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Sharon Osbourne Thinks Someone "Set Her Up" For 'The Talk' Exit
TV & Streaming

Sharon Osbourne Thinks Someone “Set Her Up” For ‘The Talk’ Exit

by jummy84
written by jummy84

Four years after her unceremonious exit from The Talk, Sharon Osbourne‘s late husband is calling out CBS from beyond the grave.

In Ozzy Osbourne‘s posthumous memoir Last Rites, now available after the Black Sabbath rocker died at age 76 in July, he claimed “they pushed Sharon out” from the show following an on-air argument with her co-hosts over her friend Piers Morgan.

“The person she is convinced set her up — and I ain’t gonna name names, ‘cos the last thing I want to do is stir all that shit up again — knew what they were doing, I think,” wrote Ozzy, according to Entertainment Weekly. “And Sharon, when she feels like she’s being cornered, she”s gonna come out fighting.”

After Sharon had it out with Sheryl Underwood over Morgan’s comments about Meghan Markle, which were perceived as racist, CBS launched an investigation into the exchange and put the show on hiatus before Sharon ultimately departed her seat weeks later.

“They pushed Sharon out,” wrote Ozzy. “Just a few weeks earlier, when Sharon had been in hospital with Covid, the same people had gone on Instagram to say ‘Mrs. O, we love you.’ What a bunch of phoneys.”

Sheryl Underwood, Carrie Ann Inaba, Sharon Osbourne, Sara Gilbert and Eve on ‘The Talk’ on Aug. 2, 2019

Cliff Lipson/CBS

Ozzy added that “the worst part” was people thinking Sharon was racist because of her association with Morgan. “I can tell you without any doubt, my wife is not a racist. It’s against everything she’s ever stood for. Anyone who’s spent more than five seconds with her knows that,” he wrote.

“The people she worked with on that show knew that,” added Ozzy. “To be stuck with that label, it was just f***ing wrong. Because you can never get a gig anywhere on TV once that’s what people think of you. It’s game over. They knew that when they took her down.”

Although Sharon “was devastated for a long while,” Ozzy said he admired how she “just lets it go and never talks about it again.”

“She’s an incredible woman, my wife,” added Ozzy. “As for The Talk, poetic justice was served in the end. It got f***ing cancelled.”

The Talk announced last November it was ending its 15-season run, airing its finale after 2,993 episodes the next month. Developed by Sara Gilbert, the daytime talk show debuted in 2010 with her and Osbourne among the original panel of co-hosts.

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New Special, 'I Don't Wanna Work Anymore'
TV & Streaming

New Special, ‘I Don’t Wanna Work Anymore’

by jummy84
written by jummy84

For somebody who’d allegedly prefer a life of leisure, Phoebe Robinson sure hustles.

The writer-actress has a deal with Sony Pictures TV, via her Tiny Reparations production company. There’s the literary imprint of the same name, where she’s published her first three books of comedy. And, more pressingly, there’s the stand-up career that’s just birthed her latest comedy special. I Don’t Wanna Work Anymore is now on YouTube. And if you don’t watch it, well, Robinson will be that much further from retirement.

Speaking in early October, the 2 Dope Queens and Everything’s Trash alum spoke about the communal joy of raunchy jokes, why she has no plans to discuss her new hour with her family this holiday season and her firm belief that people should take an “Are You Dumb As Fuck or Not?” test before they’re allowed to to record a podcast. Speaking of podcasts… an extended version of this conversation will be featured in the premiere of The Hollywood Reporter’s latest, out later this month. (And, no, I did not take the test.)

You say you don’t want to work anymore, but clearly enjoy what you do. What part of your job could you do without?

If I never had another meeting in my life, I’d be fine. I don’t want to do a general meeting. “Hey, what are you watching right now?” I don’t give a shit. We’re all watching 20 different shows. I just love writing, I love doing stand-up. I love doing the creative stuff. The admin things and the networky things… I only have a certain amount of bandwidth.

The title of the special is work-focused, but I’d argue it’s really about sex. When it comes to personal material, do you have a line that you won’t cross in terms of what you’ll share on stage?

I always want to be respectful… and I know that may not be what you think when you see my stand-up. And by that I mean that I never want to punch down. I never want to just completely eviscerate someone. The way that I talk and joke about sex on stage, it’s fun and liberating. I think other people feel that way, too. They just need to hear someone on stage say the things that I’m saying. At least that’s what I’m telling myself.

Have you had any reactions to the contrary?

I mean, I’m definitely going to tell my parents to skip this one. Just skip it, Phil and Octavia! There is nothing here for you. Not one solitary sweet thing. Please don’t put yourself through it. I’ve got to go home for Thanksgiving. I don’t want the stress. We’ve got to make conversation over vegan turkey, so let’s just skip this awkward part, go see Wicked: For Good and pretend everything was fine. This special is kind of wild.

The stand-up special economy has changed dramatically over the last few years. How did you end up going with YouTube?

There’s just an over-saturation. For me, I want to bet on myself and see where this goes. I like what YouTube does for a lot of stand-up comedians. It’s just a very open space. It’s really hard to stand out on streaming platforms when they’re dropping one or two specials a week. I don’t want to get lost in the shuffle. So I wanted to go my own way. I think it’s very in line with my career. Jessica [Williams] and I started 2 Dope Queens because we didn’t feel there were enough gay people and people of color doing late night. I started my own imprint because it was hard for me to sell my first book in 2015. People were telling me that people don’t buy books written by Black women. To me, this doesn’t feel like anything new.

Your last series, Everything’s Trash, aired in 2022. You’ve now got projects in various stages of development. What is the biggest obstacle to getting a green light?

Hollywood is so cray cray right now. I have a first look with Sony TV, and they’ve been great so far. We have a good mix of half-hour comedies and a couple of dramas. I have a couple of projects I’m trying to develop for me to start in. I think the biggest hurdle is that there’s a reticence to doing something original or left of center. It’s so funny you hear these platforms and networks. They’re like, “Oh, we want a Fleabag or a Beef.” All these shows that are so singular and have a specific voice. Then when you pitch them those things, sometimes they’ll try and tell you all the ways in which it won’t work. I’m like, “Yeah, it could also work, so how about we try that?” It’s been really tricky, but I’m holding out hope that the tide will turn.

When you say left of center, do you mean quirky or, like, progressive or politically left?

I think both. But it is also a big time for procedurals, and I don’t think anyone turns to me to be like, “We need Phoebe Robinson to write a procedural!”

But if you had to make a procedural, what does a Phoebe Robinson procedural look like?

I thought Justified, on FX, was a really good way of doing a procedural. Also, the Matlock reboot! I tell everyone how good that show is. That is truly a straight down the middle procedural, but the writing, the acting are also really great. I would want something that’s a little gritty, a little interesting, a little sexy, a little something for me to star in opposite Andrew Lincoln. I just saw him do a play in London. He’s so absolutely brilliant and I would love to see him lead another show.

Can you tell me a little bit about your ongoing Instagram series, Thirsty Thursday? You pen these incredibly well-written and totally perverse odes to the famous men you find attractive.

I’ve always been a horny person, and I just wanted to have a fun way of talking about these hot celebs. So, I write these little horny sonnets about everyone from Jason Momoa and Denzel Washington to Tom Holland. It’s been fun, and people get the joke. I’m just having a good time objectifying these guys. Sometimes I think, “Oh, is this person going to be problematic?” So far I’ve been good. But let’s see.

Ever hear back from any of them?

I wrote one about Milo Ventimiglia. I just think he is so dreamy, and he DM-ed me. Mandy Moore sent it to him, which is so wild. And he was like, “Thank you so much. It was so funny.” The fact that the guys get it and know it’s not wild or crazy, that’s really cute. I did Steven Colbert’s show and he asked me to do one on him, so I did.

Any dates come out of this yet?

No. One thing I will tell you about hot famous men: They’re not like, “Wow, she can write! That’s who I want to date — someone who’s witty with the pen, someone who’s going to challenge me. Oh yeah, that gets my dick hard.” That has not happened. But there’s still hope. Maybe one day.

You just ran the Berlin marathon. Congratulations! And, a totally inappropriate pivot, did you see Harry Styles out there?

That man is so fast. I did not see him. It was so hot, and he was wearing all black, long sleeves! This guy’s a true athlete… I’m so jealous of him. But I just started running two years ago and I’m already running four marathons, so I feel like I’m doing OK.

Before I let you go, I’m wondering, as a podcasting pioneer, what are your thoughts on the saturation point we seem to have reached? You have not been shy in sharing your critiques of the podcast bros.

There are too many people with microphones. And most of them don’t even listen. You don’t know how to interview. You don’t know how to carry a conversation. You should have to take an exam before you can launch a podcast. It’s called “Are You Dumb As Fuck or Not?” I’ve listened to some of these podcasts, and hurts my brain. Now these guys are coming along with their stupid ass platforms and their nonsensical opinions; they’re flooding the space. It’s not great. I have hope that some people will go away from podcasting.

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All Creatures Great and Small guest star has a very famous mum
TV & Streaming

All Creatures Great and Small guest star has a very famous mum

by jummy84
written by jummy84

In the latest episode, the pair both race to offer their equine insight to the daughter of General Beauvoir, “society beauty” Charlotte Beauvoir, who Anna Madeley described as “exuberant and proactive”.

Charlotte is expecting “Captain Farnon”, but her dad failed to specify which one, hence both of them turning up.

“Impressive,” she says, on greeting the siblings. “You ask for one and they provide a spare.”

What then ensues is a battle of wills as they seek to prove that they are the “marvel with horses” that the general was thinking of, before the next competition inevitably arrives, whatever that will be.

But in the midst of all of that, Tristan and Charlotte discover that it’s not just horses that they’re passionate about.

“Charlotte Beauvoir is a great addition,” said Callum Woodhouse. “Tristan is maturing, becoming more independent, and taking on more responsibility. I think he’s past that stage now where he’s jumping from girl to girl.

“So, is he ready for something more serious? It’s been really fun to play.”

Dame Emma Thompson, Gaia Wise and Greg Wise attend the UK Premiere of “Dead Of Winter” at Picturehouse Central on September 8, 2025 in London. Dave Benett/WireImage

Eagle-eyed viewers might remember Gaia Wise, the actor who plays Charlotte, from crime dramas The Chelsea Detective and Silent Witness, in which she had guest roles.

Her other credits include the films A Walk in the Woods – based on Bill Bryson’s book of the same name – and the suspense thriller Dead of Winter, both of which also star her mum, none other than Dame Emma Thompson. Her father is actor Greg Wise (Sense and Sensibility, The Crown).

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“Gaia Wise… is terrific,” said Samuel West. “There was one scene where I was walking alongside her, talking, and she looked so like her mum. I did two films with Emma in the early ’90s [Howards End and Carrington], so that was really weird. It was like suddenly being 30 or 35 years younger.

“And because Gaia’s really terrific – her mannerisms, or something she did, or some look she gave the ground – just took me back. It was very odd indeed. She’s terrific, and I hope we stick with her.”

Tristan will no doubt be hoping for just that…

All Creatures Great and Small continues on Thursdays at 9pm. You can order James Herriot’s All Creatures Great and Small from Amazon.

If you’re looking for something else to watch, visit our TV Guide or take a look at the rest of our Drama coverage. For more TV recommendations and reviews, listen to The Radio Times Podcast.

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Oliver Stark Talks Buck's Jealousy, Space, Honoring Bobby, More (Exclusive)
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Oliver Stark Talks Buck’s Jealousy, Space, Honoring Bobby, More (Exclusive)

by jummy84
written by jummy84

[Warning: The below contains MAJOR spoilers for the 9-1-1 Season 9 premiere “Eat the Rich.”]

9-1-1 kicks off its ninth season with an episode that features a billionaire being swallowed by a whale — then rescued by the 118, of course — and sends two of its own to space. Yes, Hen (Aisha Hinds) and Athena (Angela Bassett) are leaving Earth. “It’s very on brand for 9-1-1,” Oliver Stark says.

But he does agree it’s not like there’s much the 118 can do about the trouble coming for Hen and Athena, whose trip to space comes after the paramedic helps save the billionaire (Mark Consuelos). “It’s not really within the 118’s abilities to help them in space, but there are other people down on earth and characters within the show that can offer a little bit more to try and help that situation,” Stark says as part of TV Insider’s 9-1-1 aftershow, First Response. “There are plenty of people down on the ground that are going to end up needing help and in kind of classic 9-1-1 style, the most bizarre ways you could possibly imagine.”

The 118 this year is moving on without Bobby, and the firehouse is dedicated in his memory. It is now the Robert Nash Memorial Station. Filming that dedication was “emotional,” admits Stark. “It was a real moment of clarity in the sense that this is the show now. It is different here, but it was also kind of beautiful, and it was honoring, obviously, Bobby Nash on the show. But I think anytime we have a huge scene like that with all the characters and a scene of that nature, we were honoring Pete as well and what he meant to us. And so yeah, it was a mixture of emotions — it was sad, but it was also a celebration of him and I really hope that it comes across like that and that we are paying tribute to everything that they both were to the show.”

As for how Buck’s doing without Bobby this season, “it comes and goes,” the star shares. “I don’t think you see it having too much of a negative effect in the first few episodes, but then there is an episode later on in the season where you do start to see Buck get really in his head about it again.”

Elsewhere in the episode, with Chimney (Kenneth Choi) now interim captain, Eddie (Ryan Guzman) and Hen are working together, while Buck’s partnered up with Ravi (Anirudh Pisharody). And, to no one’s surprise, given how Buck has acted in the past when Eddie grows close to someone else, he’s not exactly happy with the “dream team” his best friend is part of with someone else.

“I think it’s just that he wants things to be normal. We’re talking about him adjusting to Bobby or the loss of Bobby. So, now it’s just that something else is different, something else has changed, and I just think he wants to cling onto everything that he knows and kind of keep that as close to his chest as he can, and this is just another thing that he has to adjust to,” explains Stark.

Watch the full video aftershow with Oliver Stark about the premiere, the space emergency, Buck’s jealousy of Eddie and Hen’s friendship, what’s coming up in Buck’s love life, how he feels about a new captain, and much more.

9-1-1, Thursdays, 8/7c, ABC

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Keira Knightley Does Ruth Ware
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Keira Knightley Does Ruth Ware

by jummy84
written by jummy84


‘The Woman in Cabin 10’ Film Review: Keira Knightley Does Ruth Ware




























You will be redirected back to your article in seconds

On a cursed journey aboard a stunning luxury yacht, Knightley’s wayward journalist gets gaslit, gets scared, and gets even — but this whodunnit otherwise feels terribly frigid.

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Cinema United Elects Harkins Theatres' Mike Bowers as New Chair
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Cinema United Elects Harkins Theatres’ Mike Bowers as New Chair

by jummy84
written by jummy84

Harkins Theatres president and CEO Mike Bowers has been elected chair of the executive board of Cinema United, the international organization of movie theater owners. Bowers will take over from B&B Theatres CEO Bob Bagby, who will remain on the executive board.

“Delivering an amazing cinematic experience has been my life’s work,” says Bowers. “It’s a true honor to serve the passionate people who bring the magic of moviegoing to communities across America and around the globe.”

Bowers has been president and CEO of Arizona-based Harkins Theatres since 2006. Also making up the executive board are Cinemark’s Executive VP and Chief Marketing and Content Officer, Wanda Gierhart Fearing, who will serve as Vice-Chair; Colleen Barstow of Nebraska-based Main Street Theatres who will become Treasurer, and Bo Chambliss of Georgia Theatre Company who will continue as Board Secretary.

“I am extremely excited to work with Mike and the leadership team to continue to support and promote this great industry. Mike brings years of experience building a successful circuit, and he will work tirelessly to support all of exhibition. The entire leadership team will bring energy and insight as we continue to drive toward the next great era in cinema,” says Cinema United president & CEO Michael O’Leary. “I also want to acknowledge and thank Bob for successfully leading Cinema United these past
two years. He will remain on the board and continue to be a leader for years to come.”

Cinema United represents more than 33,000 movie screens across the U.S. and Canada and an additional 30,000 more in 81 countries worldwide.

Thursday, October 9

Mischa Barton Bends Reality in ‘Glitched’ Paranormal Sci-Fi Comedy Film

Mischa Barton (“The O.C.”) will star in the paranormal sci-fi comedy, “Glitched,” which is set to make its world premiere at the La Femme Film Festival in Los Angeles on Oct. 17.

After turning their grandmother’s castle into a virtual reality playground, “Glitched” tells the story of a set of ambitious twins trying not to get stuck in the afterlife after accidentally opening a supernatural portal.

Rounding out the cast are Abigail O’Regan (“Spellbound”), Donal Brophy (“Sleep No More”), Jack McEvoy (“Vikings”) and Elijah Rowen (“Vikings”) and John Connors (“Crazy Love,” “Re-Creation with Jim Sheridan”). 

Directed by Alaskan filmmaker Zoe Quist, the genre-bending project is a women-led production that established mentorships across all key departments to create pathways for new voices and ensure economic diversity on set.

“Glitched” is written by Steve Grabowsky with Maria O’Neill p.g.a (“The Black Guelph”), Susan Wright p.g.a. and Quist as producers.


Five Participants Selected for the Annual Native American Unscripted Workshop

The Native American Media Alliance has selected five storytellers to participate in its 5th Annual Native American Unscripted Workshop: a five day talent development program that aims to help Native American filmmakers, journalists and media artists launch their careers in the unscripted film and television industry.

Guided by experienced unscripted producers, the program offers mentorship, creative seminars, meetings and networking opportunities for these emergent voices. At the end of the five days, participants pitch their projects to panels of creative executives and producers.

This years’ participants are Alana Tiikpuu, Evan L. Chouteau, Jenna Monroe, Joshua Emerson and Tammy “TS” Botkin. The program is sponsored by Comcast NBCUniversal, the Los Angeles County of Arts & Culture and the City of Los Angeles Department of Cultural Affairs.

Freestyle Digital Media Acquires “Stationed At Home”

Freestyle Digital Media, the digital film distribution arm of Allen Media Group, has acquired the VOD distribution rights for “Stationed At Home.” The film will be available to rent and own on digital platforms and DVD in North America starting Nov. 11.

Directed by Daniel V. Masciari, the film is an indie drama following a lonely taxi driver in 1998, whose night takes bizarre turns as unexpected faces and figures float through his orbit. The film stars Erik Bjarnar, Darryle Johnson, Eliza VanCort, Jamie Donnelly, Peter Foster Morris, Jeff DuMont and Alek Osinski.

Wednesday, October 8

Art House New York Launches Regional Alliance to Support Indie Film Exhibition

Art House New York has officially launched with an inaugural week-long audience development campaign designed to bring audiences back to explore the vibrant and diverse independent cinema landscape in spring 2026. 

“Our goal is to strengthen ties between art house cinemas and with the film industry, creating new opportunities to connect audiences together,” Art House New York director Allason Leitz, said in a statement. “Alone, art house cinemas are hidden gems, but together, we are a cultural force.”

With the NYC Mayor’s Office of Media and Entertainment as a founding partner, Art House New York is a regional alliance strengthening independent film exhibitions in New York City through audience development, research and strategic initiatives. Paula Scher, who created the Art House New York logo and brand identity, will also develop the 2026 campaign.

Art House New York was founded by Lesli Klainberg (former president of Film at Lincoln Center) who tapped Allason Leitz of Third Industry Strategies to design its formative vision and serve as the initiative’s director.

Leaders from across the film industry on the advisory council include Kazembe Balagun, Executive Director, Maysles Documentary Center; Dori Begley, Co-CEO, Magnolia Pictures;  Matt Bolish, Deputy Director, Film at Lincoln Center; Mark Boxer, Head of Distribution, MUBI; Karen Cardarelli, Executive Director, Facets & Chicago Alliance of Film Festivals and Gary Faber, President, ERM Research. 

They are joined by New York Film Commissioner Pat Swinney Kaufman; Klainberg, AHNY Founder, former President, Film at Lincoln Center; Lela Meadow-Conner, Board President, Art House Convergence; Dara Messinger, Director of Programming, DCTV’s Firehouse Cinema; Rajendra Roy, Chief Curator of Film, MoMA; Shannon Treusch, Partner, Falco Ink.; Jesse Trussell, Director, Film Program and Strategy, BAM; Barbara Twist, Executive Director, Film Festival Alliance and John Vanco, Programming, Paris Theater (Netflix). 

Jackson Wild and Earth Alliance Awards $60,000 Grants to Documentary Filmmakers 

Jackson Wild and Earth Alliance have revealed the conservation and wildlife filmmakers selected for their inaugural Impact Pitch grant program, which aims to fund projects that shift the narrative toward solutions and actionable outcomes.  

The program awards up to $60,000 in funding to support filmmakers and impact campaigns associated with their films. 

Jigar Ganatra’s film “Chameleon Corridors” will receive $30,000 and strategic support to help implement its impact campaign. The “Chameleon Corridors” team will work with local partners in Tanzania to screen the film for farmers, students and Tanzanian authorities to dismantle ingrained superstitions around chameleons and educate communities about reforestation programs. 

Sally Snow’s “Iyo Ang Dagat (The Sea is Yours),” which explores the deep and complex relationship between people and sharks in the Philippines, will be awarded $15,000. The grant will help raise awareness about the value of sharks and rays and the ongoing efforts to protect them in Palawan and support working alongside key stakeholders to draft and pass legislation regulating marine and wildlife tourism in Palawan.

Michael Salama and Gastón Zilberman’s “Qotzuñi: People of the Lake” will also receive $15,000 and is set to use the funding with the Uru Indigenous Nation and local partners in Bolivia to improve food security for communities, support sustainable livelihoods, and create fellowships for Uru youth in communities surrounding Lake Poopó.

Other finalists include Danny Schmidt’s “Book of George” and the Environmental Justice Foundation documentary “Pantanal.”

Tuesday, October 7

Tribeca Festival and AT&T Launch Applications for Untold Stories With $1.2 Million in Prizes

The Tribeca Festival and AT&T have increased their AT&T Untold Stories program’s top production prize from $1 million to $1.2 million for the festival’s 25th anniversary in 2026. The program, which provides funding, empowerment and support for emerging filmmakers, is the largest unrestricted film production award of its kind in the world.

The program launched in 2017 and each year awards one new filmmaker full funding to produce a feature along with mentorship, support and a guaranteed premiere at the Tribeca Festival. Since its inception, the program has supported 40 projects and produced eight winning films, some of which have garnered distribution on major platforms such as Netflix and HBO Max.

“Independent filmmaking has never been tougher, and too many vital stories never make it to the screen. Untold Stories changes that,” said Jane Rosenthal, CEO and Co-Founder of Tribeca Enterprises. “It doesn’t just give filmmakers the means to create — it helps ensure their work is seen. With funding, mentorship, and distribution support, the program opens doors that might otherwise stay shut. This expanded prize will give bold storytellers the chance to dream bigger, go further, and reach the audiences their stories deserve.”

Applications for the 2026 Untold Stories award are now open and close on Feb. 6. The winner will receive the $1.2 million grant at next year’s festival.

Filmmakers can apply now at tribecafilm.com/untoldstories.

Tello Films Network Releases Trailer For Lesbian Holiday Romcom “The Christmas Writer”

The trailer for “The Christmas Writer” has been released online, courtesy of Tello Films Network..  The film will premiere on Nov. 18 on VOD.

The film follows a bestselling lesbian Christmas author loses her holiday muse and experiences writer’s block, setting her off on a journey to return to her quaint hometown in search of renewed inspiration, finding an unexpected love story.

“The Christmas Writer” stars Shelby Allison Brown as Noel, Callie Bussell as Callie, Jordan Myrick as Paulette, Kendahl Landreth as Erin, Stacey Lee Powell as Jillian, Karen M. Chan as Grandma Robbins, and June Tuss as Pepper. The film was directed by Tello Films founder & CEO Christin Baker, and co-written with Katie I. Williams. “The Christmas Writer” was produced by Andrew James Myers and Trenton Julius.

The film will also be available to rent or buy on Amazon, Apple, YouTube Movies and other VOD platforms.

Watch the trailer for “The Christmas Writer” below.

Monday, October 6

Academy of Motion Pictures Arts and Sciences Reveals 2025 Student Academy Awards Placements

The Academy of Motion Picture Arts and Sciences have unveiled the recipients of this year’s Gold, Silver and Bronze placements and universities around the world at the 52nd Student Academy Awards ceremony. The recipients were chosen from 3,127 entries from 988 colleges and universities worldwide.

The Student Academy Award placements for 2025 include:

Alternative/Experimental

Gold: Xindi Zhang, “The Song of Drifters,” University of Southern California

Silver: Vega Moltke-Leth, “Without Perfection,” University of Copenhagen, Denmark

Bronze: Mati Granica, “flower_gan,” London College of Communication, United Kingdom

Animation

Gold: Tobias Eckerlin, “A Sparrow’s Song,” Film Academy Baden-Württemberg, Germany

Silver: Lucas Ansel, “The 12 Inch Pianist,” Rhode Island School of Design 

Bronze: Sofiia Chuikovska, Loïck du Plessis D’Argentré & Maud Le Bras, “The Shyness of Trees,” Gobelins, France

Documentary

Gold: Tatiana McCabe, “Tides of Life,” University of the West of England Bristol, United Kingdom

Silver: Rebeka Bizubová, “Confession,” Academy of Performing Arts in Bratislava, Slovakia

Bronze: Jane Deng, “I Remember,” New York University 

Narrative

Gold: Jan Saczek, “Dad’s Not Home,” Krzysztof Kieślowski Film School, Poland

Silver: Meyer Levinson-Blount, “Butcher’s Stain,” Tel Aviv University, Israel

Bronze: ZEFAN, “Kubrick, Like I Love You,” Columbia University

The Student Academy Award-winning films are now eligible to compete for the 98th Oscars in the Animated Short Film, Live Action Short Film or Documentary Short Film categories. 

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It's One Battle After Another For Paul Thomas Anderson & Oscars: Peter Bart
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It’s One Battle After Another For Paul Thomas Anderson & Oscars: Peter Bart

by jummy84
written by jummy84

Nothing about Hollywood should surprise Paul Thomas Anderson. The 55-year-old, Los Angeles born-and-bred filmmaker has made most of his movies in or about his hometown — films praised or challenged by his critical community.

His darkly satiric new movie, aptly titled One Battle After Another, opened September 26 to rapturous, or merely stunned, reviews, only to confront a $34 million box office intrusion from Taylor Swift — one that may ironically enhance Anderson’s future Oscar forays.

Can The Official Release Party of a Showgirl upstage serious cinema?

Not exactly, since Anderson’s own $100 million-grossing release party isn’t precisely “serious” either. One Battle introduces audiences to a new film genre dubbed by one European critic as “surreally suicidal.” Anderson’s chaotic but intensely touching father-daughter saga is set against a cluttered canvas of revolutionaries, cultists and political hustlers. Some MAGA voices see the movie as an assault on the faithful warriors of the “hard right” and, after a slow start, they’re fueling up their attack across social media.

Warner Bros, the distributor, is watching edgily. While the filmmaker’s first nine movies were modestly budgeted — see Inherent Vice (2014) or Hard Eight (1996) — the $140 million One Battle, starring Leonardo DiCaprio, plunges Anderson into franchise-like economics. Its box office numbers inevitably have been compared to those of DiCaprio’s last epic, Killers of the Flower Moon, directed by Martin Scorsese.

That movie opened well, then dwindled, and was ultimately labeled a financial disappointment for Apple, its distributor. One Battle, from Warner Bros, isn’t cushioned by telephones or technology.

Further, while Scorsese’s early work shouted New York as its ethnic hub, Anderson films tend to be culturally ambiguous. One Battle, like his other recent movies, is based on a book by Thomas Pynchon, the James Joyce of private eye novelists. Another, Inherent Vice, starred Joaquin Phoenix in a 2014 Anderson-Pynchon L.A. whodunit.

Scorsese movies tend to hover in a Goodfellas-like prism while Anderson has ventured into the universe of porn (Boogie Nights, 1997), or design (Phantom Thread, 2017), or cults (The Master, 2012). Licorice Pizza (2021) represented a nostalgic glimpse of Anderson-centric turf — the San Fernando Valley. In contrast, There Will Be Blood (2007) starring Daniel Day-Lewis was an angry portrait of an exploitive developer based on Upton Sinclair’s classic 1926 novel Oil.

Some award gurus are betting that One Battle will be rewarded for its bold narrative and subtext. It certainly represents a mood shift from Swift’s record-setting romantic musings.

Anderson already owns shelves crowded with nomination plaques and film festival hardware, but the ultimate Oscar, Best Picture, has been more elusive; as though, for Academy voters, it represents one battle too many.

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'Monster' Season 4 Starts Filming With Charlie Hunnam, Ella Beatty
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‘Monster’ Season 4 Starts Filming With Charlie Hunnam, Ella Beatty

by jummy84
written by jummy84

No rest for the wicked, or Charlie Hunnam when it comes to Monster.

With the third season of Monster: The Ed Gein Story currently streaming atop the Netflix charts, season four of the true-crime anthology from Ryan Murphy and Ian Brennan has gone into production in Los Angeles.

The fourth season of the Emmy-winning Netflix hit stars season three star Hunnam along with Ella Beatty (Feud: Capote vs. The Swans, If I Had Legs I’d Kick You) and will tell the story of the series’ first female “monster” Lizzie Borden, who will be played by Beatty.

Borden was famously tried and acquitted of the 1892 ax murders of her father and stepmother in Fall River, Massachusetts. Her murder trial has been the subject of many retellings on film and TV, including the 1975 TV movie The Legend of Lizzie Borden, Lifetime’s 2014 Lizzie Borden Took an Ax and 2018’s Lizzie starring Chloë Sevigny and Kristen Stewart.

Hunnam will play Andrew Borden, with Vicky Krieps (Phantom Thread, Corsage) as Bridget Sullivan, Rebecca Hall (Christine, Passing) as Abby Borden, Billie Lourd (American Horror Story, The Last Showgirl) as Emma Borden and Jessica Barden (The End of the F***ing World, Dune: Prophecy) as Nance O’Neill. 

Max Winkler (Monster: The Ed Gein Story, Flower) will direct the first episode. Additional casting and production details will be revealed at a later date. 

Monster: The Ed Gein Story released all episodes on Oct. 3 and quickly broke into Netflix’s Top 10 with 12.2 million views globally in its first three days.

The third season centers on Ed Gein, a murderer known to kill women, wear their skin and faces, and dig up graves. The Ed Gein season follows previous seasons, Dahmer – Monster: The Jeffrey Dahmer Story and Monsters: The Lyle and Erik Menendez Story. Each of those seasons sparked conversations around sensational portrayals of murder victims, and Ed Gein has also been stirring up some debate.

Before the show released, Hunnam told The Hollywood Reporter, “I never felt like we were sensationalizing it. I never felt on set that we did anything gratuitous or for shock impact. It was all in order to try to tell this story as honestly as we could. … What I would hope and feel really confident in is that it was a very sincere exploration of the human condition and why this boy did what he did.”

The fourth installment of Monster is the latest addition to a growing list of Netflix shows and movies being filmed in Los Angeles, including Monster: The Ed Gein Story, as well as upcoming Nobody Wants This season two, Beef season two, Lincoln Lawyer season four, Nemesis, Worst Ex Ever season two, and films The Rip and Animals. 

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Spitting Image team say they're "baffled" by Paddington Bear lawsuit
TV & Streaming

Spitting Image team say they’re “baffled” by Paddington Bear lawsuit

by jummy84
written by jummy84

While most politicians and pop culture figures of the time took their puppet parodies (fairly) on the chin, the new revival of the veteran comedy show has ruffled someone’s feathers… or should we say fur.

Created by Al Murray and Matt Forde, the new Spitting Image revival, now available on YouTube, made headlines this week when it was revealed that StudioCanal, the French film and television production company behind the Paddington movies, and the Bond estate have filed a High Court complaint over copyright and design right concerns, following the depiction of the beloved bear.

“We’re baffled by that, to be honest,” says Murray. ‘If we were going to expect anything, it would be a hard stare from Paddington.”

Their radical reimagining of the sweet-natured bear sees Paddington as a foul-mouthed, crazy-eyed Pablo Escobar-esque parody, with a penchant for powder over marmalade sandwiches. He host’s the shows podcast ‘The Rest is Bullsh*t’, a parody of the Goalhanger ‘Rest is’ sphere, alongside an equally caricatured Prince Harry.

“If you’re looking for [podcast] hosts, you need two national treasures. There were the first names on the team sheet,” says Forde.

While his characterisation may be extreme, Forde and Murray insist it is only intended for purely comedic purposes.

“It’s the oldest thing in comedy,” explains Murray. “We’re not saying we’ve done anything particularly original. [Paddington] is normally presented as this very ‘goody-two-shoes’ character and we’ve flipped him over. It’s a very Spitting Image thing to do – to take someone and say ‘Hey, maybe they’re the opposite.’”

“I mean, they’ve fallen into a bear trap of their own making,” says Forde. “We’re getting tons more views as a result of the lawsuits publicity, so more people are watching this depiction of Paddington that they don’t want anyone to see.”

Is it potentially a case of miscommunication involving the ‘British sense of humour’?

“I mean taking the piss is a great British value, as is having a sense of humour about ourselves,” says Murray. “But there obviously has been a drift towards people who want to shut other people’s jokes up – and it’s weird, it seems like an attack on comedy really.”

“In my experience, people find you funny taking the p**s out of things, until you take the p**s out of something they like. Then they don’t find you funny anymore.”

But it’s the fact the call for legal action has come from fellow creatives that really surprises the pair.

“I would imagine that the people at StudioCanal who’ve come to this are the sorts of people who not long ago were pretty outraged by Jimmy Kimmel being pulled off air,” explains Murray. “If they’re sensitive, creative people that’s probably how they felt about it.”

“But they’re trying to do that to our absurdist, ridiculous Paddington and that leaves me scratching my head.”

Whilst they may see a funny side in the call for legal action, (“We are literally talking about a fictional bear and a puppet show!” exclaims Murray at one point) the pair recognise that the dispute over their depiction of Paddington highlights a wider conversation on freedom of speech in our current political climate.

“It’s terrifying that pressure can come from all sorts of different places,” says Forde. “I think the risk is that these kinds of authoritarian instincts exist on left and right.

“They exist in governments; they exist in corporations. We’re living in an era where politicians can get you taken off the air and the consequences of that – and it’s not just comedy – will close people in all sorts of other industries down.

“People need to be careful about thinking. ‘Well, I never liked Jimmy Kimmel anyway, so I’m fine with it’ because eventually, they will get round to you, and they will shut you up.

“Comedy is an easy first target because people don’t like being laughed at, but it’s not comedy that they have an issue with. It’s the freedom of speech.”

Their new YouTube show was born out of the success of their live theatre production – Idiots Assemble: Spitting Image The Musical created by Murray and Forde, alongside Sean Foley. It was during this run they realised the new medium of theatre, unlike TV, avoided outsider input in what content their show could cover.

“There was no one between us and the audience,” explains Murray, “That was what was brilliant about it.”

“As stand-ups we’re used to that,” agrees Forde, “You write it, you perform it and there is a purity in that. Once it filters through more layers, it becomes tamer, and I think in the modern era people want comedy like this to really pack a punch.”

Read more: Spitting Image 2025 is funny, filthy, forensic and, on YouTube, a force for good

Their YouTube series is not the first revival of the iconic ’80s show. Spitting Image was briefly resurrected in 2021, with both Murray and Forde working on the show as writers and voice actor respectively, parodying a new cast of political and pop culture figures, from Donald Trump to Greta Thunberg. It was cancelled by ITV after just two series.

Hosting their show on YouTube has allowed for this greater freedom when creating the satirical sketches.

“The danger sometimes with television is it becomes very bureaucratic and slow,” says Forde. “The comedy can almost get legislated out of a sketch. I think this smaller team and nimbler production has allowed it to just hit harder.”

And it seems the public would agree. The show’s viewing numbers on YouTube have hit nearly 12 million views and is reaching millions more across other streaming platforms.

The pair believe the media reaction highlights a clear appetite for cutting political satire and hope to bring the beloved classic to the smartphone generation.

“There are different themes, different celebrities, that you want to be lampooning,” says Forde. “To be able to apply that in 2025 when you’ve got TikTok and X and Instagram and make something the younger generation really love – that’s a real thrill.”

It’s not just Paddington viewers can tune into watch; the show parodies a host of recognisable figures faces, from Taylor Swift to Vladamir Putin. But for Forde, with his spot-on impersonation, his favourite has to be Trump.

“Trump is so much fun,” he says. “The puppet is phenomenal; it’s a grotesque recreation of him. When we’re writing and ad-libbing in the room, you’re inside the mind of this maniac and we have the tools to bring him to life in our own way.”

Parodying figures from all reals of the political spectrum, the pair maintain they never let their personal politics influence their character choices or depictions either.

“They’re all fair game and it’s just so much fun taking the p**s out of them,” says Forde. “But for each one there must be that grain of truth to it. It must be silly and big and daft, but you need to hit upon something that people recognise in those characters.

“In a way, the politics falls away from it. These are characters you’re satirising. They just happen to be political ones.”

“If the impression goes with the puppet,” says Murray, “…it doesn’t need to be laser point accurate because the puppets, after all, aren’t. They’ve got the essence of the person… it’s like, as Matt’s saying, it’s got to have the grain of truth in it. And then you dial it all up.”

The current run of Spitting Image will last for 12 episodes, but what about the show’s future?

“We’re seeing if it’ll work and whether the audience will come to it,” says Murray. “And we haven’t got to wait for someone to say yes, you spend so much time in comedy coming up with things and having to wait for someone to say yes.”

“I mean purely as a viewer, you think, why are these things so rare?” continues Forde. “It’s immensely frustrating that Spitting Image wasn’t around for so long.

“So many of the things we’ve done even in the last two episodes have gone viral, so there is a huge appetite for this sort of comedy. You want it to always be around.”

And what about our furry friend? It looks like he’ll be sticking around – he’s not heading back to Peru just yet.

‘I think if you were to ask our Paddington…” teases Forde. “You know, he’s an energetic guy, wants to work a lot…”

Spitting Image is available now on YouTube.

Check out more of our Comedy 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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Christopher Briney and Jean Smart in
TV & Streaming

Cast, Location, Premiere Date, Trailer, and More

by jummy84
written by jummy84

Hacks‘ Season 5 cast is expanding with the addition of The Summer I Turned Pretty‘s Christopher Briney, and that’s just the latest tease from the production, which has also hit up New York City.

Renewed prior to Season 4’s finale on  HBO Max in May 2025, Hacks is bringing comedian Deborah Vance (Jean Smart) and her writer Ava Daniels (Hannah Einbinder) back for more shenanigans as howrunners Lucia Aniello, Paul W. Downs, and Jen Statsky carry on the story of the iconic duo. While fans will have to wait a while before tuning into the latest episodes, there are a few details we already know about Hacks Season 5. Below, we’re breaking down everything you need to know so far, including where the story may take viewers, as well as production details, casting, and more. Stay tuned for additional details in the weeks and months ahead.

Has Hacks been renewed for Season 5?

Yes, as mentioned above, Hacks has been renewed for a second season at HBO Max. The series will continue its run with all-new episodes that will stream exclusively on the platform. The series has been a Top 5 show on HBO Max since Season 4’s debut in the United States, and a Top 10 show globally. Season 4 has been Hacks‘ best-performing season yet, with week-over-week growth, prompting the quick renewal.

Will Hacks Season 5 be the show’s last?

According to star Hannah Einbinder, who spoke to E! News on the red carpet at the 2025 Emmys, Season 5 will be the show’s last, although no announcements from HBO Max have been made at this time. According to Variety, Einbinder said, “We’re going to start [filming] next week, and knowing it’s the last season is really bittersweet. But I think it’s right, you know? It’s nice to do something as many times as it should be done. Not overstay your welcome. Rip it and do it and laugh and cry.”

What has been said about the Hacks Season 5 renewal?

Amy Sussman / Getty Images

TV Insider caught up with Aniello, Statsky, and Downs, timed to the renewal announcement, during which they shared their excitement. “It’s exciting,” Aniello tells us, noting, “It’s also like, ‘Here we go!’”

“Back to work,” Statsky chimes in, essentially finishing Aniello’s sentence. Despite the daunting nature of tackling a new story, this talented trio couldn’t feel more fortunate as Downs adds, “We feel so lucky that we get to do a fifth season of comedy. We’re like, it shouldn’t be this way, but we feel really fortunate because it’s so rare. We feel incredibly lucky.”

In a release shared with the press, Sarah Aubrey, head of Max Original Programming, said, “Yes! More! We congratulate Hacks‘ singularly talented cast and crew and our great partners at Universal Television.” Meanwhile, Erin Underhill, the president of Universal Television, added, “Like Deborah Vance herself, Hacks only gets bolder, sharper, and more iconic with time. We’re beyond thrilled to keep the laughter rolling with Jen, Paul, Lucia, our extraordinary cast and crew, and our partners at Max.”

Is Hacks Season 5 filming?

Filming for Season 5 of Hacks has officially begun, as of September 23, 2025, as Smart, Einbinder, and more stars hit the streets of New York City, as seen in videos captured by fans. The show’s official account ultimately confirmed the show’s start of production with a fun NYC-set photo:

What is Hacks Season 5 about?

No logline for Hacks Season 5 has been revealed yet, but after Season 4’s finale, we’re willing to bet that it will track Deborah’s return to the States after her Singapore adventure that led to a false death announcement. But don’t expect her to run toward Los Angeles as the showrunners teased to TV Insider, that Deborah will return to Vegas in Season 5, and as mentioned above, filming in New York City hints at some new horizons for the comic.

Who stars in Hacks Season 5?

Chris Briney and Jean Smart in 'Hacks' Season 5

Kenny Laubbacher / HBO Max

As mentioned above, Smart and Einbinder will reprise their roles as Deborah and Ava, and Downs, Megan Stalter, Carl Clemons-Hopkins, Mark Indelicato, and Rose Abdoo will play series regulars in Season 5. It has officially been revealed that The Summer I Turned Pretty‘s Christopher Briney would also join the ensemble, as revealed in the first-look photo above. Season 4 featured Dan Bucatinsky, Helen Hunt, Tony Goldwyn, Kaitlin Olson, Jane Adams, Lauren Weedman, Christopher McDonald, Poppy Liu, Lorenza Izzo, Johnny Sibilly, Paul Felder, Polly Draper, Luenell, and Aristotle Athari. Julianne Nicholson, Michaela Watkins, Bresha Webb, Robby Hoffman, Eric Balfour, Danny Jolles, Gavin Matts, Grover Whitmore III, Holmes, Jasmine Ashanti, Katy Sullivan, Matt Oberg, Sandy Honig, and Jake Shane. Stay tuned to see who makes the Season 5 cut when the more official casting news breaks.

Who makes Hacks Season 5?

Hacks is created for television by Aniello, Statsky, and Downs, who executive produce the show with Michael Schur, David Miner, Morgan Sackett, and Joe Mande. Meanwhile, Universal Television, a division of Universal Studio Group serves as the studio for the production.

Again, stay tuned for additional details as Hacks Season 5 takes shape, and let us know what you hope to see from the comedy in the comments section.

Hacks, Season 5 Premiere, TBA, HBO Max

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