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Jane Schoenbrun Sets Netflix Show 'Black Hole'
TV & Streaming

Jane Schoenbrun Sets Netflix Show ‘Black Hole’

by jummy84 October 23, 2025
written by jummy84

It won’t be long before all of our TVs are glowing with a new Jane Schoenbrun series.

The filmmaker is set to write and direct an adaptation of Charles Burns’ comic book series “Black Hole” co-produced by New Regency and Netflix, which has received a straight-to-series order from the streaming giant. The project will mark Schoenbrun’s first foray into television after directing the acclaimed films “We’re All Going to the World’s Fair” and “I Saw the TV Glow.”

News of the series was first reported by THR. IndieWire has reached out to Schoenbrun’s representatives for additional comment.

Published over the course of 12 issues between 1995 and 2005, “Black Hole” tells the story of a group of Seattle teenagers who develop severe genetic mutations after encountering a sexually transmitted disease known as “the Bug.” The material seems firmly within Schoenbrun’s wheelhouse, as the auteur often finds parallels between teenage sexual awakenings and genre film horrors.

Nobody Wants This Season 2 stars Kristen Bell as Joanne, Adam Brody as Noah, shown here sitting at a beer garden

The series marks Schoenbrun’s third major project to be announced since the success of “I Saw the TV Glow,” and the auteur will soon be rolling out work in three different mediums.

Their third feature film, “Teenage Sex and Death at Camp Miasma,” is currently in post-production. The film, which follows a director hired to reboot a dated slasher franchise who becomes obsessed with reclusive star of the original movie, stars Hannah Einbinder and Gillian Anderson.

Schoenbrun will also soon release their debut novel, “Public Access Afterworld,” which was originally developed as a TV series that never materialized. Schoenbrun changed course and the novel was acquired by Random House imprint Hogarth, with the author describing it as a conclusion to their loose “screen trilogy” that began with “We’re All Going to the World’s Fair” and “I Saw the TV Glow.”

The official synopsis for “Public Access Afterworld” reads: An epic blend of literary fantasy, coming-of-age, sci fi, and horror, “Public Access Afterworld” traces the mysterious transmissions of a secret television network known as Public Access Afterworld that draws in a wide cast of characters, from two teenage best friends in a suburban New York basement to a housewife during the last days of World War II to a young trans content moderator at a YouTube-like corporation, who becomes an unlikely hero capable of rescuing a century of victims disappeared into the broadcast’s signal. “Public Access Afterworld” is a thrilling and profound novel of identity, conspiracy, the secret occult history of American entertainment, and the narratives that guide our lives and shape our world.

October 23, 2025 0 comments
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Annemarie Jacir's International Oscar Submission
TV & Streaming

Annemarie Jacir’s International Oscar Submission

by jummy84 October 23, 2025
written by jummy84

Annemarie Jacir’s Oscar hopeful “Palestine 36” has released its first trailer, offering a powerful glimpse into what the acclaimed Palestinian filmmaker calls “the project of my life.”

The historical drama, which is Palestine’s official submission for the 2026 Academy Awards in the international feature category, is set during the Arab Revolt of 1936 — a period Jacir describes as “a major turning point in our history.”

The Arab Revolt was a “large-scale uprising against British colonial rule,” Jacir tells Variety. “That moment set the stage for everything that was to come, and it’s a legacy we still live today.”

The film, which Jacir has spent eight years developing, centers on a group of Palestinian villagers whose lives are upended by British occupation, tracing the birth of a national movement that reverberates through generations. With a visual palette both intimate and sweeping, the trailer hints at a story grounded in resistance, memory and collective identity.

“‘Palestine 36’ tells a story vital to our history, yet one that has never been told on film,” Jacir says. “And while I made this film for Palestinians, I hope it also speaks to colonized people everywhere who continue to feel the echoes of that past.”

Jacir, who previously represented Palestine with “Wajib” (2017), “When I Saw You” (2012) and “Salt of the Sea” (2008), has long been regarded as one of the most influential voices in Arab cinema. With this fourth Oscar submission, she continues her mission of reframing Palestinian narratives through authenticity and artistry.

“I hope audiences will be open to receiving a story from the other side — from those who were colonized,” Jacir shares. “History is not only written by the winners. Through this film, I wanted to center Palestinian voices and bring them to the screen with honesty and strength.”

The critically acclaimed drama stars Hiam Abbass, Kamel El Basha, Yasmine Al Massri, Jalal Altawil, Robert Aramayo, Saleh Bakri, Liam Cunningham and Jeremy Irons.

Murtada Elfadl wrote in his Variety review, “Jacir’s film reminds that history is not abstract, but lived through families and small moments of solidarity and conflict. By uniting epic scope with intimate detail, it delivers a portrait of a people fractured yet unbroken.”

The film had its world premiere in the Gala Presentations section of the Toronto International Film Festival back in September. Following its Oscar-qualifying run last month by Watermelon Pictures, “Palestine 36” will have its L.A. premiere at the AFI Film Festival on Oct. 25. The U.S. release is set for early 2026.

Watch the full trailer below.

October 23, 2025 0 comments
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Billy Magnussen, Lulu Wilson Join Joe Lynch's 'Buzzkill'
TV & Streaming

Billy Magnussen, Lulu Wilson Join Joe Lynch’s ‘Buzzkill’

by jummy84 October 23, 2025
written by jummy84

EXCLUSIVE: Billy Magnussen and Lulu Wilson have signed to co-star in Joe Lynch’s horror comedy Buzzkill ahead of an early 2026 shoot in Texas, as Anonymous Content and The Veterans join forces to launch sales on the film at the AFM.

Billed as a blend of A Quiet Place and Another Round, the movie is set in a small Texas town terrorized by a creature that can only be seen by people who are drunk.

Magnussen stars as recently widowed and recovering alcoholic Sheriff Red, who launches an investigation as locals begin turning up murdered and dismembered one by one, discovering that the monster feeds on the blood alcohol content of its victims.

With the annual brewery festival fast approaching, the whole town is about to get wasted. Red must face his demons and pick up the bottle one last time to take down the monster and save his town for good. Wilson co-stars as Lydia, Red’s vengeful little sister.

Lynch – whose previous credits include action-thriller Everly and action-horror Mayhem as well as Netflix’s Point Blank, Shudder’s original fantastic horror anthology Creepshow (2021), and the pilot episode of Tales from the Void (2024) – will direct from a screenplay written by Colin McLaughlin.

Brothers Dane and Cole Eckerle are producing through their company Bad Grey, the credits of which include titles like Last Straw and Mother, May I?.

Individually, Dane produced I Love My Dad which won the Audience Award and Grand Jury Prize at SXSW in 2022 and then sold to Magnolia. He also served as an EP on Greedy People with Joseph Gordon Levitt, Lily James, Himesh Patel, Simon Rex and Jim Gaffigan, which was released by Lionsgate last year.

“Colin has crafted a story that’s equal parts hilarious, scary and action-packed — an entertaining romp from start to finish,” said Dane Eckerle.

“Joe Lynch’s track record and ability to create high-octane genre chaos makes him the perfect filmmaker for the job. Add our stars, Billy and Lulu, plus our partners at Anonymous Content and The Veterans — and we couldn’t think of a better team to be brewing this movie alongside.”

Jonathan Schwartz and Nick Shumaker will produce on behalf of Anonymous Content with David Levine executive producing. Magnussen will also produce under his company HappyBad Bungalow, alongside partners Anne Hollister and Shane Andries who serve as co-executive producers.

AC Studios division AC Independent and The Veterans will have a sizzle reel and script available for buyers at the AFM. The Veterans will handle international territories and AC Independent will sell U.S. rights with UTA Independent Film Group.

Magnussen broke through with Rob Marshall’s Into the Woods with other credits including Guy Richie’s Aladdin, the Black Mirror TV Series, and No Time to Die.

He also starred as Pleakley in Disney’s live-action hit Lilo & Stitch and Road House alongside Jake Gyllenhaal and Conor McGregor. He was nominated for a Tony Award for Best Actor for his role in the play, Vanya and Sonia and Masha and Spike. He will next star as the lead in AMC’s upcoming 2026 series The Audacity from creator Jonathan Glatzer.

Wilson will be seen next in an upcoming Hulu feature alongside Gaten Matarazzo and Sean Giambrone, directed by comedy duo BriTANicK, while she is best known for her horror roles in Ouija: Origin of Evil (2016) and Annabelle: Creation (2017), as well as Mike Flanagan Netflix series The Haunting of Hill House (2018), and The Fall of the House of Usher (2023) and the soon-to-be triptych Becky (2020), The Wrath of Becky (2023) and the upcoming third instalment.

Magnussen is repped by UTA, Anonymous Content and Sloane, Offer, Weber & Dern. Wilson is repped by UTA, Authentic Talent & Literary Management, and Jackoway Austen Tyerman Wertheimer Mandelbaum Morris Bernstein Trattner Auerbach Hynick Jaime LeVine Sample & Klein. Lynch is repped by Anonymous Content and Eclipse Law.

October 23, 2025 0 comments
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(L to R) Adam Brody as Noah, Kristen Bell as Joanne in episode 203 of Nobody Wants This.
TV & Streaming

Netflix Hit Back, but Not Better

by jummy84 October 23, 2025
written by jummy84

When Erin Foster’s Netflix rom-com Nobody Wants This premiered last year, I discussed it through one of my favorite prisms: Is it good for the Jews?

My answer was a mixed “Yes.” The first season, in which a rabbi (Adam Brody‘s Noah) falls for a shiksa podcaster (Kristen Bell‘s Joanne) — “shiksa” being the show’s oft-repeated preferred slur, not mine — aimed for laughter and swooning, but simultaneously took a serious-minded approach to interfaith relationships and a specific and detailed approach to Judaism. I appreciated that effort, especially in a television landscape in which any expression of religion, much less Jewishness, is decidedly rare.

Nobody Wants This

The Bottom Line

Not a shanda, but not quite a mitzvah either.

Airdate: Thursday, October 23 (Netflix)
Cast: Kristen Bell, Adam Brody, Justine Lupe, Timothy Simons, Jackie Tohn
Creator: Erin Foster

I still expressed serious concerns about the show’s lack of generosity toward its Jewish female characters — particularly Tovah Feldshuh’s Bina and Jackie Tohn’s Esther — and I was perplexed by why both Joanne and her sister/podcast partner Morgan’s (Justine Lupe) lack of knowledge or curiosity about Jewishness so frequently resembled playful antisemitism. 

Was the show itself also, you know, good? Well, my answer was similarly a mixed “Yes.” The appeal of Nobody Wants This hinged primarily on the chemistry between Bell and Brody, which isn’t uncommon for a rom-com. That the chemistry was palpable helped Nobody Wants This overcome its predictable reliance on genre clichés, while the supporting cast, especially Timothy Simons, Lupe and Tohn, helped elevate underwritten roles (though with Lupe’s performance, I was stuck pondering uncomfortable questions like, “If an actor is so charming that she makes you ignore that her character borders on antisemitic … is that GOOD?”)

Anyway, the show was a sensation, earning Golden Globe and Emmy nominations and reminding Hollywood pencil-pushers that the appetite for a proficiently made rom-com very much exists.

The second season of Nobody Wants This, then, is a reminder of why television prefers, whenever possible, to give its rom-coms a procedural coating. Moonlighting? A mystery-of-the-week procedural (but really, at its best, a rom-com). Castle? A mystery-of-the-week procedural (but really, at its best, a rom-com). Bones? A mystery-of-the-week procedural (but really, at its best, a rom-com). It just helps for your characters to have other things to do in addition to falling in and out of love. Otherwise, a distinct risk of repetition and exhaustion sets in.

Nobody Wants This doesn’t fall off a creative cliff in its second season, but a lot of the charm is diminished. The new creative team takes evident pains to adjust some of the character-based problems from the first season, but in the process of expanding the profile for several supporting players, Brody and Bell are left playing often identical beats of uncertainty and insecurity to the ones that worked well in the first season. In the process, the chemistry and overall appeal dwindle dramatically.

The new season, boasting Jenni Konner and Bruce Eric Kaplan as new showrunners, picks up fairly soon after the first — though time generally doesn’t matter much in the world of Nobody Wants This, except for when people want to complain about things being “too soon” or “too slow.” 

Noah and Joanne are basically living together, except for when the show wants to remind us of Joanne’s insecurity that they’re not formally living together. The whole “Joanne isn’t sure she’s ready to convert to Judaism” thing remains their primary bone of contention, though the writers give Noah a contrived professional crisis so that they have things to talk about other than why Joanne can’t commit to converting or not converting.

Adding to the rom-com hijinks are extended storylines with Simons’ Sasha, whose professional life has vanished entirely along with father Ilan (Paul Ben-Victor, almost totally absent); Esther hitting bumpy patches; and Morgan embarking on a romance with Dr. Andy (Arian Moayed), an accelerated love story that Joanne disapproves of but the show seems to find amusing rather than ultra-disturbing given its origins. We spend more time with Joanne and Morgan’s parents (Stephanie Faracy’s Lynn and Michael Hitchcock’s Henry).

The season premiere, written by Foster and featuring the return of Noah’s rec league basketball team, again positions Feldshuh’s Bina, frequently my biggest source of discomfort in the first season, as an ongoing adversary. Then she nearly vanishes in the second half of the season, which is one way of dodging the Jewish mom stereotyping.

Another way is to write characters out of a maternal role, like Esther, whose teenage daughter has become invisible (figuratively), allowing Esther to concentrate on more important things like getting bangs and waffling on whether or not she’s jealous of Sasha and Morgan’s friendship. Esther’s still a little mean this season, but she’s playfully mean and makes no effort to break Joanne and Noah up, so we can like her without complication. As for Morgan — still my most consistent source of laughs — giving her a relationship of her own, however bad that relationship is, makes her less prone to saying dumb things about Jewishness.

Thus, Esther and Morgan become less problematic characters and Bina becomes a frequently mentioned but less frequently seen afterthought. That’s a way of fixing those problems! 

But new problems arrive with Noah and Joanne. In the first season, Noah was perhaps over-idealized, to a point at which it was hard to feel like the generally superficial and dithering Joanne was on his level. This season turns Noah into a smarmier, borderline sociopathic character — far more like Joe from Netflix’s You than anybody is likely to want to admit — whose condescension often became insufferable for me. I’d say I sympathized more with Joanne, but it’s almost like the writers realized that despite her being based on the series creator, she had no specific personality traits, so scripts are constantly trying to over-explain her limited eccentricities.

An episode featuring Brody’s real-life wife Leighton Meester tries to fill in some backstory blanks, as does an episode that spells out how Joanne’s parents’ divorce impacted her. But people kept making pronouncements about Joanne’s personality and I kept responding with, “Huh?” Plus, somehow Joanne and Morgan’s podcast is less plausible and less purposeful than it was last season.

There are still times that Brody and Bell generate some sweetness, but the heat and crackle between them is missing — by choice a lot of the time, but far from all of it. The entire first season sold the premise, “These two characters absolutely belong together, no matter the obstacles.” This season builds to a nearly identical finale decision and I was hard-pressed to care.

The vagueness extends to the season’s perspective on Judaism, which is simultaneously more and less. 

The season is very invested in exploring Jewishness as a way of processing the world, which of course it is, more than as a “religion,” which of course it is for many people. At the same time, Nobody’s Wants This becomes like the rom-com version of one of those high school-set shows in which the book they’re studying any particular week ties in directly to the theme of the episode. Noah is constantly making sermons or toasts cribbed from Talmud for Netflix Subscribers. Then again, there’s a full Purim episode, so I shouldn’t quibble.

My biggest regret of the entire season is the lack of a return cameo from Leslie Grossman’s Rabbi Shira, whose lone episode last season represented one of its most meaningful spiritual moments. Sending up the no-stakes frivolity of progressive Reform Judaism, characters played by Seth Rogen and Kate Berlant get some insight-free chuckles. Plus, bringing in Rogen forces comparisons to Platonic, which had a tighter, funnier second season and emerged as a better “Los Angeles” show.

Or maybe Nobody Wants This just requires a mulligan after the creative overhaul of the second season. Reading THR‘s cover story after watching the season and writing most of this review, I find it amazing that the first season worked as well as it did and wholly unsurprising that the second season doesn’t seem as secure in who these people are or what their story is. Maybe season three will be what I actually want.

October 23, 2025 0 comments
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When is the next Formula 1 race? Next Grand Prix date and time
TV & Streaming

When is the next Formula 1 race? Next Grand Prix date and time

by jummy84 October 23, 2025
written by jummy84

Formula 1 returns to Central America with the title race beautifully set up for a frantic finale.

Oscar Piastri has lost ground at the top of the charts, McLaren teammate Lando Norris has faltered, and Max Verstappen has gladly stepped into the void to claim a series of race wins.

Mexico City could be a pivotal turning point for the title duel. Should any one of the top three drivers crash out or finish off the podium, their hopes of becoming world champion would seriously diminish.

Beyond the front pack, Lewis Hamilton is languishing down the order after his difficult start to life at Ferrari, while George Russell has enjoyed superb form to earn a new deal with Mercedes.

The 24-race season has taken drivers from Australia to Asia, the Middle East to the United States, and the globe-trotting final sector will determine the top order.

RadioTimes.com brings you up to speed with the next F1 grand prix on the schedule for 2025.

When is the next F1 race?

The next F1 grand prix is the Mexico City Grand Prix.

The race takes place on Sunday 26th October 2025.

It will begin at 8pm UK time.

F1 2025 schedule of races

All UK time. (S) denotes sprint race qualifying.

  • Sunday 16th March: Australian Grand Prix – 4am UK time
  • Sunday 23rd March: Chinese Grand Prix (S) – 7am UK time
  • Sunday 6th April: Japanese Grand Prix – 6am UK time
  • Sunday 13th April: Bahrain Grand Prix – 4pm UK time
  • Sunday 20th April: Saudi Arabian Grand Prix – 6pm UK time
  • Sunday 4th May: Miami Grand Prix (S) – 9pm UK time
  • Sunday 18th May: Emilia Romagna Grand Prix – 2pm UK time
  • Sunday 25th May: Monaco Grand Prix – 2pm UK time
  • Sunday 1st June: Spanish Grand Prix – 2pm UK time
  • Sunday 15th June: Canadian Grand Prix – 7pm UK time
  • Sunday 29th June: Austrian Grand Prix – 2pm UK time
  • Sunday 6th July: British Grand Prix – 3pm UK time
  • Sunday 27th July: Belgian Grand Prix (S) – 2pm UK time
  • Sunday 3rd August: Hungarian Grand Prix – 2pm UK time
  • Sunday 31st August: Dutch Grand Prix – 2pm UK time
  • Sunday 7th September: Italian Grand Prix – 2pm UK time
  • Sunday 21st September: Azerbaijan Grand Prix – 12pm UK time
  • Sunday 5th October: Singapore Grand Prix – 1pm UK time
  • Sunday 19th October: United States Grand Prix (S) – 8pm UK time
  • Sunday 26th October: Mexico City Grand Prix – 8pm UK time
  • Sunday 9th November: São Paulo Grand Prix (S) – 5pm UK time
  • Saturday 22nd November: Las Vegas Grand Prix – 4am UK time
  • Sunday 30th November: Qatar Grand Prix (S) – 4pm UK time
  • Sunday 7th December: Abu Dhabi Grand Prix – 1pm UK time

Check out more of our Sport 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.

October 23, 2025 0 comments
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Married to Medicine
TV & Streaming

Heavenly Kimes Branded a ‘F***ing Liar’ in Explosive Season 12 Trailer

by jummy84 October 23, 2025
written by jummy84

What To Know

  • Season 12 of Bravo’s Married to Medicine premieres November 30, promising heightened drama, new cast dynamics, and the return of Dr. Heavenly Kimes amid her political campaign.
  • The trailer teases intense conflicts, including Toya Bush Harris accusing Heavenly of lying, rifts among several cast members and their spouses, and ongoing struggles to repair friendships.
  • Alongside the drama, the season will feature emotional storylines such as Mimi Sanders navigating parenting a child with special needs and Quad Webb’s IVF journey, plus celebratory events like the Med Gala and a trip to Jamaica.

Bravo’s Married to Medicine is returning for its 12th season on Sunday, November 30, at 9 pm ET/PT, and there is plenty of drama in store based on the first sneak peek trailer.

The hit reality series, which chronicles the personal and professional lives of several women in the Atlanta medical community, promises a “double dose of drama and shade” in the new season, which sees the return of Dr. Heavenly Kimes amid her campaign for political office.

“The Married to Medicine ladies are back with some new friends and are working toward being better sisters,” reads the official press release. “Although apologies are still owed, can they get to the core of their issues and revive their friendships?”

If the trailer is anything to go by, making friends isn’t going to be easy. The clip begins by highlighting several arguments, including Toya Bush Harris calling Heavenly a “f****** liar,” to which Heavenly fires back, “And you’re a damn fake-a** b****.”

Toya also appears at odds with Dr. Contessa Metcalfe, Dr. Mimi Sanders, and even her own husband, Dr. Eugene Harris, whom she orders to “be a leader and lead the men.”

Dr. Simone Whitmore also gets into it with Quad Webb, which leads to a clash between Simone and her own husband, Cecil Whitmore, whom she tells, “I don’t give a f*** about the people who don’t give a f*** about me.”

It’s not all fiery showdowns, though, as the trailer also teases more emotional moments, including Mimi and her husband, Steve Sanders, navigating the ups and downs of “parenting a child with special needs.”

Elsewhere, Quad and her boyfriend King continue their efforts to get pregnant through IVF, with Dr. Jackie Walters guiding them through the process. The new season will even see Quad traveling to Africa in her quest to have a baby.

And, of course, there is lots of fun, too, with the third annual Med Gala, a costume party, and a cast trip to Jamaica.

Check out the sneak peek in the video above and let us know your thoughts in the comments below.

Married to Medicine, Season 12, Premieres, November 30, 9 pm et/pt, Bravo

October 23, 2025 0 comments
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David Chase Is Back at HBO with a New CIA Limited Series
TV & Streaming

David Chase Is Back at HBO with a New CIA Limited Series

by jummy84 October 23, 2025
written by jummy84

“The Sopranos” creator David Chase is back on television and back on the home of “The Sopranos” with HBO. Chase has optioned a non-fiction book about a dark period in the history of the CIA and will adapt it as a limited series for HBO.

The series is called “Project: MKUltra” and is based on John Lisle’s book “Project Mind Control: Sidney Gottlieb, the CIA, and the Tragedy of MKULTRA.” Published earlier this year, the book dives into the work of Sidney Gottlieb, an infamous chemist and spymaster at the CIA known as The Black Sorcerer. Gottlieb headed the MKUltra Psychedelic program, which conducted dangerous and deadly mind control experiments on willing–and unwilling–subjects during the height of the Cold War. Gottlieb is also known as the unwitting godfather of the entire LSD counterculture. After Gottlieb’s retirement in 1973, he incinerated all of his files, but Lisle uncovered previously hidden testimony and depositions that informed the accounts in the book.

Bill Skarsgård in 'Welcome to Derry' as Pennywise the Clown from 'It'

The series is executive produced by David Chase and Nicole Lambert for Riverain Pictures, where Lambert serves as Head of Production and Development.

Chase concluded “The Sopranos” in 2007, and he since wrote the 2012 film “Not Fade Away” and the “Sopranos” prequel movie “The Many Saints of Newark” from 2021, but this is his proper return to television and the network that made him a legend. HBO in 2022 indicated he was done with “The Sopranos” and that any rumors of a reunion weren’t happening. And in 2024, upon the 25th anniversary of the start of “The Sopranos,” he considered the Golden Age of TV officially over, with the show’s anniversary marking a funeral of sorts for the gritty, sophisticated, and ambitious television that “The Sopranos” helped pioneer.

Clearly though Chase, now 80, isn’t done with television just yet. He’s even still kicking around an indie film project that hopes to shoot early next year, though no details on that one either. Chase has 7 Primetime Emmys, including five of them for his work on “The Sopranos.”

Chase is represented by UTA, Untitled, Gendler Kelly & Cunningham and 42West.

Deadline first reported the news.

October 23, 2025 0 comments
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'Strictly Come Dancing' Hosts Tess Daly and Claudia Winkleman to Exit
TV & Streaming

‘Strictly Come Dancing’ Hosts Tess Daly and Claudia Winkleman to Exit

by jummy84 October 23, 2025
written by jummy84

“Strictly Come Dancing” presenters Tess Daly and Claudia Winkleman have announced their departure from the BBC series.

In a video posted to both their Instagram accounts, the pair revealed they had made the joint decision to leave the show. “There have been some rumblings, and we want you to hear this from us,” Winkleman began. “After 21 wonderfully joyful years on ‘Strictly,’ we have decided that the time is right to step aside and pass on the baton,” Daly continued.

Daly has presented the dance competition series since its start in 2004, whereas Winkleman joined as her co-host in 2014 when Sir Bruce Forsyth left the show.

“We have loved working as a duo and hosting ‘Strictly’ has been an absolute dream. We were always going to leave together and now feels like the right time,” they continued in the video’s caption. “We will have the greatest rest of this amazing series and we just want to say an enormous thank you to the BBC and to every single person who works on the show. They’re the most brilliant team and we’ll miss them every day. We will cry when we say the last ‘keep dancing’ but we will continue to say it to each other. Just possibly in tracksuit bottoms at home while holding some pizza.”

Daly added in her own statement on Instagram: “This isn’t a goodbye to glitter, sequins or Saturday night sparkle (I could never say goodbye to those!). ‘Strictly’ will forever hold a special place in my heart — but it does feel like the right time to hand over the reins.”

The 23rd season of “Strictly Come Dancing” is currently airing on the BBC, with its finale set for Dec. 20. Daly and Winkleman will continue to host the show through the end of this season, and then the hunt will be on for the BBC to find new presenters.

“I’ve always believed it’s best to leave a party before you’re fully ready to go and I know the new hosts will be magnificent, I look forward to watching them take ‘Strictly’ to new heights,” Winkleman added in a separate post. “As for Tess — I’m so so lucky I got to stand next to you. You’re funny, kind, whip smart and a true friend and I love you.”

October 23, 2025 0 comments
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Wonder Studios Raises $12M From Backers Including Atomico & Adobe
TV & Streaming

Wonder Studios Raises $12M From Backers Including Atomico & Adobe

by jummy84 October 23, 2025
written by jummy84

Wonder Studios, a British company weaving AI into storytelling, has completed a $12M raise.

Founded by Xavier Collins and Justin Hackney in April, Wonder’s news investors include Atomico; Adobe Ventures; Erik Huggers, a key architect behind BBC iPlayer; and Upside Ventures, established by YouTube stars the Sidemen.

It builds on Wonder’s pre-seed raise, which was supported by LocalGlobe, Blackbird, and Mati Staniszewski, co-founder of ElevenLabs.

The investment will be used to double Wonder’s engineering team and build out its intellectual property, such as an upcoming documentary with Campfire Studios (The Menendez Brothers).

Wonder Studios said it has seen significant demand for its services in the past six months. The company produced an AI-powered music video for Lewis Capaldi’s Something in the Heavens, created in collaboration with Google DeepMind, YouTube, and Universal Music Group.

Other projects include Beyond the Loop, a YouTube anthology series set in a post-apocalyptic world where humanity has fallen under the dominion of advanced androids. Renewed for a second season, Beyond the Loop has amassed 1.5M views.

Wonder also has an app, which it said serves as a hub for connecting AI creators with career opportunities, collaborators, and resources.

Collins said: “At the heart of our vision is combining Hollywood filmmaking excellence with AI-powered creative freedom, empowering both established directors and emerging creators to tell their most ambitious stories.”

“The next decade will define what creativity looks like in the age of AI,” added Hackney, Wonder’s chief creative officer. “Our mission is to ensure that this future belongs to the storytellers. Working with leading studios, industry pioneers, and grassroots filmmakers, we’re already creating a bridge where technology and artistry grow together. This isn’t the end of creativity — it’s the beginning of a new creative renaissance.”

October 23, 2025 0 comments
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Sean Patrick Thomas on Polarity's Fate, Chance Perdomo
TV & Streaming

Sean Patrick Thomas on Polarity’s Fate, Chance Perdomo

by jummy84 October 23, 2025
written by jummy84

[This story contains major spoilers from the Gen V season two finale, “The Guardians of Godolkin.”]

In the finale of Gen V, Polarity literally blows the doors off Goldokin’s master plan. 

It’s a significant way to close out the season for the character played by Sean Patrick Thomas, who began season two’s eight episodes shrouded in anger and grief over the death of his son Andre (Chance Perdomo). That on top of his struggle with the increasing loss of control over his powers, which was first introduced at the end of season one. 

With some nudging and accountability by Emma (Lizze Broadway), Polarity not only becomes a key component of the small resistance Andre’s friends mount at Cipher’s (Hamish Linklater) God U, but he also helps uphold the values and heroism Andre sought to embody in that final battle against Ethan Slater’s egotistical and evil Godolkin. 

Though the term “Guardians of Godolkin” can have a pejorative undertone with its link to performative acts, manipulation and school surveillance, Polarity — particularly in season two’s finale — becomes a sort of real guardian for Marie (Jaz Sinclair), Emma, Jordan (London Thor, Derek Luh), Cate (Maddie Phillips), Sam (Asa Germann) and Annabeth (Keeya King). After the gang successfully takes down Godolkin by embracing supe differences and leaning on their collective power, Polarity ultimately makes the choice to stay behind, charging himself with taking care of the rest of the school’s young supes. 

In light of how the season began with a sacrifice, that moment — like a few others in season two — feels like a nod to Andre’s love for his friends and how they each carry his spirit through battles, both emotional and physical. It’s a meaningful journey and something Polarity acknowledges by the end of the finale. 

Taking on aspects of Andre’s — and Chance’s — presence in the gang’s storyline this season wasn’t something Thomas had an awareness of, particularly in scenes that were maybe rewritten for him. He also “didn’t really feel like I was stepping into his literal position. That’s impossible. Chance is so unique and an incredible performer.” 

Instead, he tells The Hollywood Reporter, “The only thing I thought was, ‘I have to do everything I can to make sure we do justice to this young man and make sure he’s honored and respected and elevated in the way he should be.” In the conversation below, Thomas details how he accomplished that across all eight episodes, as well as Polarity’s reckoning, redemption and revolution alongside Andre’s friends. 

***

Polarity discusses the racialized realities of Andre’s death in Elmira early on in the season. But if Polarity knows Andre is fighting an uphill battle — whether in the school’s halls or the walls of that prison — what about his own experience as a Black man made him choose pushing Andre through at any cost over shielding his son from Vought? 

I had a whole set of thoughts about that in season one. That Polarity feels like, in a just world, he would have been in The Seven. But when he was younger, he got relegated to being a rap star or a movie star, and he didn’t get to be elevated into what he felt was his rightful place in the Vought [ecosystem]. So Polarity was using Andre to compensate for the fact that, in his mind, his race kept him from being properly respected when he was younger, and this is his chance to make up for that with his own son.

I think he looks at the Black people in The Seven now — somebody like A-Train, for example — and thinks, “That guy is a lightweight. They didn’t want a real, multi-dimensional Black guy in The Seven, and that’s why I got rejected.” He feels that if there’s going to be a Black guy in The Seven, it needs to be somebody who’s a true, formidable force, and that’s going to be my son. That was my thought about Polarity’s bitterness from his own past and his relationship with his son in season one. 

Cipher at one point recounts Andre’s seizures in Elmira, but later, Doug reveals how Andre persisted inside that prison. It’s a moment that honors Andre’s spirit and avoids reducing him to his torture and death. How important was that to Polarity to know his son found his own ways to survive and resist? And is there a positive memory you have of Chance that you feel like exemplifies his spirit on set?

That was just a wonderful thing to do because the story that Doug tells in the car, that’s the type of person Chance was. He was the type of guy whose wheels were always turning, and if he was getting taken advantage of or something was going on that he didn’t think was right, you can best believe he was going to find a way to come out on top. I’m glad the writers put that in there for Doug at the end.

The Chance that I knew was somebody who was so blindingly intelligent. He could speak on any subject. He could talk about politics, money, music. He had an encyclopedic knowledge of so many different things. We talked about how he became an actor, and he said he was planning to become a lawyer at first, and then ended up finding acting. Sometimes I’d be on set and would listen to rock hymns from my era. I would sing a couple of bars from one of those songs, and he would pick up where I left off. He knew all of it, and he knew it better than me. That’s a lot of how we connected. He really was just remarkable. I’ve never met anyone like him before, and I won’t again. 

Sage tells Polarity that no man is more powerful than a man with nothing to lose. Polarity has lost a lot, but when you look at who is around him in the finale, it doesn’t feel like he has nothing to lose. How might Polarity’s actions in the finale reflect someone who still very much has something to live for, even beyond his son? What has this new family he’s forged given him?

These kids have given him an opportunity to get it right. They’ve given him an opportunity to do better, to make amends and redeem himself. He’s turned an eye to a lot of abuse, a lot of criminal activity, to horrible things out of his own greed, ambition and hopes for his son. These kids have given him a new lease on life. He can never totally fix the harm he’s done, but they allow him to do a little bit to make up for the fact that there’s a long period of time in his life where he did not do anything to help the world. He only did things to help himself, and he paid the ultimate price by losing his son. He realizes that, and that hits him very hard. He probably feels like he’s going to dedicate the rest of his life to making up for that, and protecting these children as best he can.

After Marie restores his powers, Polarity becomes a major key in how the gang is able to stop Godolkin. But when it first happens in episode seven, it seems like a surprise to him and Cipher. The season has focused a lot on the mechanics of how supe powers work, so is that ability to keep Godolkin out of his head an expansion of not just what audiences but Polarity thought he could do? And how exactly is Polarity able to keep Cipher out?

From what I understand, Polarity’s powers of magnetism are so immense that he can create some type of force field around his own brain to keep anything from getting into it. I think he’s probably figured out that he can find a way to keep Cipher from controlling other people’s brains as well, but he can only do that one brain at a time so that becomes the challenge. Up until now, [Polarity has] always [thought his powers were] just a carnival trick. He’s never used his powers in any real way to help anybody, other than to get attention and be a star. It dawns on him: “I never knew I was capable of this before.” In that sense, he’s very much like some of the kids in the show. They’re doing things they never knew they were capable of, and that’s just the tip of the iceberg for Polarity’s powers. He’s realized. “I can really change things. I can use my power to protect people.”

Emma describes Polarity staying behind as a suicide mission, which leaves the moment feeling like a real full-circle sacrifice. How does that choice to stay behind not just embody Andre, but also the real man who raised Andre?

Polarity is fully willing to sacrifice himself for these kids. He knows if there’s any way that the world is going to change, they’re the ones that are going to do it, and he has to do everything he can to make sure they get that opportunity at the end of season two. I’ve never discussed it with the writers, but I do feel like Polarity is like, “Vought is going to come to this campus, and they’re going to raise hell, and I need to find a way to protect the kids that are here. So anything and everything that I have to do, I will do, and I don’t care what it costs me.” He’s staying behind because there’s no other adult in this entire world who cares about the kids. Polarity says, “It has to be me.’

Polarity and Emma built a bond this season that helps save them both and turns them into the heroes they want to be. Part of that journey is some tough moments, but there’s also so much humor. Can you talk about working with Lizze to create that earnest vibe between you too, which may have played a part with getting Polarity to where he lands at the end of season two?

Lizze’s a wild card, and that’s the best possible situation to be in as an actor. You’re dealing with all these curve balls coming from different directions, and she gives you so much to play off of. None of our dynamic or chemistry was talked about or planned. It’s natural energies, how they bounced off each other. We both cared a lot about doing good work, about really listening to each other and staying in the moment. We both cared a lot about Chance. So everything you see came out of those things. At the beginning of season two, Polarity really had, in my mind, decided, “It’s over. I don’t have any real reason to even exist on this Earth.” She yanks him out of that and gives him a tiniest kernel of a reason to keep going and try to get some type of justice, some type of answer for what happened to his son.

I was not anticipating Polarity defending Cate, but there are some parallels in terms of their relationships with Vought and Andre. Do you think he forgave Cate — and possibly himself — in that moment? 

I don’t think Polarity will ever, ever forgive himself for the way he lived his life and for the way his son died, and I don’t know that he forgives Cate. But he understands how somebody could get sucked into something that would make them do something so wrong; that can make them less than who they really are or should be. He has empathy for her in that sense, but I don’t know that he forgives her because the loss is too great, and the consequences have been too monumental. He understands and respects that he’s in no position to judge her.

In episode seven, Sage says, “You’re still going to die, Polarity, just not today.” What kind of fate might audiences expect for him post-finale? He clearly wants to live, but is that an option in the wake of what awaits him with Vought?

I absolutely think he can survive it. He has to. In the world of The Boys, and what’s going on with Homelander [Antony Starr], everything that Homelander is doing is unsustainable. At some point, it’s going to blow up. Something’s going to happen. He’s going to be stopped in some way. When that happens, there’s going to be a void. Who’s going to fill that vacuum? That is where I think Polarity comes in. Whether it’s in Vought or at the university, Polarity is a big part of whatever happens post-Homelander because Vought is still corrupt, even if Homelander is rendered ineffective in some way. Vought is still very, very corrupt, and it’s still a lot to protect these kids from those corporate interests.

***

All episodes of Gen V season two are now streaming on Prime Video. 

October 23, 2025 0 comments
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