. I just love Noah. I know that everything I did in this movie is where he led me. When I make my movies, I work hard on them, and I feel the pride in everybody’s performance, and I have the same feeling about this movie. I know I follow what Noah told me to do, and I would always be happy when Noah would say we got it. On a particular take, I’d say, ‘all right, if Noah’s happy, then we’re doing something right’.

Jay Kelly opens in select theatres November 14 and begins streaming on Netflix December 5.

September 30, 2025 0 comments
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Raúl Castillo Breaks Down His 'Task' Twist in Episode 4
TV & Streaming

Raúl Castillo Breaks Down His ‘Task’ Twist in Episode 4

by jummy84 September 29, 2025
written by jummy84

[This story contains major spoilers from episode four of Task].

Soon after Raúl Castillo read the first script of Task, he got on a Zoom call with show creator Brad Ingelsby to walk through the narrative beats of the show. It was a standard meeting for an actor deciding whether or not to sign on for a new project — save for the reveal that Castillo’s character, Cliff, would be tortured to death by a biker gang in the fourth episode. “I knew that the show was going to take us to some pretty intense places, but it was then that I had to figure out if that was something I could commit to,” says the actor. “But it felt inevitable. Like, oh shit, I have to do this thing.”

Castillo stars in Task (Ingelsby’s follow-up to Mare of Easttown), which follows two longtime friends who launch a drug-house-robbing scheme in order to get back at a local biker gang responsible for the death of a loved one, and the FBI crew assigned to break the string of robberies. In the fourth episode, which aired Sunday evening, Castillo’s Cliff and Tom Pelphrey’s Robbie are outsmarted by the biker gang while attempting to sell off their stolen haul. Cliff, in a long and harrowing scene, pays the deadly price. Here, Castillo chats with The Hollywood Reporter about creating the character and how they made Cliff’s final moments so realistic.

How did you first hear about this show?

Jeremiah Zagar, one of our producing directors, and I have collaborated a few times. We did We the Animals years back, and I made a small cameo in his feature, and we’ve been friends for a bunch of years. When he told me he was signing onto the new Brad Ingelsby show, I was sold from the get. I was a big fan of Mare of Easttown. Jeremiah talked to me about a couple of different characters, but he sent me the script — this was quite early, before the strike and before Mark was attached, or at least before he was attached in any way that Jeremiah could tell me about. I read it and Cliff just felt right for me. There was something about his loyalty to Robbie and his tenacity that felt familiar. The first scene that grabbed my attention was when Robbie and Cliff are taking a break from work and are discussing dating life, and I was enamored with Cliff’s acerbic quality. Even though he’s distrusting of a lot of people, he gravitates to Robbie. It felt really truthful.

Let’s talk about that loyalty. Obviously, Cliff ends up being the victim in Robbie’s scheme — is he a victim of Robbie’s grand ideas? How much autonomy does he have here?

I definitely never saw him as a victim. I see him as very free-willed, and I think there’s some backstory that we as an audience don’t learn in words or plot points, but there’s a sense that these guys have been there for each other in the past and that they’ll continue to be moving forward. There’s a shared history by the time we meet them. Brad is a very economical writer; he gives you these little nuggets of information, but there’s a lot to mine from that information. So I always felt that Cliff was not strung along or forced into any situation.

How did you find this very specific northeastern PA accent?

I was a little afraid of accents, to be truthful. I didn’t study to be an actor; I studied to be a playwright, so I’d never worked with a dialect coach before. But Suzanne Selby was amazing, and I found that rather than it being a hurdle, it was actually a great way to find my way into Cliff. It took me out of my own rhythm and cadence. She actually took me to a couple of DelCo bars before we started filming. It was before I’d made the physical transformation into Cliff, so I still looked like myself, and was dressed like myself, so I stood out like a sore thumb. I was getting glances. I wasn’t treated rudely, but it was enlightening to be in that environment.

Can you talk about that transformation into Cliff?

Well, Tom came to Pennsylvania with that post-strike look. (Laughs) It was perfect for Robbie — that long ass beard, and the long hair. And then Jeremiah and I talked and agreed that Cliff should look and feel different from that. He should have his own distinct silhouette, and that’s where the facial hair came in.

I had a moment when it was time to create the prosthetics for Clint in episode four, where I was like, “What have I gotten myself into?” I flew down from Philly to Atlanta, where Bill Johnson, the makeup effects artist, has his studio, so that they could do a cast of my face. You have two little holes to breathe out of, you can’t speak and you can barely hear. It felt like being underwater. And I’m extremely claustrophobic. It was vulnerable, but they were as comforting as you could be in those circumstances and I think it paid off. The effects look incredible — I’m nervous for my mom to see the episode because it’s so realistic and quite intense.

When you watched the final version of the episode, what did you think about most?

I remembered the four hours that it took for them to apply all those pieces. Usually, you sit in chairs with the rest of the cast, but before that scene, they thankfully had a little tent for me to be by myself. I needed to be in a meditative state. Once you have makeup like that, you almost don’t have to do any acting, because people are reacting so strongly to what they’re seeing on your face. The set got extremely quiet, and people were walking on eggshells around me. It was really intense, and it was also my first time in front of the camera with Sam Keeley, who played Jason, and the rest of the bikers in that scene.

How many times did you have to film that torture scene?

It took a couple of times to get it right. There were all these technical components in place, specifically for when Cliff spits in Jason’s face and when the plastic wrap goes around Cliff’s head. They weren’t working, and it was frustrating because Sam and I would work up to that big moment and then the spit machine wouldn’t work the way it was supposed to. And there was a little plastic tube to help me breathe when the plastic wrap went around my head, and the camera would catch it and it was too obvious. There was one point where Sam took Sally [Richardson], our director, over to the corner to talk. I could only see out of one eye because of the prosthetics, and I was watching them whisper to each other and I was like, “I hope he just wants me to do the spit gag myself.” And that is what they wanted. So they put some fake blood in my mouth and we worked up to that moment, and I spit in Sam’s face and his real reaction to me hawking a loogie is what you see in the show.

The same thing with the plastic wrap. I asked them, guys, I’m an excellent swimmer and I can hold my breath for a long time, can we just wrap my face and if I feel at any point like my safety is jeopardized I can just rip it open. My hands were free. Thankfully, they trusted me, and I trusted them too, and that’s the take we used.

So, how do you come down from a day like this?

Taking off the prosthetics took a couple of hours, so they put on my music and brought me tea and I just calmed down that way. It wasn’t my last day of work, but it was one of my last days and it was certainly one of the darkest things I’ve had to do as an actor. It was emotional saying goodbye to this character.

Do you have the itch to do any of this again?

I’m dying to work with Tom Pelphrey again. He was so incredible, and it felt criminal that we could only do one season of these characters. I fell in love with Cliff and Robbie’s dynamic and I wish we could explore more about who these guys are. I’d love to work in Philly again, too. I love that part of the world, and the way we were embraced by Pennsylvania is not lost on me.

Did everyone in town know you guys were filming?

They didn’t know at first, since these aren’t the same characters as with Mare of Easttown. Tom and I are not people who are getting recognized left and right, but blending in made our storyline even better. But, people did start to catch on to the fact that we were making a new show from the writer of Mare, and we got a lot of love for sure. And we had a lot of Rita’s Water Ice. It’s like paying homage, right?

September 29, 2025 0 comments
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Penny Lancaster on Gregg Wallace facing “justice” after MasterChef sacking
TV & Streaming

Penny Lancaster on Gregg Wallace facing “justice” after MasterChef sacking

by jummy84 September 29, 2025
written by jummy84

As well as three other luxury homes (in LA, Florida and France) the couple have a floating abode. Bluebell – a bright blue narrow boat – was Stewart’s 50th birthday gift to Lancaster, now 54, after she became captivated by canal boating during their daily lockdown river walks. “We’d see these beautiful narrow boats,” she explains, “and I thought, ‘That’s a slow life, isn’t it?’. They go five miles an hour and it’s all among nature. I told my mum that I’d love one. So she was like, ‘Hint hint, Rod’.”

A sanctuary for when “life gets fast”, Bluebell is a cause for near disaster, too. “We’ve got a bedroom at the front, and one time Rod was lying in there with the doors open while I was at the other end. Then I went, ‘Oh darling, hang on!’. We crashed into the bank, and a willow tree came into the bedroom,” recalls Lancaster. “Rod was lying there with a tree on top of him!”

The couple started dating in 1999 and married eight years later in Portofino, Italy. Eighteen years on, they still relish surprises. “We had a doorway that was blocked, and I put a bookcase in it,” says Lancaster. “Then it was a case of, ‘Find what I’ve done!’ Or he’ll say to me, ‘Go in there’ – and there’ll be a new painting or a new statue in the room.”

Balancing all that extravagance, glamour and wealth is service to the community. Most Thursdays, the former Strictly Come Dancing contestant does a night shift for the City of London Police. She became a volunteer Special Constable in 2021 after falling in love with policing in 2019 when she took part in the Channel 4 series Famous and Fighting Crime, and has been on duty at high-profile national events, including the funeral of Elizabeth II and the coronation of King Charles. She has also made two arrests that she describes as nerve-racking but quite momentous. “It’s like passing an exam,” she explains.

Penny Lancaster. BBC

In her new memoir Someone Like Me, Lancaster writes that “it’s not until you’re catapulted from your safe place that you understand more of who you are”. Policing, she confirms, has strengthened her, not least by helping her process two episodes of sexual violence in earlier life. She was 17 when a fashion designer drugged her drink (she believes) and she woke beneath him midway through an assault. Five years earlier, a stranger molested her in an underpass on her way to school. Neither perpetrator was ever apprehended.

“That’s one of the reasons I feel I’m out there [as a special constable] now. I’m finding justice, but for someone else, someone like me – hence the title of the book.”

When his wife is policing, Stewart’s only “rules” are an end-of-shift text to confirm she is safely back at the nick, then a car home – never the last train. But Lancaster has a confession. “When he’s away, I do get the train home,” she smiles mischievously.

Stewart claimed Lancaster experienced bullying at the hands of Gregg Wallace, labelling him a “tubby, bald-headed, ill-mannered bully” who “humiliated” her when she took part in Celebrity MasterChef in 2021. Lancaster later contributed to an inquiry that upheld 45 out of 83 allegations of misconduct against Wallace and prompted his sacking from the BBC cookery show. “That was a refreshing piece of justice,” says Lancaster.

She’s talking from a sunlounger at the couple’s home in Palm Beach, while Sir Rod has half an hour of beach time before departing for a performance in North Carolina. But in a few days, Lancaster will be on the move, too – to LA to reunite with their sons Alastair, 19, and Aiden, 14, and meet their fifth grandchild, Kimberly Stewart’s new baby boy. (“He’s adorable, and Kim is doing a great job!”, she gushes.)

As well as his boys with Lancaster, plus Kimberly, 45, and Sean, 44 – his children from his first marriage to actress Alana Stewart – Rod shares Renée, 32, and Liam, 30, with second wife, model Rachel Hunter, plus another daughter, Ruby, 37, from his romance with model Kelly Emberg. He fathered his eldest child, Sarah Streeter, 61, at 18, before putting her up for adoption. “We’re already talking about Christmas because we have to figure that stuff out in advance,” says Lancaster. “It’s very hard to get everybody together.”

Stewart is also extremely busy, working on two new albums, a book and planning another new tour, hot on the heels of his Glastonbury show this summer. But at 80 – and after a bout of flu in June that forced him to cancel tour dates in the US – is it time for Lancaster’s other half to ease up and really put his health first? “Him being busy is looking after his health, because it’s what brings him joy, it’s what makes Rod Rod,” she responds. “If he didn’t work, it would all stop. His body wouldn’t know what to do.”

Thank the stars for Bluebell…

The latest issue of Radio Times is out now – subscribe here.

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Check out more of our Entertainment coverage or visit our TV Guide and Streaming Guide to find out what’s on. For more TV recommendations and reviews, listen to The Radio Times Podcast.

September 29, 2025 0 comments
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Cara Horgan, Samantha Bond, Natalie Dew, Holli Dempsey, Phill Langhorne, and Jo Martin,
TV & Streaming

Cast, Premiere Date, More Details

by jummy84 September 29, 2025
written by jummy84

The women of The Marlow Murder Club are back to solve another mystery.

Filming has officially concluded on the third season of the PBS crime drama, which is set to return next year. The series follows a trio of unlikely friends — played by Samantha Bond, Jo Martin, and Cara Horgan — as they investigate murder mysteries in their quiet town of Marlow, England.

Season 1 and 2 of the series — the latter of which concluded on September 28 — are currently available to stream on PBC, PBS Masterpiece, and on Prime Video. The Marlow Murder Club is produced by Monumental Television and is coproduced by U&Originals and Masterpiece in association with ITV Studios.

Keep scrolling to find out everything we know about the show’s return so far.

When does Season 3 of The Marlow Murder Club Premiere?

The show will return in 2026, though an exact premiere date has not been announced.

Robbie Gray/Courtesy of Courtesy of Monumental Television, UKTV, and Masterpiece.

How many episodes will The Marlow Murder Club Season 3 be?

Per a PBS press release, Season 3 will feature “three gripping new murder mysteries told across six episodes.” Daniel Rusteau cowrote the first two episodes of Season 3 with the author of The Marlow Murder Club book series, Robert Thorogood. Amy Reith serves as the writer for Episodes 3 and 4, while Julia Gilbert penned the final two episodes of the season.

What will happen in Season 3 of The Marlow Murder Club?

“Now an established part of newly promoted DI Tanika Malik’s crime solving gang, retired archaeologist Judith Potts, dog walker Suzie Harris, and vicar’s wife Becks Starling are back and bringing their unconventional methods to a string of high-profile murders,” the logline for Season 3 reads. “From the sudden death of the town’s beloved mayor – the nicest man in Marlow – to a celebrity chef found dead at the launch of his cookbook with half the town in attendance, the team will be working under the watchful eye of the Marlow community.”

The description continues, “They’ll also be called to action at a university reunion in an eerie manor house where in a surprising twist, Becks finds herself amongst the suspects. Could this case threaten our amateur sleuths’ roles as civilian advisors?”

Which cast members will return for Season 3 of The Marlow Murder Club?

Bond, Martin, and Horgan will all return as Judith Potts, Suzie Harris, and Becks Starling, respectively, along with Natalie Dew as DI Tanika Malik. The new episodes will also see the return of several Season 2 guest stars, including Hugh Quarshie as Professor Darius Gifford, Phill Langhorne as DC Brendan Perry, Holli Dempsey as DC Alice Hackett, and Tijan Sarr as DC Jason Kennedy.

Jo Martin, Cara Horgan, Samantha Bond, and Sarah Alexander, 'The Marlow Murder Club' Season 3 first look, PBS.

Robbie Gray/Courtesy of Courtesy of Monumental Television, UKTV, and Masterpiece.

Who will guest star on Season 3 of The Marlow Murder Club?

Nigel Harman will guest star as Marcus in Episodes 1 and 2, along with Peter Davison as Geoffrey, Jacqueline Boatswain as Debbie, Sarah Alexander as Sophia, Tony Gardner as Terrence, and Jason Merrells as Paul.

Episodes 3 and 4 will feature Harry Enfield as Hector. Episodes 5 and 6, meanwhile, will guest star Cherie Lunghi, Adrian Lukis, and Alastair Mackenzie as Marian, Matthew and Ferdy, respectively.

The Marlow Murder Club, Season 3 Premiere, 2026, PBS (Seasons 1 and 2, Now Streaming on PBS, PBS Masterpiece, and Prime Video)

September 29, 2025 0 comments
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The Simpsons Are Coming Back to Theaters with a New Movie in 2027
TV & Streaming

The Simpsons Are Coming Back to Theaters with a New Movie in 2027

by jummy84 September 29, 2025
written by jummy84

Disney and 20th Century Studios on Monday announced that “The Simpsons” are coming back to the big screen. An untitled “Simpsons Movie” sequel will hit theaters on July 23, 2027.

“The Simpsons” has already been renewed through its 40th season, which would air in 2028 and 2029, taking the series to well over 800 total episodes by that time. In short, that means this film will not be serving as any sort of send-off situation.

The one and only previous “The Simpsons” movie was released in 2007, so when its sequel arrives in 2027, it will mark a full 20 years in between films. The previous film made $536 million worldwide, and the show in subsequent years has joked that there will never be another “Simpsons” movie. Well, times change.

Gavagai

The surprise announcement Monday morning came out of the yellow blue, and no other details were provided, but surely the main voice cast that has been with the show since 1990 will return. You can never stop “The Simpsons,” but that’s in part because the cast has been largely resilient in its run. In 2013, the longtime voice of Edna Krabappel, Marcia Wallace, passed away, as did the actress Jan Hooks in 2014, who voiced Manjula, among other characters.

“The Simpsons” has unsurprisingly had steadily declining ratings since its ’90s peak and well into the 2000s, and in 2025 hit some new lows, but it’s been a staple of Fox’s larger Animation Domination block on Sundays, and shows like “Family Guy” and “Bob’s Burgers” continue to perform on the Nielsen charts. “The Simpsons” too is a major cash cow for Disney+, providing tons of ancillary streaming value, all while the show pumps out various shorts that are exclusive to streaming. However, the current season order for the show is just for 17 episodes a season rather than the show’s usual 22.

“The Simpsons Movie” in 2007 was directed by David Silverman, a veteran of the show and now its executive producer alongside showrunner Matt Selman. That film saw Springfield become trapped in a giant glass dome to contain an environmental catastrophe brought about by Homer, requiring the Simpson family to leave home and find a way to rescue their town from destruction by the government (all playfully sold to the American public via narration by Tom Hanks).

Check out the announcement poster below:

More to come…

September 29, 2025 0 comments
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