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13 ways the Harry Potter TV series could be salvaged – Peeves to Voldemort's death
TV & Streaming

13 ways the Harry Potter TV series could be salvaged – Peeves to Voldemort’s death

by jummy84 September 5, 2025
written by jummy84

Rowling has faced backlash in some quarters due to her views on transgender rights. In 2020, she published a lengthy statement detailing her stance on sex and gender debates – the essay was criticised and disputed by LGBTQ+ charities including Stonewall.

Rowling has also shared her views on social media, including in a 2024 post on X (formerly Twitter), in which she insisted that “there are no trans kids” and opposed the idea that a child can be “born in the wrong body”.

In May 2025, Rowling set up the JK Rowling Women’s Fund, which describes itself as offering legal funding support to “individuals and organisations fighting to retain women’s sex-based rights”.

The Harry Potter books have also already been adapted into a massively successful film franchise – and not even that long ago.

But, for all our cynicism, the recent announcement that Professor Binns will appear in the series has proven it can at least offer something the films never did – enough time for an in-depth adaptation of the books.

After all, the plan is to dedicate a full season of the TV show to each book, allowing around an extra eight hours per book to add back in back stories, scrapped characters, and moments that the films just did not do justice.

So, while not everyone is happy about the TV series at all, if it does have to happen, there may be a few ways it can be salvaged for those who make the decision to watch it. Here’s how.

1. Add Peeves back in

Rik Mayall. Mick Hutson/Redferns

It’s the obvious answer for a reason. Peeves was a hugely important character in the Harry Potter books who was unceremoniously cut from the films due to a lack of technology at the time.

Comedian and actor Rik Mayall was lined up to play the mischievous poltergeist who’s at the heart of every bit of chaos at Hogwarts, but the original film’s director Chris Columbus has revealed that his scenes had to be scrapped as no one was happy with how Peeves looked.

Peeves was behind some of the funniest moments in the Potter books, and some of the most memorable – including helping Fred and George Weasley’s exit from Hogwarts in the Order of the Phoenix.

Of course, Mayall sadly died in 2014, meaning another actor would have to step in as Peeves. But now, with time to spare and all the technology available to studios, there’s no excuse for not bringing him back.

2. Give Ginny a personality

Harry and Ginny in the Harry Potter films, with Ginny dabbing Harry's mouth with a cloth

Harry and Ginny in the Harry Potter films. Warner Bros

Ginny Weasley was one of the films’ biggest failures. Book Ginny was funny, clever, feisty, and an absolute quidditch pro.

Film Ginny (played by Bonnie Wright, who should bear none of the blame since she was working with the material she was given) encapsulated very little of this – and it had a huge impact on the films as a whole.

Her entire relationship with Harry made little to no sense, with a complete lack of chemistry in the films, whereas the books show a gradual and very organic relationship growing between the pair as they grow up.

Plus, her dynamic with the rest of her family suffered. As the only Weasley daughter, Book Ginny completely held her own with her brothers, inheriting Fred and George’s mischievous spark. If it has any chance of succeeding, the series needs to get this right.

3. Spend some time with SPEW

Dobby clicking his fingers in Harry Potter and the Chamber of Secrets.

Dobby in Harry Potter and the Chamber of Secrets. Warner Bros. Entertainment Inc

Justice for the House Elves! One of the most memorable and important storylines for Hermione throughout the books was her concern for House Elf rights, which led to the founding of the one-woman Society for the Prevention of Elfish Welfare (SPEW).

Despite the limited success of SPEW, its omission from the films also meant we spent limited time with House Elves that weren’t Dobby.

The Black family’s House Elf Kreacher, for instance, only appeared in a few scenes, and Barty Crouch’s House Elf, Winky, who provided a completely different perspective to Dobby, was cut out of the films entirely.

Reinstating SPEW into the series would go some way to remedy this, and to expand on a huge part of Hermione’s character – her sense of morality and justice, and staying true to what she believes in, even in the face of ridicule.

4. Give us more of Neville’s backstory

Matthew Lewis as Neville Longbottom in Harry Potter

Matthew Lewis as Neville Longbottom in Harry Potter. Warner Bros

Neville was another character a little hard done by in the films. Despite being played brilliantly by Matthew Lewis, a few key parts of his story were either left out completely, or not explored in as much depth as they should have been.

The most prominent one was his parents, Frank and Alice, who were tortured into insanity by Bellatrix Lestrange.

A heartbreaking moment from the books sees Harry and his friends visiting St Mungo’s Hospital, where they encounter Neville visiting his parents and realise a little of what he’s been going through. It’s a huge part of what builds Neville into the character he becomes in Deathly Hallows.

Another plot line that was dropped in the movies was the possibility of Neville being the Chosen One, fitting the prophecy of the child being born in July to parents that had defeated Voldemort three times.

5. Actually cast Charlie Weasley

The Weasley family pictured in Egypt in front of the pyramids in Harry Potter

The Weasley family. Warner Bros

Despite having a pretty big role in the books, Charlie Weasley never actually appeared in the film series – apart from in a brief shot of a Weasley family photo.

The second-oldest Weasley brother is known for his love of dragons, as well as his quidditch prowess. While he’s located in Romania for much of the story, whenever there’s a dragon about, Charlie’s the one to call.

He could feature from the first season onwards, due to the arrival of Norbert, the young Norwegian Ridgeback that Hagrid hatches in his hut in Harry’s first year at Hogwarts.

6. No cringey cameos

Tom Felton as Draco Malfoy in Harry Potter

Tom Felton as Draco Malfoy in Harry Potter. Warner Bros

With the confirmation that Warwick Davis will reprise his role as Professor Filius Flitwick, it feels a little like the floodgates are about to open for cameos from the original cast – but this would be a huge mistake.

If it has any chance of succeeding, the series has to feel original, and seeing Tom Felton play Lucius Malfoy, for instance, would feel incredibly jarring.

The option was there to make a sequel, prequel or spin-off – but if this is a remake, then let’s stick to that.

7. Some original visuals

Robbie Coltrane as Hagrid in the Harry Potter films (L) and Nick Frost as Hagrid in the Harry Potter TV series

Robbie Coltrane as Hagrid in the Harry Potter films (L) and Nick Frost as Hagrid in the Harry Potter TV series. Warner Bros/HBO

Speaking of originality…

As original director Columbus pointed out, it was incredibly disheartening to see portraits of Nick Frost as Rubeus Hagrid in a costume that looks almost identical to the one designed for Robbie Coltrane in the original films.

The TV series is a chance to reimagine the books and if they end up being a shot-for-shot remake of the films, there’s simply no point.

Of course, some elements of the series may be a little hard to change – Harry’s appearance, for example. But there’s also a huge opportunity to reimagine plenty of the visuals, giving it a different tone and a feel to the films, which would work to justify the choice to remake them in the first place.

8. Character building – and comedy

Luke Youngblood as Lee Jordan in Harry Potter

Luke Youngblood as Lee Jordan in Harry Potter. Warner Bros

More generally, the films don’t have the luxury of building out the characters as much as the books do – or including much of the comedy that’s included in them, from Fred and George’s constant antics to Mr Weasley’s obsession with muggles, from Lee Jordan’s quidditch commentary, to McGonagall’s sass.

With any luck, there’ll be plenty of different perspectives in the series, helping us to gain more of an insight into the characters that were a little abandoned in the films, including other students attending Hogwarts alongside Harry, Ron, and Hermione.

9. Don’t miss out The Marauders

James and Lily Potter in the Harry Potter films

James and Lily Potter in the Harry Potter films. Warner Bros

On the topic of important book characters that didn’t quite make the cut in the films, surely a large amount of time will have to be dedicated to the Marauders.

In fact, it could be argued that a Marauders prequel series could have actually made more sense than a straight Harry Potter remake – at least it would have given us something new.

However, fans of the big four, James Potter, Remus Lupin, Sirius Black and Peter Pettigrew, may have to settle for seeing some flashbacks as part of the main series.

The Marauders were a huge part of the Potter books and inextricably linked to so many events in the main series that the TV version surely will have to do them justice.

10. Let us see more lessons

The Hogwarts students in herbology class in Harry Potter and the Philosopher's Stone.

The Hogwarts students in Herbology class in Harry Potter and the Philosopher’s Stone. Warner Bros

It’s not always essential for us to see the ins and outs of a potions lesson or a charms class, but part of the magic of Hogwarts was in fact the stuff that the students would have found pretty boring.

The films do strike a balance of showing us the events of lessons that are important to the plot (who could forget Lupin’s “Riddikulus” Boggart lesson?) but the series will presumably have the luxury of doing this more often. Plus, as the students grow older, their exams provide a crucial backdrop to life at Hogwarts.

11. Do right by Dumbledore’s funeral

Maggie Smith as Professor Minerva McGonagall, Miriam Margolyes as Professor Sprout, Richard Harris as Albus Dumbledore and Alan Rickman as Severus Snape in Harry Potter and the Chamber of Secrets

Maggie Smith as Professor Minerva McGonagall, Miriam Margolyes as Professor Sprout, Richard Harris as Albus Dumbledore and Alan Rickman as Severus Snape in Harry Potter and the Chamber of Secrets. Warner Bros Entertainment

Dumbledore’s death in The Half-Blood Prince was a devastating event that rocked the entire Wizarding World. Of course, in the films, it’s given its moment – but Dumbledore’s funeral was never seen on screen (although concept art of it was released).

The emotional event features wizards from across the country paying their respects in a scene that has the potential to be incredibly cinematic if it is featured on screen in the series.

12. Include Voldemort’s backstory

Christian Coulson as Tom Riddle in Harry Potter

Christian Coulson as Tom Riddle in Harry Potter. Warner Bros

We saw plenty of Voldemort/Tom Riddle in the Potter films, but there was still a big element of his character that was cut out completely – his ancestry.

We discover that Voldemort is a direct descendant of Salazar Slytherin, but was left unaware of the Wizarding World or his heritage after being born in an orphanage.

Throughout his teenage years, he learns more about his family – and becomes obsessed with the idea of “pure-blood supremacy”, laying the foundation for the monster he would become.

13. Make sense of Voldemort’s death

Ralph Fiennes as Voldemort in Harry Potter

Ralph Fiennes as Voldemort in Harry Potter. Warner Bros

One of the biggest failures of the entire Potter film series came at the very end – when we finally witness Voldemort’s death. In fact, it sort of misses the point completely.

After the destruction of the horcruxes, it becomes possible to kill the wizard that has haunted nightmares for decades.

Finally, Harry defeats him and, as he dies, Voldemort simply falls to the ground as any other mortal human would – proving that he’s not going to slip away into the night, or be resurrected somehow as he has been time and time again. It finally provides some closure.

In the final film, that detail is lost as we see Voldemort’s body shredded into pieces after Harry defeats him. It suggests that Voldemort had lost every part of his humanity and overlooks the book’s point that, in the end, he too was just a man.

The Harry Potter series will stream on HBO Max in 2027.

Check out more of our Fantasy 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 5, 2025 0 comments
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James Gunn, Stars on That Rick Reveal, What It Means for Harcourt (Exclusive)
TV & Streaming

James Gunn, Stars on That Rick Reveal, What It Means for Harcourt (Exclusive)

by jummy84 September 5, 2025
written by jummy84

[Warning: The below contains MAJOR spoilers for Peacemaker Season 2, Episode 3, “Another Rick Up My Sleeve.”]

Peacemaker delivers a massive twist in Season 2’s third installment, “Another Rick Up My Sleeve,” as Joel Kinnaman reprises his role as Rick Flag Jr. in two forms, one the version fans met in The Suicide Squad and the other the “jarhead” hinted at in Peacemaker‘s alternate dimension.

While the episode opens with a flashback scene revealing that Rick Jr. and Harcourt (Jennifer Holland) were having an affair, it goes on to reveal that alternate dimension Harcourt is also involved with the Rick from her universe amid Christopher Smith’s (John Cena) attempt to woo her when he wakes up in that world at the start of this episode following his boozy night with the 11th Street Kids.

The revelation of Harcourt’s bond with Rick Jr. explains a lot when it comes to her initial hatred towards Peacemaker in Season 1; after all, Chris killed Rick Jr. during their mission in Corto Maltese. When it came to Kinnaman’s return and incorporation into this storyline, series creator and DC Comics co-head James Gunn tells TV Insider that was part of the plan “since before we shot Season 1, that Harcourt and Rick Flag had had an affair and were having an affair when he got killed… but beyond that they were also friends, and Economos is friends with him too.”

“That’s the reason they’re so negative towards Peacemaker when he comes on board at the beginning,” Gunn explains, “even though morally, obviously, Harcourt is as fluid as Peacemaker is throughout Season 1.”

As for having Kinnaman step into the alternate dimension as “jarhead” Rick Flag, Gunn was excited to allow the actor to have some more comedic moments as he nervously tiptoes around Chris. “Joel and I are good friends, so I asked him to do me a favor, but I also wanted to give him an opportunity to do something that’s purely comedic, because he’s a really funny guy,” Gunn explains.

“He’s never been in a comedy his entire life, so being able to show him doing this sort of namby-pamby version of Rick Flag Jr. … every time I watch those scenes, I laugh out loud,” Gunn admits.

While the alternate dimension allowed for a Peacemaker-Rick reunion of sorts, it also opened Chris’s eyes to the reality of this new world, in which Harcourt is less jagged around the edges and he’s a beloved hero. See what Holland has to say about embracing that other side of Harcourt in the alternate dimension, David Denman talk about donning Keith’s super suit, and Steve Agee talk about Economos’s reunion with Judomaster in the full video interview above.

Peacemaker, Season 2, Thursdays, HBO Max

September 5, 2025 0 comments
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Barbie Ferreira Is a Critic in TIFF Movie
TV & Streaming

Barbie Ferreira Is a Critic in TIFF Movie

by jummy84 September 5, 2025
written by jummy84

Can you blame a critic for wincing when a character pulls out a notepad in the middle of a concert? Cinematic depictions of criticism are usually withering at best, and pointedly personal at worst. Well, critics can exhale while watching “Mile End Kicks,” the sophomore feature from Canadian writer/director Chandler Levack. Levack, herself a former critic, is cynical about a few things, but the act of criticism isn’t one of them. 

Like her debut “I Like Movies,” Levack’s new film is based on her own life experiences, namely a summer she spent in Montreal as a young, aspiring writer trying to find herself. Her protagonist, Grace Pine (Barbie Ferreira), goes through a similar arc, convincing herself — as so many young people do — that moving somewhere cooler will fix her life. She’s also telling everyone that she’s writing a book about Alanis Morissette’s “Jagged Little Pill,” never mind that she has neither a book contract nor a first draft. Grace recently interned at an alt-weekly whose editor told her she had promise as a writer (more on that in a bit). But really, all she learned there is how snide and dismissive male rock critics can be toward younger women.

IndieWire's Alison Foreman at a special treadmill screening of 'The Long Walk' at Culver Theater in Los Angeles

I don’t work there anymore, so it seems safe to divulge that my personal nickname for the circle of white male gatekeepers at the publication where I got my start was “the plaid dads.” And, as with the intricacies of stocking at a suburban video store in “I Like Movies,” “Mile End Kicks” gets the nuances of life as a young female music critic right. The scenarios are relatable — who among us has not anxiously ignored emails from an editor? — as are the conversations: The argument Grace interrupts, earning derisive laughter from her coworkers, is over the merits of different Hüsker Dü albums. 

“Mile End Kicks” is set in 2011, but it feels more like the late aughts — again, accurate — and the care put into the details of Grace’s world is evident from the opening credits, rendered in the modified Helvetica font of an American Apparel ad. The reference reoccurs in the movie’s most artfully shot scene, which follows Grace around a party with a spotlight on her face, moving along with her. The flat, bright light creates a vignette effect reminiscent of a Terry Richardson photograph, effectively evoking both the era and the sexual danger that came with it. 

“Mile End Kicks” is also specific to Montreal (look out for the Grimes lookalike, sniffing something off the rim of a toilet at a loft party), as well as Canada as a whole. One monologue in particular about the life cycle of a hip Canadian should slay with local audiences, although it rang true for someone from the American Midwest as well. 

“Red Rooms” star Juliette Gariépy brings a French-Canadian flair as Grace’s DJ roommate Madeline, who starts off thinking that this dorky Ontario transplant who doesn’t speak French is kind of adorable before losing her patience with Grace’s unpaid rent and brazen fridge-raiding. 

She’s not a particularly well-developed character; her role is to serve as a tour guide/sounding board/eventual lesson learned for our protagonist, which speaks to one of the weaker aspects of Levack’s film. 

Grace can be a frustrating protagonist, making foolish, self-sabotaging decisions in pursuit of fleeting pleasure and conditional approval from guys who, frankly, aren’t worth her time. But that’s just part of what makes her real. By comparison, some of the supporting characters, particularly (why mince words?) idiot fuckboy Chevy (Stanley Simmons), are slightly too exaggerated for the film’s realistic milieu. 

This is where Levack’s cynicism comes in: This is a movie that can’t believe how dumb smart women act when there’s a man putting in the absolute bare minimum involved. This sentiment comes across most clearly in a sex scene that’s both funny and essential to the plot, as the terminally indifferent Chevy literally just lies there while a confused Grace does all the work. 

By comparison, his romantic rival Archie (Devon Bostick) is a weirdo, but a more believable one, and Bostick’s banter with Ferreira has a specific kind of romantic chemistry common to hyperintelligent, socially awkward nerds. But again, while it may be a byproduct of the self-absorbed protagonist’s point of view, the lives and motivations of each of these characters outside of being two guys in the same band vying for the same woman’s attention remain unconsidered. Then again, it’s kind of refreshing to have men playing the one-dimensional love interests in a movie for once. 

At times, “Mile End Kicks” seems to be reaching for a broader, more heightened style of comedy à la an ‘80s teen sex romp. Some of these jokes are funny, but the shifts in tone are sudden, and it takes a few beats for the film to recover every time. However, the fact that she can pull them off at all speaks well for the movie Levack is currently making with Adam Sandler — applied consistently over the course of an entire film, she could quite successfully direct something quite silly. 

The poignant bits, meanwhile, are consistently on point. A #MeToo-inspired office storyline (that’s the issue with her old editor, played contemptibly by Jay Baruchel) fits in better here than a similar subplot in “I Like Movies,” perhaps because it’s being experienced by the protagonist herself. It also gives us the film’s most heartrending moment, as Grace, who’s the last one in the office as usual, waves her arms to keep the motion-sensor lights on, crying the whole time.

Ferreira is a believable and sympathetic protagonist, bringing a vulnerability to Grace that makes the viewer root for her even as she blows up her life for reasons even she doesn’t seem to understand. She wants to be a critic, but she also desperately wants to be liked. The tension between those modes is gendered, as Grace recognizes when she finally writes something that she believes in late in the film. (It also helps that Grace, via Levack, is actually a good writer.) Navigating that tension is something you learn with experience — the topic of Chandler Levack’s next movie, perhaps? 

Grade: B

“Mile End Kicks” premiered at the 2025 Toronto Film Festival. It is currently seeking U.S. distribution.

Want to stay up to date on IndieWire’s film reviews and critical thoughts? Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers.

September 5, 2025 0 comments
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Pushkin Industries Revs Fall Podcast Slate; Inside David Byrne's Brain
TV & Streaming

Pushkin Industries Revs Fall Podcast Slate; Inside David Byrne’s Brain

by jummy84 September 5, 2025
written by jummy84

Pushkin Industries is revving up a broad slate of shows for the fall as the audio studio looks to capitalize on the “network effect” among its creators and hosts that has been built up since the company’s founding in 2018.

Eric Sandler, chief strategy officer for Pushkin, discusses the company’s business vision, growth drivers and outlook in an interview on the latest episode of “Daily Variety” podcast. Among the highlights of Pushkin’s slate is a look back at “The Big Short” with author Michael Lewis. Pushkin will release the first audiobook edition of Lewis’ book, and Lewis will host a companion podcast to revisit the key events and key players of the 2008 mortgage crisis. The 2010 book led to the 2015 feature adaptation starring Christian Bale, Steve Carell and Brad Pitt.

“It speaks to the depth of the content that the creators we work with make,” Sandler says. “It’s ten years since the film, but it’s almost like a content pipeline reversal. Fifteen years ago, it was a best selling book. Ten years ago it was an Oscar winning film, and next month it’s going to be a companion podcast with an audiobook,” Sandler says. “It’s still as relevant today as it was when he wrote it.”

Sandler points to another example of what he calls Pushkin’s “network effect” to illustrate how the company uses audio as the content hub from which other media extensions sprout. Gladwell did a “Revisionist History” series “The Bomber Mafia” in 2021. It was then turned into a Pushkin audiobook. “And we did a little bit of a reversal of the pipeline, and we sold the print rights, and then it got optioned by A24 for TV-film,” Sandler says. “And so we want to create more opportunities for more storytellers to use this as a testing ground for content, really drive home really impactful stories, and be able to explore the funnel in a different way.”

David Byrne, as profiled in Variety‘s Sept. 2 issue.

Also in the episode, Jem Aswad, Variety‘s executive editor of music, details his recent sit-down with seminal musician David Byrne. As a longtime fan, Aswad brings great perspective to the profile of the former Talking Heads frontman published in Variety‘s Sept. 2 print edition and on Variety.com on Sept. 5. Meeting Byrne at his office was like getting a glimpse inside the psyche of an artist who has forged a sui generis career exploring music and storytelling in many different styles and forms, Aswad says.

Byrne’s “office is downtown New York, as you would expect. Of course, he rides his bike there. He rides his bike everywhere. It’s a loft-like space,” Aswad explains. “Walking in there is this vast floor to ceiling wall of shelves that are just loaded with stuff. And it’s sort of like looking at his brain, because it’s tons of vinyl and tons of CDs and tons of DVDs. There was a Grammy. There was an Oscar. I think there was a VMA Moonman as well. There were a couple of other things in there, but most striking were anatomical models. There were a couple of the human brain, and he actually opened the ‘American Utopia’ Broadway show, holding up a brain and talking about how our brains work.”

(Pictured top: Pushkin co-founder and host Malcolm Gladwell)

Listen to Daily Variety on iHeartPodcasts, Apple Podcasts, Variety’s YouTube Podcast channel, Amazon Music, Spotify and other podcast platforms.

September 5, 2025 0 comments
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‘Wednesday’ Creators Break Down Thing's Backstory In Season 2
TV & Streaming

‘Wednesday’ Creators Break Down Thing’s Backstory In Season 2

by jummy84 September 5, 2025
written by jummy84

SPOILER ALERT: The following reveals major plot points from the Season 2 finale of Netflix‘s Wednesday.

Wednesday creators expanded the lore for one beloved member of the family, some might say the right hand, in Season 2.

Thing, portrayed by Victor Dorobantu, has been a key fixture of the series and an integral part of the Addams family from the start. Season 1 viewers understood the depths of the family’s trust in Thing when patriarch Gomez Addams (Luiz Guzmán) entrusted the appendage with looking out for his only daughter, Wednesday (Jenna Ortega), during her first semester at Nevermore Academy. He did such a good job protecting the show’s protagonist that Alfred Gough and Miles Millar honored Thing in Season 2 with a magical backstory.

“There wasn’t a Thing origin story. What’s great for us with the Addams family is that there really isn’t any mythology or lore to them, other than the TV show, which is where they first got their names. And, of course, there’s the Charles Addams panels, but they didn’t have names in those. It was just called the Addams Family,” Gough explained during a chat with Deadline this week. “For us, it’s a great blank canvas to really delve into these characters and figure things out. People always ask us, ‘Where’s Thing from?’ and ‘Are you ever going to tell Thing’s origin story?’”

Millar added, “It felt like a natural idea and MacGuffin for a season. It was interesting following some of the comments. We thought it was pretty obvious from the very first moment that [Isaac/Slurp] appears, you see the hand come out of the dirt. You think that would be the big clue that gives it away. But I think many people hopefully didn’t see it and were surprised by that ending, and then exclaimed, ‘Oh my God! It was right in front of our faces the whole time.’”

In the finale, viewers learn that Thing is actually the disembodied right hand of Davinci student Isaac Night (Owen Painter), also known as Slurp the Zombie, named by Pugsley (Isaac Ordonez), who accidentally revived him from beneath the Skull Tree in the woods.

“Here’s one I just literally caught this morning because I turned it on. I was watching the last episode, and in the title sequence, Thing comes out of the tree,” Gough noted.

“Originally in the title sequence, we had the end with the arm coming up out of the ground. And I said, ‘No,’ because it felt so obvious. If you’re watching the show and that’s the first episode and you see, you’re going to think, ‘Oh, it’s Thing,’” Millar added. “So we changed it to Thing coming out of the tree. From the beginning, it’s all there and planted, literally, if you’re looking for it.”

Owen Painter as Slurp in ‘Wednesday’ Season 2

Courtesy of Netflix

In the finale, Thing’s story begins to unfold when he throws himself into danger to protect Wednesday, yet again. Wednesday was being restrained by Isaac, the first part of his plan before burying her alive. Thing makes a valiant effort to outwit Isaac, who he attempted to kill with a crossbow. Unfortunately, Isaac was ready for him, and Thing was then also captured. It is in this moment that Isaac grabs hold of Thing, showing how they were connected before Morticia (Catherine Zeta-Jones) separated them with a knife.

After sewing the appendage back onto his wrist, the Davinci takes Pugsley to fuel his crazy machine, which he plans to use to extract his sister Françoise’s Hyde ability for good. As Wednesday and her parents come to the rescue, Morticia reveals the reason she cut Thing from Isaac was because he tried the same thing with Gomez years ago. Morticia tells Thing she knows he’s still in there despite being reattached to Isaac. After Wednesday disables the machine with an axe, Isaac’s ability no longer works, and Thing attacks him.

“That’s really the emotional heart of the show, and that’s the emotional climax of the season. That’s the moment when Thing obviously separates and stumbles back to the family, his real family, and takes ownership of that,” Millar said. “It felt like that was really a moment we were driving to all season. Tim [Burton] directed it so beautifully, and it really does — we think — pack an emotional punch when you see that. It’s very bizarre, because it’s a disembodied hand and it should be moving, and I think it is.”

“It was one of the questions that came up in the writers’ room when we talked about how, in a world of outcasts, does Gomez fit into this? Why did he go to Nevermore? It led to the idea of, What if he did have powers and they were taken away from him? “And then it all combined into this moment in the climax, which we see in flashback,” Millar remarked.

He added, “The loss of his powers was interconnected with Isaac Knight and Thing’s origin story. That was the sacrifice that resulted in the confrontation with Isaac. It was in this moment that Gomez lost his power, and yet, even though he was not officially an outcast or possessed an outcast ability, Morticia’s love remained undiminished. She would never judge him less because he lost his electrical ability. That was something that speaks to their relationship, their devotion to each other, and also answers the question that an audience might ask. ‘Why is he an outcast?’ We wanted to answer that question.”

RELATED: Lady Gaga’s ‘Wednesday’ Season 2 Role Explained

September 5, 2025 0 comments
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The Paper (l-r) Domhnall Gleeson as Ned Sampson, Tim Key as Ken, Chelsea Frei as Mare, Melvin Gregg as Detrick
TV & Streaming

Greg Daniels, Michael Koman Explain

by jummy84 September 5, 2025
written by jummy84

[This story contains some spoilers from the first season of The Paper.]

The last episode of The Office aired in May 2013, and it seems like talk of rebooting, reviving or spinning off the series started, oh, about two weeks after that.

A check of the historical record reveals that’s not quite the case. But reports of a reboot or revival have periodically burbled up since at least 2017 (not including a couple of spinoff ideas during the run of the show that never came to be). Meanwhile, the mockumentary format that The Office popularized has flourished in a host of other series, which did not go unnoticed among the show’s producers.

“We were watching as so many others were basically doing derivative versions of our show, whether they were paying homage to us, honoring us or ripping us off,” executive producer Ben Silverman tells The Hollywood Reporter. “It prompted Greg [Daniels] and I to just really focus hard on [the idea that] we need to enter the fray as well.”

They did just that with The Paper, an indirect spinoff of The Office that premieres its full, 10-episode season Thursday on Peacock. Daniels, who developed the American Office and was its showrunner for four seasons, created the new series with Michael Koman (Nathan for You). The show is set in the offices of a historic but now gutted Toledo, Ohio, newspaper, the Truth-Teller, and centers on an optimistic new editor, Ned Sampson (Domhnall Gleeson), and his efforts to restore some of the publication’s former glory with help from its (non-journalist) employees.

“There was a lot of push to do a spinoff of The Office over the years, and I was very reluctant to do it. I said, ‘Look, I don’t want to do a reboot,’ because we couldn’t get most of the cast,” Daniels told THR. “I don’t want to do something where it’s the same characters and we recast them, because our original cast can’t be improved on, in my opinion. So I always said the only way we even consider it is if the same documentary crew made another documentary, and if you were OK with the idea that the connection is really the documentary crew. So it’s really a new show.”

The Paper’s connection to The Office comes first from behind the cameras, as the documentary crew that chronicled Michael Scott, Pam Beesly et al chooses the Truth-Teller as its next subject. (An establishing scene at the former Dunder Mifflin office in Scranton, Pennsylvania, featuring Bob Vance of Vance Refrigeration (Robert R. Shafer) lays the groundwork for how they arrive in Toledo.)

Once there, they find that Office regular Oscar Martinez (Oscar Nuñez) is working for the Truth-Teller’s parent company, Enervate — and that he wants absolutely no part of the new project. A title card, however, informs the audience that the release Oscar signed for the first documentary has no end date, so he’s out of luck.

Oscar Nunez in The Paper.

John P. Fleenor/Peacock

“It felt like perhaps [Oscar] had moved to this other city looking to start fresh, and he was enjoying the fact that any old memories might be a little more distant,” says Koman. “And then to have exactly the same camera crew walk into your office …”

“Oscar is so funny,” Daniels adds. “He’s such a strong performer, and it is a character that didn’t have so much closure at the end and the [Office] finale. It’s not like he had left and gone to England, like Toby. He was kind of unchanged. So we thought we could pick up where we left off with him.”

Setting the new series in another work environment wasn’t necessarily the plan from day one, Silverman says: “We debated it — do we do something that’s set in a home life, do we do something [different] since we’ve been in the workplace? Do we focus on something more domestic? Do we focus on something in another kind of bureaucracy? But I think determining that a newspaper, which is connected to a company that was in multiple versions of the paper business, was a really strong way to do it.”

Daniels and Koman say they took pains not to have any of The Paper’s characters — the core cast also includes Sabrina Impacciatore, Chelsea Frei, Melvin Gregg, Gbemisola Ikumelo, Alex Edelman, Ramona Young and Tim Key — map precisely onto those from The Office (Oscar excepted, obviously). They didn’t shy away, however, from playing into some similar dynamics, including a couple of simmering workplace romances.

“Our attempt was for any kind of overlap to be something that is closer just to human nature,” says Koman. “There are certain things like relationships that are going to happen anywhere.”

Daniels adds, “You could take it to an extreme. You could be like, ‘In The Office, they ate food. We’re going to have these characters eat rocks.’ There are going to be love affairs that develop between co-workers. There are going to be jealousies and undermine-y things. That seems like a feature of people in a workplace. But the important thing to us is that they’re brand new characters. They all have different motivations. And because they’re in a workplace where there’s somebody who’s a little bit more inspirational than Michael Scott, it’s more like they have a sense of hope. Their pulse is quickening with the potential of what their job could be. It starts at a pretty beaten-down place, but it’s got a direction, and then maybe they’ll get more hope out of it.”

Daniels and Koman spoke to THR before the news that Peacock had renewed The Paper for a second season. Even so, they weren’t ready to give up any ideas about where the series might go — though the 10-episode season leaves several relationships and storylines open for more exploration.

”The point of these 10-episode streaming situations is there is going to be like a year between seasons, and you want the audience to wonder what’s going to happen,” Daniels says. “Then they’ll find out it might not be anything that they think, but I certainly wouldn’t want to tell them not to wonder about it in the 10 months in between.”

Koman adds, “If we’re lucky enough that people care what happens next, we want to give it as much thought as possible.”

The Paper is now streaming all episodes on Peacock.

September 5, 2025 0 comments
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Chloe Fineman's Side Hustle Is Hunting for Vintage Jeans and Raiding Her Sister's Closet
TV & Streaming

Chloe Fineman’s Side Hustle Is Hunting for Vintage Jeans and Raiding Her Sister’s Closet

by jummy84 September 5, 2025
written by jummy84

All in the family! Saturday Night Live star Chloe Fineman and her artist sister, Emma Fineman, love their MOTHER — and they’re showing it with a 1960s-influenced collection.

The siblings teamed up with the fashion line for a 15-piece apparel and accessories collab, rooted in their shared obsession with pre-loved treasures.

Anton Gottlob

“I’ve always wanted the perfect pair of vintage blue jeans, and it’s been my full-time side hustle trying to find them,” the comedian shared in a press release.

“I couldn’t be more excited that I’ve achieved the best jeans I’ve ever worn with MOTHER. Full disclosure, my other full-time side hustle is borrowing my sister’s clothing, so I’m thrilled we solved that problem with a curated collection inspired by our favorite vintage finds over the years (a.k.a. things I steal from her closet),” she continued.

Thanks to the duo, shoppers won’t have dig through thrift stores — or their family’s wardrobes — to score nostalgia-driven staples like cigarette pants, A-line skirts, faux patent leather sets, a wool jockey hat, stockings, a printed scarf, and of course, classic blue jeans.

Anton Gottlob

But to give each item the same, special touch that retro garments offer, the comedian’s sister designed custom graphics and a signature monogram hidden in jacket linings and stitched onto knits.

“I can’t wait to have more people asking me, ‘Hey, can I borrow that?’,” the Summer of 69 actress spilled.

Anton Gottlob

To spread their sisterly love further, 10% of net sales will go to the Los Angeles Fire Department (LAFD) Foundation to support California wildfire relief in honor of their firefighter cousin.

The Chloe Fineman x MOTHER capsule is available to shop now at motherdenim.com, with prices ranging from $35 to $375.

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September 5, 2025 0 comments
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EastEnders' Jake Wood breaks silence on Max and Zoe affair and reveals "chaos" for Walford return
TV & Streaming

EastEnders’ Jake Wood breaks silence on Max and Zoe affair and reveals “chaos” for Walford return

by jummy84 September 4, 2025
written by jummy84

In addition to the history that Max has with the Slater clan, he also becomes privy to Zoe’s secrets surrounding her twins, whom she gave birth to in 2006 and also that she may have killed a man during her quest to find her surviving son.

In the present day, a recent shot Zoe called Max to warn him not to return to Walford, but he didn’t sound so keen…

Speaking to the press on the set of Walford, actor Jake Wood revealed what it was like to finally be back as Max Branning, having left the soap in 2021.

On the twist of Max and Zoe’s connection, Wood revealed he was “excited”, adding: “Like I knew that Michelle was coming back – really pleased that she was coming back and she wasn’t being recast iconic character. And I think it’s really interesting to have Max in the mix; it makes everything so much more complicated. I do return for a little bit. It’s quite soon before my sort of permanent return, and there’s lots of drama and chaos to issue.”

Zoe Slater (Michelle Ryan, right) caught Max’s attention in flashback scenes in Thursday’s episode. BBC/Jack Barnes/Kieron McCarron

He added: [The flashback storyline] works really well. You get a lot of exposition, a lot of the explanation of the relationship, so by the time Max turns up proper, there’s already an established relationship between the two of them. It’s just been a joy.”

Given that neither Max nor Zoe has had particularly smooth-sailing love lives, is this a true romance? Wood is a firm believer that their connection was true and real feelings are involved.

“I mean, from my point of view, I think the relationship between them is genuine,” confirmed Wood. “I think there are genuine feelings between them.

“But I think by the time Max comes back onto the Square, it’s just become very complicated in terms of in terms of where Max is at and what he’s about at that moment, to be able to commit to her, but I do feel like they do have a connection, and I think a lot of that was down to Zoe’s looking for her son that she gave up for adoption, and that Max helps her financially to to pay for the PI, to help look for it.

“Obviously the you know, that’s got very deep meaning for Max, the not having a relationship with his kids. So I think there was a lot of common ground.”

Jake Wood as Max Branning stood in front of Walford East tube station, staring menacingly ahead. He is wearing a light blue shirt paired with a dark coloured suit.

Max Branning (Jake Wood) will soon be back on Albert Square. BBC/Jack Barnes/Kieron McCarron

When asked about whether the episodes this week were just a tease for Max’s full-time return, Wood responded in the affirmative and revealed that new executive producer Ben Wadey was the reason he came back.

“I think mainly it’s all down to Ben’s vision, really,” noted Wood. “I had lunch with Ben in January, and that kind of cemented it for me. Ben is a big fan of the show and understands all the characters’ intrinsically exciting stories coming up, so just all the mix of those things was, after that lunch, a bit of a no-brainer for me to think about coming back after five years.

“It’s such a good atmosphere with all the cast. It’s probably the highest I’ve ever known it in 15 years being here; everyone’s on a real high. And the show seems to be going from strength to strength, and it’s just such a great time to be coming back.”

Read more:

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

Add EastEnders 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 4, 2025 0 comments
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'Jeopardy!' Confirms Season 42 Tournaments and Streaming Details
TV & Streaming

‘Jeopardy!’ Confirms Season 42 Tournaments and Streaming Details

by jummy84 September 4, 2025
written by jummy84

Get ready, Jeopardy! fans. Season 42 of the game show is right around the corner, and Jeopardy! just revealed which tournaments are coming back, as well as how fans can stream episodes after the season starts.

Season 42 will see the return of Second Chance and Champions Wildcard competitions, the Tournament of Champions (ToC), and Jeopardy! Invitational Tournament (JIT). The “postseason” tournaments will air later in the season with Ken Jennings hosting, as well as the syndicated show and Celebrity Jeopardy!. 

Fans will be able to see all-new episodes of Jeopardy! starting on September 8 on syndicated channels, but if they miss an episode, they will be available to stream the next day on Hulu, Hulu on Disney+, Peacock (in the U.S.), and Crave (in Canada). The latest five episodes of the new season will be available on the streamers.

“Having new episodes of Jeopardy! available on streaming for the first time is a huge milestone in the history of our program, and we look forward to welcoming a new audience on these platforms,” Suzanne Prete, president of game shows for Sony Pictures Television, said in a press release.

“We want to celebrate that leap forward while also making sure our viewers know that if they watch Jeopardy! on their local station, they will continue to be able to do so. Our affiliate and owned station partners around the country remain essential to the show’s success.”

In addition to the new season, Jeopardy! fans will be able to watch a collection of library episodes from the game show’s past seasons. Every single episode of Ken Jennings’ 74-game streak will be available, as well as streaks from other top champions. Peacock and Crave will also stream a collection of episodes featuring Alex Trebek’s travels around the world.

Jonathan Hugendubler, from Baltimore, Maryland, will face off against two new opponents on the season premiere after defeating superchamp Scott Riccardi in the finale.

See a photo from the Season 42 premiere below.

Jeopardy Productions, Inc.

Jeopardy!, Season 42, starting September 8, check local listings

September 4, 2025 0 comments
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Mamoru Hosoda Returns with a Bloody Anime Hamlet
TV & Streaming

Mamoru Hosoda Returns with a Bloody Anime Hamlet

by jummy84 September 4, 2025
written by jummy84

It’s been said that several filmmakers at Venice are showing up with their “state of the world” movies. Whether that’s Luca Guadagnino with his take on cancel culture, Yorgos Lanthimos satirizing alt-right-style radicalization, or Kathryn Bigelow depicting our mutually-assured madness in nightmarish fashion, many of our most famed directors seem to be looking at a world in flux and asking: “How did we get here?”

Hosoda, a former Studio Ghibli animator who went freelance and has since become one of Japan’s most successful auteurs, is no different. His last film, 2021’s “Belle”, was a sci-fi adaptation of “Beauty and the Beast.” For his latest act, Hosoda hasn’t traveled too far from that baroque fantasy setting, which was already more idealized than the relative normality of his mainstream breakthrough hit (and Oscar nominee) “Mirai.” “Scarlet” is a loose but clearly intended rendering of Hamlet, with all of its castles and knights, ghosts and traitorous uncles — and lots that isn’t in Shakespeare’s play, too.

"Street Fighter V"

One of the first lines of dialogue is Claudius (Kôji Yakusho) plotting the murder of his brother; “I have long dreamed of pouring poison into his ears”, he says, but the King is too popular and Claudius must instead frame him for plotting with a neighboring country, thus enabling his execution. Scarlet (Mana Ashida), a young princess, watches on distraught as her father’s ruthless executioners seem to relish in their task. After Claudius poisons her, Scarlet begins her exile into the “Otherlands,” a sort of purgatory, where she plots her revenge alongside a horde of people who feel similarly wronged by their too-short lives.

But this is a Hosoda movie, so things will become considerably more complicated from there. Much like Mirai’s acceptance that he’s no longer the man of the house, Scarlet’s most important journey is one of self-discovery — a quest far from the violent quest for justice undertaken by the original Prince of Denmark. But there is some of that, too. The Otherlands is a community of struggling people from all places and time periods, who can nevertheless understand each other despite their differences. Scarlet’s journey through them will lead her to cross paths with a variety of characters, starting with Hijiri (Masaki Okada), a nurse from modern-day Japan who refuses to convince that he should have died. Soon thereafter, Scarlet encounters a little girl who says that if she were a princess, she would spend her life making sure the world was livable for little girls like her. It’s enough for Scarlet to realize that vengeance might be a bit self-centered; there are bigger fish to fry.

The politics of the lost masses without food or a home is not far from James Gunn’s “Superman”, another well-intended but fairly vague expression of struggling peoples and the evil rulers depriving them of life and dignity. Scarlet’s venture is even more consciously informed by “Dune”, whose heir to the throne is radicalized to embrace the cause of his former antagonists. Hosoda’s film poses a similar question to Scarlet as Frank Herbert’s saga did to Paul Atreides: How much is this story all about her? Hijiri is a paragon of selflessness who teaches Scarlet that living for others is the only fulfilling way. Hijiri even questions her ruthless approach to warriors sent by her uncle to finish her off, telling Scarlet: “The ultimate warrior fires invisible arrows from an invisible bow.” That isn’t really Scarlet’s style, and it’s probably too much to ask to put the weapons down while she’s actively being hunted. But Scarlet does realize she has the power to improve the lives of all the people in the Otherlands — and perhaps even stop some of them ending up there.

Unfortunately, Hosoda’s ideas in “Scarlet” never get more incisive or interesting than that. There’s an over-sweet centre at the middle of it. Its ending is a feast of sincerity that, not just tedious in its own right, feels unrepresentative of the irreverent character with whom we’ve just spent two long hours. Despite bloody violence throughout, “Scarlet” lacks the edge that would make this culture clash of seminal western tale and Japanese art form as memorable or significant as it ought to be. The first few minutes of the film are a breathless, almost wordless introduction to the Otherlands, with Scarlet trapped under rotting hands clamoring to keep her there. But Hosoda’s expressionism virtually disappears thereafter, and a dry sense of order exerts itself once the story is spirited back towards Elsinore.

To that end, “Scarlet” amounts to a frustrating waste of animating and directorial skill for the price of an excessively ordinary story. The sheer scale of Hosoda’s success may have softened his storytelling instincts, even if the aesthetics are occasionally remarkable. Having written his past four movies alone, it may be time for Hosoda to consider collaborating once again. And maybe not with Shakespeare.

Grade: C+

“Scarlet” premiered at the 2025 Venice Film Festival. Sony will release the film in U.S. theaters on Friday, December 12.

Want to stay up to date on IndieWire’s film reviews and critical thoughts? Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers.

September 4, 2025 0 comments
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