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Daniel Dae Kim Calls Out 'Chilling Effect' On Speech, DEI In Hollywood
TV & Streaming

Daniel Dae Kim Calls Out ‘Chilling Effect’ On Speech, DEI In Hollywood

by jummy84
written by jummy84

Daniel Dae Kim called out the “chilling effect” on free speech and diversity, equity and inclusion initiatives in Hollywood.

In an Associated Press interview conducted in Seoul, South Korea, the Tony nominee was asked if he’s worried about backlash against DEI efforts in the entertainment industry.

“We’re already seeing it,” the Butterfly actor and executive producer said. “If you look at what happened with Paramount and CBS News, we’re seeing a chilling effect on free speech and journalism and DEI. ‘DEI’ is a bad word these days, but to me, DEI’s not a fad. The idea of inclusion is not something that’s a political trend. It’s my life. It’s what I’ve lived every decade I’ve been in this business.”

Kim is referring to the $16 million settlement reached between Paramount and president Donald Trump over a contested 60 Minutes interview with former vice president Kamala Harris, which the GOP leader had claimed was fraudulently edited. At the time of the $20 billion lawsuit filing, the media conglomerate deemed the move “meritless.”

Following the settlement’s announcement, late-night host Stephen Colbert, whose show is televised on Paramount’s CBS, called the decision a “big fat bribe” amid the looming and long-gestating Paramount-Skydance merger. Just days later, he announced to audiences that his show — and The Late Show franchise as a whole, which began with David Letterman — would be cancelled next year. Amid speculation from viewers, Congress members and fellow industry peers, Paramount defended the decision as purely financially motivated.

Elsewhere in the Q&A with the AP, the Lost alum noted, “I have a lot of sympathy for actors who take stereotypical roles when they’re starting out because you need some way to break into the business. It’s much easier once you’re more successful and more established because you have more financial stability. It’s something that, if you’re not a person of color, or someone who’s a minority in the United States, you don’t have to think about. You don’t think about what this role means for the rest of a nation or an ethnicity. You just do what you’re drawn to, and that’s very liberating. I am lucky enough now where I can also make those same choices. But I don’t ever escape the fact that whatever I do will be watched and seen by so many people and judged through their own lens and filters.”

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Jerry Adler
TV & Streaming

‘Sopranos,’ ‘The Good Wife’ Actor Was 96

by jummy84
written by jummy84

Jerry Adler, the behind-the-scenes Broadway veteran who served as the stage manager on the original My Fair Lady before acting on such shows as The Sopranos, The Good Wife and Rescue Me, died Saturday, his family announced. He was 96. 

Adler didn’t become an actor until he was in his early 60s — this despite the fact that his cousin was famed acting teacher Stella Adler.

The Brooklyn native played Herman “Hesh” Rabkin, consigliere to James Gandolfini‘s mob boss Tony, on HBO’s The Sopranos, and he was the boorish law partner Howard Lyman on CBS’ The Good Wife. On FX’s Rescue Me, he recurred as NYFD station chief Sidney Feinberg.

Viewers know Adler as Rabbi Alan Schulman on CBS’ Northern Exposure, the handyman Mr. Wicker on NBC’s Mad About You and Moshe and the father of Jeffrey Tambor’s Maura Pfefferman on Amazon’s Transparent. He also played a spry Holocaust survivor on the final season of Comedy Central’s Broad City.

Adler was a student at Syracuse University in 1950 when his father, Philip, then the GM of the Group Theater working on the Carol Channing musical Gentlemen Prefer Blondes, called to offer him a job as assistant stage manager. “I’m a creature of nepotism,” Adler admitted in a 2015 interview for the website TheaterMania.

He followed with gigs as stage manager, production manager or production supervisor on a 1952 revival of Of Thee I Sing, directed by George S. Kaufman and starring Jack Carson; 1956’s My Fair Lady, starring Julie Andrews, then a very nervous 19, and Rex Harrison; 1966’s The Apple Tree, directed by Mike Nichols and starring Alan Alda and Barbara Harris; and 1967’s The Homecoming, written by Harold Pinter.

Along the way, he also was backstage for the original productions of Annie and Hal Holbrook‘s Mark Twain Tonight!, helped Zero Mostel evade a subpoena from the House Un-American Activities Committee and worked with the likes of Arthur Miller, Marlene Dietrich, Orson Welles, Angela Lansbury, John Gielgud, Noël Coward, Joan Rivers, Jerry Lewis, Jack Benny, Milos Forman, Richard Rodgers, Liv Ullmann and Richard Burton.

He had a great story about Katharine Hepburn portraying Coco Chanel on Broadway in 1969.

“We opened cold in New York City, and they were building the Uris across the street from the theater,” he told the Hartford Courant in 2011. “She had this little quiet song to her father, and during the first matinee, you could hear them banging away from across the street. I knew she was really pissed off, so at the end of the show when she came offstage, she asked me to come to her dressing room, where she told me to go across the street and tell them they should stop work when she sings that one song because it’s too noisy.

“So I went over to the engineering hut, got a hold of the boss and said I was the stage manager of the show across the street starring Katharine Hepburn and she would like to stop work on the building when she sings this song. They thought I was a [expletive] lunatic.

“So I go back to her and tell her it’s impossible and then she goes out, goes across the street, gets in one of those open construction elevators and arranges with the workers herself on every floor that when I come out of the stage door and give them the signal, they stop work and then restart when I come out again. They did that at every matinee for her.”

Adler also directed a handful of Broadway shows.

He was a stage manager on the soap opera Santa Barbara in Los Angeles when he took a call from a friend who was casting the 1992 Joe Pesci film The Public Eye.

“My friend wanted me to meet with the director [Howard Franklin], and the first thing he said to me was how much I reminded him of his father,” he recalled in 2015. “I was actually surprised. I’d never acted before. I’d never entertained the idea of acting; it was an unusual thing. But I was getting ready to retire from the production end, anyway. So it became kind of interesting.”

Adler appeared onscreen for the first time on a 1991 episode of the Gary David Goldberg sitcom Brooklyn Bridge on CBS and later landed regular roles on three other short-lived series: ABC’s Hudson Street, starring Tony Danza, and The WB’s Alright Already and Raising Dad (as Carol Leifer and Bob Saget‘s father, respectively).

Adler also would go on appear on the big screen in Manhattan Murder Mystery (1993), Getting Away With Murder (1996), In Her Shoes (2005), Synecdoche, New York (2008) and A Most Violent Year (2014).

“You know what’s interesting?” he said in a 2017 interview. “You spend your whole career backstage. Nobody knows who you are or even knows your name. They don’t know anything about you. And then you do a television show and suddenly you’re a celebrity and everyone knows your face. It’s so weird.”

Things came full circle when he returned to Broadway in 2000, not as a stage manager but as an actor in the Elaine May comedy Taller Than a Dwarf. He was back again in 2015, portraying Larry David’s bed-ridden dad in Fish in the Dark.

Survivors include his wife, psychologist Joan Laxman, whom he married in 1994.

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Home and Away to bring back iconic couple after 10 years
TV & Streaming

Home and Away to bring back iconic couple after 10 years

by jummy84
written by jummy84

According to a release, the event “will reveal where life has taken Brax and Ricky since 2016, delivering high-stakes drama and emotional payoffs set against a stunning backdrop of WA’s rugged outback.”

“I’ll always be grateful to Home and Away for being the launchpad to my career, and I’ve got a sincere appreciation for the fans who’ve followed my work since,” Peacocke said in a statement.

“When the producers asked if I’d revisit Brax, it felt like a fun opportunity – and one I think the audience will really enjoy.”

He added that the opportunity to film in “spectacular” outback Western Australia was “the icing on the cake” for his return.

Stephen Peacocke and Bonnie Sveen Paramount / 5

Meanwhile, Sveen said that the chance to return as Ricky “wasn’t something I’d ever expected” but that she was “beyond thrilled” to reunite with old friends on the soap.

“Exploring where Ricky and Brax are now, 10 years on, will make for a very special and compelling storyline – and I can’t wait for our WA filming adventure,” she said.

Fans will remember Brax as the charismatic leader of the River Boys and Ricky as the no-nonsense woman who became the love of his life, with the pair last seen driving off into the sunset in 2016.

Both stars won awards for their portrayals of their characters, with Peacocke collecting four Logies during his five year stint on the show and Brax being named #4 in TV WEEK’s 2023 list of the 100 Greatest Australian TV Characters of All Time.

Meanwhile, in honour of the return, 5 and Tourism Western Australia have announced a competition for one UK fan to visit West Australia’s Coral Coast in October, spending 8-nights discovering the Dream State and going behind the scenes on the Home and Away set – you can find details on how to enter at channel5.com/win/home-win.

Filming on the special episodes will begin in October at various locations across Western Australia, ahead of broadcast at an as-yet-unannounced date in 2026.

Home and Away airs weekdays at 1:45pm on 5.

Add Home and Away 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 from the biggest stars in TV, listen to The Radio Times Podcast.

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BAMBI, Bambi, Flower, 1942
TV & Streaming

Who’s Still Alive From Disney’s Animated ‘Bambi’?

by jummy84
written by jummy84

When Disney’s Bambi was released on August 21, 1942, Walt Disney introduced audiences to a tender coming-of-age story set in the forest. The film followed a young fawn as he learned about friendship, love, loss, and responsibility, and included perhaps one of the most heartbreaking Disney scenes of all time.

Thanks to its groundbreaking animation, Bambi became a classic that continues to resonate more than 80 years later. Much of its magic came from the voices behind the beloved characters, many of them children at the time. Here’s a look at the original cast members who are still with us and a tribute to those who have passed.

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Archie Madekwe Shines in Tale of Obsession
TV & Streaming

Archie Madekwe Shines in Tale of Obsession

by jummy84
written by jummy84

Editor’s Note: This review was originally published during the 2025 Sundance Film Festival. “Lurker” opens from MUBI in select theaters August 22.

A transfixing morality tale cleverly turned on its head, “Lurker” opens with an overture: its protagonist, Matthew (Théodore Pellerin), goofing around for a camcorder wielded by a friend. When the person holding the camera jokingly asks Matthew where he sees himself in five years, Matthew replies sincerely. “I already have everything I want,” he says, stealing a glance into the lens.

Rewind to the before times, when Matthew is living with his grandma and working as a retail employee at a hip clothing store in Los Angeles. In walks Oliver (Archie Madekwe), a pop music artist famous enough to cause a murmur among the store patrons. Matthew, abuzz with anticipation, pops on a track that impresses the VIP, and the next thing he knows he’s being folded into the small, sycophantic entourage of not-quite friends and not-quite collaborators fortunate enough to accompany Oliver on his excursions.

'Good Boy'
'Eden'

So begins a parable of obsession and loneliness related with such immediacy that even its relatively low stakes start to feel like life or death. In his debut feature, the writer/director Alex Russell (who has written for the series “Dave” and “The Bear”) viscerally captures the complex dynamics of hierarchical friendships, in which a fear of alienation and craving for belonging can drive people to the brink. The movie’s greatest feat is its attention to the nuances of how these men use mocking or scorn to ascend a rung on their narrow social ladder — and if “Lurker” eventually succumbs to certain genre tropes and a handful of story bumps, it makes up for its limitations in perspicacity and the overall strength of its filmmaking.

After Matthew catches Oliver’s attention in the store, he ingratiates himself quickly. Soon, he’s making himself useful around the star’s Los Angeles pad, performing chores and sucking up to his circle of buddies. At this point, Matthew is still at the bottom of the pecking order, an appendage and acolyte who understands the delicacy of his station. We witness his wild desperation to maintain his status in scenes at home, where he screams at his grandma not to interrupt him while he’s on the phone and replays Oliver’s videos to study his taste and habits. There’s a derivative feeling to these latter moments; we’ve seen portraits of blind obsession before, and at this point in the movie, you may wonder where Russell will take the relatively familiar tale.

Lurker
‘Lurker’Courtesy the filmmakers

These social hierarchies shift in a strong scene set in a pasture. Oliver’s crew has gathered to make a music video, but soon into the shoot, the group’s videographer Noah (the talented up-and-comer Daniel Zolghadri), realizes that he’s misplaced his camera batteries. Sensing an opportunity, Oliver whips out his grandma’s old camcorder and suggests that he attach it to a sheep’s head for a point-of-view shot. It’s a middling idea at best, and the composition is entirely off. But that’s no matter to Oliver, who takes to the idea and whose approval is the only one that matters. Darkly funny and effective, the scene proves a point that Matthew seems to intuit: any power structure is flexible if you’re willing to challenge its shibboleths.

Throughout, Russell and the cinematographer Pat Scola (“Pig,” “Sing Sing”) demonstrate a keen understanding of where to position the camera to best calibrate perspective and emotion. One memorable example occurs after Matthew has ascended to the position of Oliver’s righthand man, and has even invited his own pal, Jamie (Sunny Suljic of “Mid90s”), to a music industry party. A relative innocent, Jamie ends up winning over Oliver’s entourage, much to Matthew’s chagrin. As Oliver and his friends fawn (rather ridiculously) over Jamie’s ugly handmade sweater, Scola trains his camera on Matthew’s face, capturing shades of envy, quiet rage and panic. These aesthetic flourishes find an auditory corollary in Kenneth Blume’s swelling, spectral score, which toggles between sinister and ecstatic.

Oliver — a Gen-Z-cusp singer-songwriter a la Dominic Fike — begins the story as a rather straightforward character. He enjoys the influence he exercises over those around him, which explains his tendency to hand-pick fans and convert them into lackeys. Yet as the story unfolds, Russell shows how Oliver’s fame is an alienating experience. Through small looks and line deliveries, Madekwe shines as he imbues Oliver with the genuine vulnerability of a young man who tends to doubt himself and his work, and who distracts himself from unease through incessant pleasure-seeking.

Pellerin, perhaps best known for his memorable turn in “Never Rarely Sometimes Always,” is a worthy match for Madekwe. He is a gifted physical performer, with his gawky frame and large, fidgety hands useful tools as he shifts from anxiety to anger and back again. Matthew and Oliver’s alignment as characters is thrown into sharp relief once the film reaches a rather far-fetched turning point. The events — which the film all but skips through, lest the viewer start to question its plausibility — turn the tables such that Oliver becomes beholden to Matthew’s whims, rather than vice versa. In an on-the-nose flourish, Russell scores this about-face with the James & Bobby Purify song “I’m Your Puppet.” Later, the filmmaker takes the literalization trend even further when Oliver and Matthew’s jockeying for dominance is made visual in a homoerotic wrestling match.

These later scenes of power struggle suffer from some unevenness compared to their earlier counterparts, which capture the subtleties of social maneuvering better than most. Still, when the third act finally arrives, Russell deserves credit for making the audacious decision to deny his characters their comeuppance and instead end the film on a cynical note. “Lurker” is a movie about lonely young men who know that, at the top of their social ladders, more emptiness awaits them. Yet they keep climbing them all the same.

Grade: B+

“Lurker” premiered at the 2025 Sundance Film Festival. MUBI releases the film August 22.

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.

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What It's Like to Attend a 'KPop Demon Hunters' Sing-Along
TV & Streaming

What It’s Like to Attend a ‘KPop Demon Hunters’ Sing-Along

by jummy84
written by jummy84

Now here’s a first: Two months after dropping “KPop Demon Hunters” on Netflix, the streamer is putting the animated hit in theaters — and not just the cursory Oscar-qualifying run its prestige titles get in New York and Los Angeles. This one is going wide, in more than 1,700 venues, for karaoke-captioned screenings in which audience participation is encouraged.

Dress up! Sing along! Give in to the catchy choreography … that’s how it’s done done done!

I’ve been on the Huntr/x train since the beginning and bought tickets to the first screening of the day at Los Angeles’ Alamo Drafthouse theater, where the house was packed with family audiences. They weren’t just in it for the songs either, but gleefully recited most of the dialogue, too. These kids knew the movie by heart, having watched it countless times at home, and now their parents were spending close to $100 to experience it on the big screen.

Next week, the one-of-a-kind cultural phenomenon — in which a trio of Korean pop stars use the positive energy their songs generate to keep soul-sucking ghouls at bay, until evil demons form a rival boy band to steal their fans — is set to become Netflix’s most-watched movie. Clearly, this exclusive two-day event was willed into existence by popular demand, just as any extension or encore Netflix agrees to would also be.

To the best of my knowledge, nobody was begging Netflix to release a sing-along version of Guillermo del Toro’s “Pinocchio” three years ago (much less “Emilia Pérez,” back when Netflix was treating that film like an Oscar frontrunner). And even though purists wanted to see Alfonso Cuarón’s “Roma” and Martin Scorsese’s “The Irishman” in theaters, those movies didn’t sell out nearly as quickly as “KPop Demon Hunters” shows did when Netflix announced its plan last week.

The film is all about fandom, and this unprecedented move from the streaming-first media company suggests that Netflix recognized that the film’s millions-strong audience were craving the collective experience that only cinemas can provide.

Maybe theaters aren’t quite as obsolete as Ted Sarandos would have us believe. Nor is this singular event likely to change how Netflix does business.

First, it’s important to understand what “KPop Demon Hunters” is. Produced by Sony Pictures Animation (the studio behind “Spider-Man: Into the Spider-Verse” and “The Mitchells vs. the Machines”), the cleverly executed, computer-animated feature looks every bit as slick as the latest releases from Pixar and DreamWorks … which is to say, it could’ve easily supported a big-screen release in the first place.

But that would’ve meant spending millions of marketing dollars, just to let audiences know of the movie’s existence, in a marketplace where opening weekend makes all the difference and films get chased off screen before they’ve had time to build a following. (That’s one reason Sony started selling its animated features to Netflix, which came to the rescue of “Wish Dragon,” from “KPop” co-director Chris Applehans, amid the pandemic.)

Netflix famously keeps streaming numbers to itself, but it’s safe to say that “KPop Demon Hunters” would not have been nearly the same phenom had it gone the traditional theatrical route. This way, the movie benefited from word of mouth, aggregating more viewers as early adopters told their friends to check it out. That’s a luxury streaming releases have. Rrremember “RRR,” the gonzo Tollywood movie that barely made a ripple in theaters, but gained a following on Netflix?

The best analogy here could be Disney’s animated “Encanto,” which did OK business in theaters (this was 2021, when windows were still compressed in response to the pandemic), but really took off when it hit Disney+ 30 days. Only then did the song “We Don’t Talk About Bruno” blow up with a very similar demographic.

Perhaps the late shows will draw a crowd of older fans, though I loved sitting through the movie with a room full of chatty kids, one of whom was named Zoey (like the eager-to-please Huntr/x rapper, who fights demons with a glowing three-pronged dagger). Zoey and her friends seemed tickled any time her name was spoken.

Back in June, before the film was released, I asked my friendly neighborhood Netflix reps if there was any way to see “KPop Demon Hunters” on the big screen. They declined. (I’d also hoped it might screen at the Annecy Animation Festival, which unspooled the week prior in France, but for some reason, they brought “Fixed” instead.) I can’t be alone in preferring to watch movies in a theater, although Netflix does their best to make that difficult for audiences.

In Los Angeles, that meant opening them at the Bay, the upscale Pacific Palisades theater that shuttered amid the wildfires earlier this year — quite the shlep to watch Zack Snyder’s “Rebel Moon” (clearly better on the big screen) or the latest Adam Sandler movie. Now they sprinkle them into art-houses around town, doing what feels like the bare minimum to meet contractual obligations and Academy Awards rules.

With “KPop Demon Hunters,” they opened in at least two dozen Los Angeles theaters, including major chains like Regal and Cinemark — more than doubling the number of screens the studio offered “Glass Onion: A Knives Out Mystery” in 2022. But the data-driven company also knew what they had in this case (what every studio wants): a sure thing.

At the moment, three of the film’s original songs — “Golden,” “Your Idol” and “Soda Pop” — sit among the top 10 of Billboard’s Hot 100 chart. And judging by the reaction in the room, “Takedown” (which TWICE sings over the end credits, and the audience couldn’t resist echoing) could soon join their ranks.

Netflix has a full slate of big-screen-worthy movies coming this fall, including Sundance marvel “Train Dreams,” Guillermo del Toro’s “Frankenstein” and Kathryn Bigelow’s “A House of Dynamite,” but however many millions “KPop Demon Hunters” earns this weekend, that doesn’t mean the streamer will rush to open those films wide.

To repeat this experiment, they’d need another proven success with a built-in audience willing to pay to rewatch a film they first saw on streaming. Netflix has the numbers to indicate what time of year certain movies are popular. Maybe a Christmas release of last year’s “Carry On” could work.

Or maybe this is a unicorn event for which we should simply be grateful: For two days only, nonsubscribers can see “KPop Demon Hunters,” surrounded by singing groupies whose enthusiasm willed the streaming phenomenon onto the big screen.

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'The Sopranos' & 'The Good Wife' Actor Was 96
TV & Streaming

‘The Sopranos’ & ‘The Good Wife’ Actor Was 96

by jummy84
written by jummy84

Jerry Adler, a veteran actor who appeared in series The Sopranos, The Good Wife and Rescue Me and also served as a Broadway director and stage manager, has died at the age of 96, his loved ones announced.

His friend, Frank J. Reilly, confirmed his death, writing in part on X: “The great actor, my friend Jerry Adler died today at the age of 96. You know him from one of his iconic roles had from many of his guest appearances. Not bad for a guy who didn’t start acting until he was 65.”

In HBO’s seminal series, Adler notably portrayed consigliere Hesh Rabkin, a Jewish associate of Tony Soprano’s (James Gandolfini), whose wisdom helps guide the mafia boss. On the opposite end of the spectrum, he played the crude name partner Howard Lyman in The Good Wife and offshoot The Good Fight. In FX’s Rescue Me, he recurred as New York Fire Department deputy chief Sidney Feinberg.

Born Feb. 4, 1929 in Brooklyn, New York, Adler didn’t begin acting until he was in his 60s, and his cousin was the famed acting coach Stella Adler. The performer’s foray into the industry came in 1950 via his father, then the general manager of New York City’s prestigious Group Theatre, who was working on a production of Gentlemen Prefer Blondes. “I’m a creature of nepotism,” Adler admitted in a 2015 interview for the website TheaterMania, saying he cut class at Syracuse University to be the assistant stage manager.

Speaking to the strangeness of being recognized for his work on screen after putting in countless hours backstage, Adler told the outlet: “Having done so many shows on Broadway backstage in the dark, to be recognized now is so weird and something that you never expected. When I walk down the street now, it’s like ‘Hey, Hesh!’”

Adler would go on to have an illustrious career behind-the-scenes in theater, partaking in over 50 Broadway shows, including working as the stage manager for the 1956 original production of My Fair Lady, starring a then-19-year-old Julie Andrews. As a director, he helmed several Broadway shows. On the television side, he also served as a stage manager for soap Santa Barbara and the 1985 Tony Awards.

Transitioning out of production work and aiming to retire, Adler pivoted unexpectedly into acting beginning in the early ’90s. His credits include series Quantum Leap, Northern Exposure, Hudson Street, Raising Dad, The West Wing, Mad About You, Curb Your Enthusiasm, Transparent and Broad City.

In film, Adler appeared in big screen debut The Public Eye (1992), Manhattan Murder Mystery (1993), In Her Shoes (2005), Find Me Guilty (2006), A Most Violent Year (2014) and Driveways (2019).

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From left: 'The Dropout,' 'When They See Us,' 'Dahmer – Monster: The Jeffrey Dahmer Story' and 'Welcome to Chippendales'
TV & Streaming

Netflix, HBO Max and More

by jummy84
written by jummy84

If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

There’s no denying the fact that true-crime stories are everywhere — in podcasts, TV series, or movies — and the craze doesn’t seem to be slowing down anytime soon. The Hollywood Reporter compiled a list of some of the most recent true-crime series and films available to stream.

These hit shows and movies have garnered more than 60 Emmy nominations over the last few years, with 11 coming this year for Monsters: The Lyle and Erik Menendez Story.

A 2022 YouGov poll showed that half of Americans enjoy true-crime content, with one in three saying they consume it at least once a week and one in four admitting that they watch it multiple times per week. The poll also showed that true-crime series and movies tend to make people more empathetic toward victims and safety-conscious, as well as better-versed in how the criminal justice system works.

With interest in true crime seemingly at an all-time high, as viewers seek content that transports them into real-life stories, it’s no surprise there are constantly more docuseries premiering across several streaming platforms.

So, what is it about the true crime genre that draws people in so much? According to Jean Kim, M.D., audiences may be entranced by the content because they find comfort in the reassuring narrative formula, its reinforcing sense of moral clarity and how it reminds them of their luck at times.

Below, find a list of 37 true-crime (or true-crime adjacent) TV shows and movies that can be watched on Max, Netflix, Hulu and more. (This story first published in 2024 and has been updated to include more items.)

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One Night cast: Who stars alongside Jodie Whittaker?
TV & Streaming

One Night cast: Who stars alongside Jodie Whittaker?

by jummy84
written by jummy84

In the opening episode, viewers meet Simone (Nicole da Silva), who has channelled long-buried memories into a debut novel that unexpectedly turns her into a literary sensation. But her success quickly sours as it becomes clear that the story doesn’t belong to her alone. At its core is a tragedy that also shaped the lives of her childhood friends Tess (Jodie Whittaker) and Hat (Yael Stone).

As fact and fiction blur, old secrets resurface in their coastal hometown, threatening fragile relationships and disturbing the people who would prefer the past stayed buried.

With one chapter of the story already revealed, audiences can now follow Simone, Tess and Hat as One Night unpacks the events that shattered their bond.

Here’s who else joins Da Silva, Whittaker and Stone in the cast.

One Night cast

  • Jodie Whittaker as Tess
  • Nicole da Silva as Simone
  • Yael Stone as Hat
  • Kat Stewart as Vicki
  • George Mason as Joey
  • Erroll Shand as Trevor
  • Noni Hazlehurst as Mary
  • Tina Bursill as Helen
  • William Zappa as Don
  • Damien Strouthos as Mark
  • Jillian Nguyen as Eden

For more information about the characters and where you’ve seen the cast before, read on.

Jodie Whittaker plays Tess

Jodie Whittaker plays Tess. Paramount

Who is Tess? When one of her best friends decides to publish a book about a traumatic incident that happened two decades ago, old wounds are reopened as Tess is forced to confront memories she’s tried to bury.

What else has Jodie Whittaker been in? You probably know her from Doctor Who, Toxic Town, Broadchurch, Time, Trust Me, Black Mirror and Attack the Block.

Nicole da Silva plays Simone

Nicole Da Silva plays Simone, standing outside, in front of a brown backdrop, wearing a red top, siling

Nicole da Silva plays Simone. Paramount

Who is Simone? She’s written a book about a particularly harrowing moment in the lives of her two closest friends, which they urge her not to publish.

What else has Nicole da Silva been in? She’s known for Wentworth Prison, Doctor Doctor and Rush.

Yael Stone plays Hat

Yael Stone plays Hat, standing in a garden, wearing a sunhat and shirt, smiling

Yael Stone plays Hat. Paramount

Who is Hat? She was once the glue that held the trio together. Simone’s book forces her to reckon with truths Hat has long avoided.

What else has Yael Stone been in? You’ve probably watched her in Orange Is the New Black.

Additional cast includes:

  • Kat Stewart plays Vicki
  • George Mason plays Joey
  • Erroll Shand plays Trevor
  • Noni Hazlehurst plays Mary
  • Tina Bursill plays Helen
  • William Zappa plays Don
  • Damien Strouthos plays Mark
  • Jillian Nguyen plays Eden

One Night airs on ITV1 on Saturday nights at 9.30pm and is also available to watch on ITVX, STV and STV Player.

Check out more of our Drama 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.

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Sweet Magnolias - Cal and Maddie - Justin Bruening and JoAnna Garcia Swisher
TV & Streaming

JoAnna Garcia Swisher Hints at Maddie, Cal Honeymoon

by jummy84
written by jummy84

The Sweet Magnolias family is wasting no time getting down to business. The sweet, small-town Netflix series is currently filming the fifth season, and we can’t help but keep wondering when Maddie (JoAnna Garcia Swisher) and Cal (Justin Bruening) will get to treat themselves to a honeymoon after their surprise Halloween party wedding in Season 4.

Fans already know that Maddie got a job in New York City, and her besties, Dana Sue (Brooke Elliott) and Helen (Heather Headley), will be visiting her in the Big Apple. “It was really fun, and I think it was the perfect moment in our show to be able to do that, to be able to go explore a new city,” Swisher told Swooon.

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