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Alyvia Alyn Lind
TV & Streaming

Alyvia Alyn Lind Unpacks Lingering Questions

by jummy84 October 6, 2025
written by jummy84

[This story contains major spoilers from Wayward.]

Wayward star Alyvia Alyn Lind knows you have unlimited questions about her new limited series that’s currently ranking atop the Netflix TV charts.

Created by Mae Martin, Wayward shines a light on the troubled teen industry through Vermont’s fictional Tall Pines Academy. The “therapeutic” school is run by Toni Collette’s cult-like leader, Evelyn Wade, who later takes a special interest in Lind’s Leila. The latter is a Canadian teenager who made the journey across the border in an effort to rescue her best friend, Abbie (Sydney Topliffe), from the clutches of this institution that her parents forced her to attend. However, Leila’s plan backfires, turning her into the latest enrollee.

Leila and Abbie were always mischievous partners in crime, but Leila’s drug use was far more serious than Abbie ever realized. The reason is due to the fact that Leila has yet to reconcile the traumatic drowning death of her older sister, Jess (Devin Cecchetto), which Evelyn picks up on in order to play her patented mind games. Leila is eventually subjected to a psychological experiment where she has to confront her potential involvement in Jess’ death, and the series ultimately depicts two different versions of the harrowing incident. 

In Lind’s mind, the version in which Jess accidentally drowns on her own is the more accurate portrayal, not the Evelyn-provoked account where Leila pushes an equally inebriated Jess in a swimming pool and opts not to save her. But Leila soon buys into the mindset that she’s a murderer, something Abbie disputes based on a phone call they shared in the direct aftermath.

“At the end of the day, I personally believe she did not intentionally push her sister [into the pool],” Lind tells The Hollywood Reporter. “It’s very common for people who have gone through traumatic experiences to have lapses in their memory and not remember exactly what happened. So it’s a perfect opening for Evelyn to go in there and pull at the strings until it’s all unraveled.”

After Jess’ death, Leila’s mother became completely withdrawn from her maternal duties, and now that Leila is in the hands of Tall Pines Academy, she appears to have no interest in her daughter returning home anytime soon. This turn of events ends up contributing to Leila’s unexpected decision to let Abbie complete their well-planned escape alone so she can stay at Tall Pines Academy.

“I think the reasons she gave Abbie for why she’s staying are true. She wants the community, she wants the family, and I think she genuinely does believe that. But I think that was all placed into her mind by Evelyn,” Lind says. “Evelyn saw her and saw her trauma and how tough her exterior was, and behind every tough exterior is an extremely soft center. So she wanted to rip that out, and I think she manipulated her.”

Wayward popped up on Lind’s radar shortly after the heartbreaking cancellation of her three-season series, Chucky, and the original audition email described the mystery-thriller as an “eight-episode limited series.” But with so many dangling threads, there’s already a clamor amongst the viewers and the cast/crew for another season.

“We were all aware [that it was a limited series] from the start, and we were all sad about it from the start. As the cast got closer and everybody had so much fun together, we got sadder and sadder as the season progressed,” Lind shares. “But you never know. Limited series get picked up [for more seasons] all the time now, so we’re just hoping that Netflix wants to push it further. We all want more for our characters, especially me. I want to see where Leila goes. I love her so much.”

Below, during a recent spoiler conversation with THR, Lind also discusses her unique upbringing in a showbiz family that includes her sisters, Natalie and Emily Alyn Lind, as well as matriarch Barbara Alyn Woods.

***

You started acting at such a young age. Do you have any memories that predate you being a working actor? 

Not really. Those memories would have to be before I started acting at 3 years old. But as I got older, my mom told me stories. My older sisters were in the industry from a very young age, and my mom has been doing it her entire life. My sisters would run their lines when I was only 2 or 3, and I would overhear and listen in the background. When they were done, I would come in and say, “My turn!” I’d then do their lines perfectly from top to bottom, and this was right after I’d learned how to speak. So it’s always been in my blood, and it’s always been inevitable that I’d end up wanting to pursue a career in it. I really don’t remember a time where I wasn’t working on a set. That could sound like a nightmare to some people, but it has been such a dream come true for me. 

Alyvia Alyn Lind as Leila in Wayward.

Courtesy of Netflix

When we’re kids, our parents sign us up for things just to see what sticks. And then, as we get older, we start to figure out what we actually like and don’t like. But it sounds like you knew you loved acting from the moment you started running lines for fun.

Definitely. The reason I love acting so much and have such a great relationship with it after all these years is because I always had a choice. It was never a situation where my mom was being a stage mom. She always gave all three of us the opportunity to stop whenever we wanted and go back to [more traditional] school. Growing up, we had conversations all the time about it. “You got another audition. Do you want to do it? Do you still like this? Are you happy?” All three of us just never wanted to stop. We all found such a strong love for it at such a young age, and we’re all so grateful for our mom’s guidance within this industry that we love so much. I was extremely lucky. It’s very unheard of to find the profession you want to pursue for the rest of your life at just 3 years old. 

When you watch your mom and sisters act, do you notice any mannerisms that all of you share?

It’s funny you ask that. I was literally watching Wayward with my family the other day, and I noticed for the first time that when I cry on screen, I look really, really similar to my oldest sister, Natalie [Alyn Lind]. I also make certain expressions or smirks or faces that remind me exactly of Emily [Alyn Lind]. I think I’m a perfect mix of both of their faces and expressions. So it’s both weird and interesting to watch myself on screen and be like, “Wait, there’s Emily. Wait, there’s Natalie.” But from growing up together and running lines with each other and just being there for one another during every project, I think that we’ve all adapted a few of each other’s little tricks. So we do have similarities, but we also have such different acting styles. We are all so distinct, even though we all had the same acting coach in my mother.

Did Wayward emerge right as Chucky ended? 

Chucky ended, and then Wayward came up. It was such an interesting time because we were obviously all so sad about Chucky being canceled. So I got the audition, and I was so grateful when I booked it. I then got to dive into the history of the [troubled teen industry], and it was a really exciting transition. Chucky was very campy and crazy and unrealistic in a lot of ways because it was a killer doll show. So getting to dive into something that’s real and terrifying in a more grounded way was really awesome.

Do you think the door is fully closed on Chucky? I know there was loose talk of trying to revive it in some form.

Oh my gosh, I have no clue. [Creator] Don Mancini holds the power. But whenever there is a revival, if there is one, I am so there. I’m down. Sign me up. I love that crew and that cast so much, and we had the most incredible time filming. I definitely would love to be involved and avenge the Terror Trio. I want them to have a better ending and not be stuck in dolls for the rest of their lives.

Chucky, Spiderwick Chronicles and Wayward all shot in and/or around Toronto?

Yeah, it’s not crazy to think that I’m a Toronto-based actor at this point because I film everything in Toronto. I’m half-Canadian, which is awesome. My dad’s side of the family is Canadian, and I have dual citizenship. So I love filming in Toronto so much.

Alyvia Alyn Lind as Leila in Wayward.

Courtesy of Netflix

Wayward is being billed as a limited series, but the ending leaves so many plates spinning that it seems ripe for a second season. Did you always know you were shooting a limited series?

Yeah, it was known from the start. When I got the audition in my inbox, it said, “eight-episode limited series.” So we were all aware from the start, and we were all sad. As the cast got closer and everybody had so much fun together, we got sadder and sadder as the season progressed. But you never know. Limited series get picked up [for more seasons] all the time now, so we’re just hoping that Netflix wants to push it further. Obviously, everybody involved in the show loves it so much, and we’re so proud of the outcome. We all want more for our characters, especially me. I want to see where Leila goes. I love her so much.

There’s a recent saying that the limited series is the new pilot, so anything is possible.

It would be a dream to do another season and explore these characters even further. If it ends up happening, I would be so excited and so on board. But if it doesn’t happen, then the place the characters ended up in is where they’re going to stay. Leila’s ending is so sad to me. I’m so protective over her, and I want her to get as far away as possible from that school. But she has to figure that out for herself. Unfortunately, I can’t protect my characters that much.

Her sister Jess’ death is a mystery throughout the season, and we’re given two different versions of the story. One was accidental, and the other was more intentional. Leila eventually thinks she killed her sister on purpose, but Abbie argues that’s not true because of a phone call they shared the day after it happened. Who do you think is right? 

Oh my gosh, I love this question so much. While filming the episode, everybody had their different speculations. I had a conversation with Brian Davids Mae [Martin] about it. I then had a conversation with that episode’s director [John Fawcett] just to figure out what is true in Leila’s head. At the end of the day, I personally believe that she did not intentionally push her sister [into the pool]. It’s very common for people who have gone through traumatic experiences to have lapses in their memory and not remember exactly what happened. So it’s a perfect opening for Evelyn to go in there and pull at the strings until it’s all unraveled.

So, truly, deep down, I believe that she did not kill her, but I also love that the episode has so many different versions of what happened. It creates a conversation. I’ve already been on socials to look through people’s posts about whether or not they think she killed her, and it’s so fun to see that everybody else has a different opinion. I’ve watched the show with many of my friends and family, and all of them have different opinions. So it’s really fun to see what people think because it really is up for interpretation. Whatever you want to think is what it can be.

Devin Cecchetto as Jess and Alyvia Alyn Lind as Leila in Wayward.

Courtesy of Netflix

We established earlier that being a sister is a major part of your life, so did you have a tough time filming that tragic backstory involving Leila’s sister?

That entire episode is so heavy. It was the episode I was the most excited to film while also being the most terrified to film. I really wanted to get it right, and show why Leila is the way she is. That episode is such a huge transitional moment for her. We filmed the pool sequence all night from 7 p.m. to 8 a.m. It was emotionally and physically exhausting, and terrifying. But those days are the most rewarding. So I’m really happy with the outcome, and I hope everybody else loves it, too.

Leila’s flashbacks took place while in the Mirror Room. Once she’s free, the camera lingers on her as she eats pizza and listens to Duck play Pink Floyd’s “Time.” She was listening to that song in the first episode too. What’s really on her mind there? Is it genuine enjoyment to set up her big choice to stay at Tall Pines in the finale? Or was she just trying to gain Duck’s trust like her and Abbie planned? It seemed genuine to me. 

That scene is another one of the big turning points that we see for Leila. It’s the first time that she truly sees humanity in this place. To that point, it’s been so rough and mean and aggressive and scary. Suddenly, she’s sitting there eating pizza, and this guy that she’s been terrified of the whole time is now playing her favorite song on the guitar. And for the first time, she thinks, “Maybe this place isn’t as bad as I thought it was. Maybe they were really just trying to fix me, and now that I’m getting better, it’s not as scary anymore.” It’s such a terrifying cycle of manipulation. But you can really see it in her face: “This could be my life. I could do this every day. I could sit here and eat pizza and listen to Pink Floyd every day.” So It’s a big transitional period for her to see that maybe this place isn’t as bad as she thought that it was.

Then she has a phone call with her mom, and she couldn’t have been less interested in Leila potentially coming home. So do you believe the explanation she gave Abbie as to why she’s staying? Or did Evelyn manipulate this outcome?

I think both can be true. I think that the reasons she gave Abbie for why she’s staying are true. She wants the community, she wants the family, and I think she genuinely does believe that. But I think that was all placed into her mind by Evelyn. Evelyn saw her and saw her trauma and how tough her exterior was, and behind every tough exterior is an extremely soft center. So she wanted to rip that out, and I think she manipulated her. 

She knew about how absent Leila’s mom has been since Jess’ death. So it was a perfect opportunity for her to take over that role. “I will be this mother figure for you. I will be this figure that will love you unconditionally, which is something that you’ve never had in your life. I will show you the ropes, and I will find you a family.” 

She does it in the same way that she does it to Laura [Sarah Gadon]. It’s really interesting how many similarities there are between Laura and Evelyn’s relationship and Leila and Evelyn’s relationship. So I think that everything that she’s saying to Abbie at the end of the show is true, but all of those things have been placed in her head by Evelyn.

Alyvia Alyn Lind as Leila and Toni Collette as Evelyn Wade in Wayward.

Courtesy of Netflix

What did you pay attention to most with Toni Collette? Was it her acting style, or was it more about the way she carries herself on set?

I learned so much from her and her energy on set. Just watching her is a masterclass. I watched her switch back and forth between her Australian accent and American accent, and it was so insane that it should be studied. She’s just such a powerhouse. I want to be her. I was such a superfan before we started filming, so I was terrified. But then getting to know her and being on set with her as much as I was, it was an honor to study her. She plays her character so insanely well, and getting to see her bring Evelyn to life up close was incredible.

Lastly, I have to follow up on something your sister Emily and I talked about during Ghostbusters: Frozen Empire. You’re friends with Mckenna Grace, and Emily played her friend of sorts in that movie. Was it pretty bizarre for you to watch given your connection to both?

It was so much fun! When I heard that Emily got the role in the new Ghostbusters, I was so excited because I knew Mckenna, but I didn’t know how close their storyline would be to each other. And when I learned that it was basically just going to be the two of them together the entire movie, I was so excited. I think it was also exciting for Emily because Mckenna is a familiar face. I’ve known Mckenna since I was four or five. We’ve both been in the industry that long together. So getting to see Mckenna at the premieres and watching them work together was so much fun, and it was never weird at all. I’m so glad that they had that experience together.

Emily did say that you wondered why you didn’t get to go out for it.

I remember being like, “I should have gotten this audition. I want to work with Mckenna. I love her so much. That would’ve been so much fun.” I was more just jealous that I didn’t get to work with Mckenna because we would’ve had such a blast on set. But Emily has such a ghostly energy. So the casting decision after seeing the movie makes so much sense. They were right on point.

***
Wayward is currently streaming on Netflix.

October 6, 2025 0 comments
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Who left Strictly 2025? First celebrity to be voted out revealed
TV & Streaming

Who left Strictly 2025? First celebrity to be voted out revealed

by jummy84 October 6, 2025
written by jummy84

Amber Davies, Lewis Cope and George Clarke found themselves at the top of the leaderboard, with combined scores of 56, 55 and 54 respectively.

While Chris Robshaw, Thomas Skinner and Ross King were at the latter end with 30, 29 and 25 points, thanks to week one and week two points being combined.

However, it wasn’t the judges who’d be making the decisions, with the vote finally opened to the public.

Craig Revel Horwood, Motsi Mabuse, Shirley Ballas and Anton Du Beke. BBC/Guy Levy

Unfortunately for two celebrities, it was time for the dreaded dance-off, and Thomas Skinner and Chris Robshaw were the unlucky two.

Both couples performed their routines again. Thomas and Amy performed their Salsa to Bonkers by Dizzee Rascal and Armand van Helden, then Chris and Nadiya performed their Viennese Waltz to Die With A Smile by Lady Gaga and Bruno Mars.

The judges unanimously voted to save Chris, meaning Thomas Skinner was eliminated.

Due to all the judges being in agreement, the head judge casting vote that was bestowed onto Motsi Mabuse was not used this week. Mabuse said that she would also have chosen to save Chris and Nadiya, should she have been required to vote.

Amy Dowden and Thomas Skinner dancing next to each other, smiling ahead.

Amy Dowden and Thomas Skinner. BBC/Guy Levy

When asked by Tess Daly about their time on the show, Thomas said: “I’ve loved it. I’ve never danced before and my stay was short, but Amy’s amazing. It’s been great fun and I’ve enjoyed it. I can’t really dance that well but I’ve had fun! Thank you, Amy – sorry that we haven’t done too good, ‘cause you’re a different class.”

Then asked her time on Strictly this year, Amy Dowden said: “I’ve got to know the real Tom, and he is adorable. He’s looked after me. We’ve laughed so much. We’ve worked so hard and a glitterball would have been amazing but what I’ve learnt in the last few years is happiness, health and being alive is more important than anything. I’ve made a new friend for life and I wouldn’t change a thing.

“There is a Ballroom boy in there so I’m a bit gutted he didn’t get to do the Ballroom, but the last three years as you know have been quite difficult for me. I lost all confidence as a dancer – but walking into the room with you with a massive smile and a laugh, you brought me back and, honestly, thank you.”

The remaining 14 couples will take to the dance floor next week for Movie Week, when Strictly Come Dancing returns at 6:05pm on Saturday 11th October.

Strictly Come Dancing returns on Saturday 11th October at 6:05pm on BBC One and iPlayer.

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

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

October 6, 2025 0 comments
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Isaiah and Lucinda; Sydney and Toby; Justine and Tyrique in
TV & Streaming

Who Won Season 2? Winning Couple Revealed

by jummy84 October 6, 2025
written by jummy84

[Warning: The following contains MAJOR spoilers from the Love Island Games Season 2 finale.]

After a rollercoaster of a season, Love Island Games has come to an end. The past two weeks saw Love Island veterans battle it out for the $250,000 prize, participating in cutthroat duels and challenges until only one couple remained.

Going into Episode 18, four couples were still in the running: Justine Ndiba and Tyrique Hyde, Sydney Paight and Toby Aromolaran, Johnny Middlebrooks and Gabby Allen, and Isaiah Campbell and Lucinda Strafford. As the winners of the previous episode’s challenge, only Isaiah and Lucinda were confirmed as finalists. The rest depended on America’s vote.

October 6, 2025 0 comments
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Marion Cotillard on Gaspar Noe, 'The Ice Tower,' and Its Hardest Scene
TV & Streaming

Marion Cotillard on Gaspar Noe, ‘The Ice Tower,’ and Its Hardest Scene

by jummy84 October 6, 2025
written by jummy84

Marion Cotillard and writer/director Lucile Hadžihalilović tell IndieWire about their latest film, in which the Oscar winner stars as a fading actress who casts a spell over a young girl — culminating in a sexual assault scene that demanded trust and care on all sides.

October 6, 2025 0 comments
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Live from the Hollywood Bowl' Is Unusual and Special
TV & Streaming

Live from the Hollywood Bowl’ Is Unusual and Special

by jummy84 October 6, 2025
written by jummy84

The equation has been reversed on CBS’ recent “Grammy Salute” specials: They were traditionally all-star salutes where the legendary artist being feted makes a cameo appearance at the end (assuming they’re alive). But with a recent Earth, Wind & Fire tribute under that banner and, now, a Cyndi Lauper special, we get full-on concerts from those artists, with a selection of guest duet partners. That’s all the better, for anyone who missed Cyndi Lauper’s recent farewell tour — or anyone who didn’t — as she brings more than enough wattage to power two hours on her own in Sunday night’s “A Grammy Salute to Cyndi Lauper: Live from the Hollywood Bowl.” Although, when Joni Mitchell, SZA and Cher turn up, they’re nothing to sneeze at.

“She’s So Unusual,” her first solo album promised us in 1983. This special — exec-produced by Grammys veteran Ken Ehrlich, Recording Academy head Harvey Mason Jr. and Lauper — is so unusual, too. The risk taken is in how close it comes to being a straight transcription of the show she toured around the country this year, give or take a few superstars and niche guests. There are exactly two talking heads who show up during the duration of the time slot: brief video testimonials from Brandi Carlile and Billie Eilish that barely take up the space of a minute between them. The rest of it is unexpurgated Cyndi, on stage, and not in conversation — that decision possibly influenced by the fact that fans already got a big amount of that in her 2023 Paramount+ documentary “Let the Canary Sing.” This time around with Lauper, the show must go on, and, really, only the show, filmed over two nights at the end of August as her goodbye tour wrapped up at the Hollywood Bowl.

As far as the “features” go, she is generally very well-matched, diva-wise and otherwise. Country powerhouse (and recent Variety cover subject) Mickey Guyton proves an ideal harmonic blend for Lauper early on, on what may be one of the less familiar numbers of the night, “Who Let in the Rain.” In a memorably long and glittery black coat, John Legend steps out with her onto the ridge that separates the Bowl’s pool seating area from its other boxes for an up-close-and-personal “Time After Time”; he lends a smoother counterpart to her always slightly rawer-feeling tone. Angélique Kidjo and Trombone Shorty add slightly more regionally exotic touches to the already left-of-pop-center New Orleans bop, “Iko Iko.”

Mr. Shorty returns to sit in with Lauper and Mitchell on the latter legend’s beloved “Carey.” (That’s the one number in which the guest is doing her own number, rather than joining the headliner for one of hers, but in the case of Mitchell, the mountain must come to Mohammed. And Lauper is hardly skipping the chance to use her tribute special to pay tribute herself, to the wolf’s-head-cane-tapping comeback queen.) The presence of SZA adds plenty of extra sparkle on the show’s penultimate duet, “True Colors.” SZA clearly plays well with others, judging from her Kendrick Lamar collab being one of the year’s biggest hits, and she fares just as well belting something a bit closer to the middle of the show-biz road. And there could be no better casting for “Girls Just Want to Have Fun” than Cher, who even got a designer polka-dot pantsuit to match Lauper’s, and makes the star’s signature song sound like it belongs in her catalog, too.

The only collaboration that doesn’t really pay off in these two hours is the one with Jake Wesley Rogers, which gives one of Lauper’s greatest songs, “Money Changes Everything,” an extended coda that is just very… shouty. On the other hand, even if it’s not a musical highlight, you may appreciate that the duet with Rogers ends in a simulated wrestling match, presumably in tribute to Lauper’s early-career friendship with the late Captain Lou Albano (who gets a shout-out much earlier in the broadcast). Wrasslin’ didn’t change everything for Lauper, but it was one of those early signposts that this was an artist who was going to do it her own way, whether that means associations with meaty and beefy types or her longstanding LGBTQ+ allyship.

Did we say a few paragraphs back that this special was not about conversation? Let’s put a substantial asterisk on that, come to think of it, because we only meant it had a (welcome, to us) lack of interview footage. But you will hear her talk. Lauper devoted a lot of her concerts each night this year to storytelling, making it fairly close to her version of a one-woman show, even if she had a full band kicking back behind her while she regaled her audiences with tales of her upbringing, career achievements and setbacks and thoughts about feminism. This “Grammy Salute” offers a surprising amount of those lengthy song introductions, seemingly rendered intact (because the way she tells them, there’d be few easy ways to cut ’em up). All that chat might test the patience of some, but these fairer-weather friends can go do the dishes and come back at 10:50 to hear “Girls Just Want to Have Fun,” while fans who appreciate the full measure of her kooky/contemplative personas can settle in for the luxury ride.

Among her solo numbers for the night, however serious her themes will become, nothing comes ahead of the 42 years of pleasure, and self-pleasure, that “She Bop” has provided. (When the cameras cut away to a couple of young girls amid the audience reaction shots, you do wonder what the PMRC would make of youngsters being exposed to this smut, if only they’d survived.) On the other hand, “The Goonies ‘R’ Good Enough” is by no means a requisite part of her set, though it’s fun enough to get it anyway, for pure nostalgia and not much else. (Original “Goonies” cast members Corey Feldman and Martha Plimpton get the reaction shots here.) “Who Let In the Rain” is the occasion for Lauper’s first extended introduction of the night, as she explains she wrote it in 1989, at a time when her career was experiencing a sudden dip and she was getting unwanted advice from men in gold chains: “I found myself, instead of the people that made me famous, sitting with people that I ran away from home to get away from.” Surveying her first post-stardom professional failures, she says, “I forgot that you can’t let one chapter eclipse your whole life.”

As always, Lauper sounds like one tough Queens cookie, even if she might be accused of being a snowflake, by non-fans who happen upon the special and hear her espousing what we can still consider liberal ideals. Says Carlile, in her video clip: “Thank you for everything that you’ve done for all people, particularly women, and that thank you will never be enough thanks to cover what you’ve done for the queers.” Lauper doesn’t expound on that a lot herself, beyond noting that her costume designer encouraged her to add more glamour for the sake of the gays. But at the end of “True Colors,” when she and SZA let a giant pride flag be blown up over them by unseen fans… well, it may not be enough to scuttle incoming network regulatory approvals, but there is still little doubt that it will not be a welcome sight in all of America right now, and that she’s being especially true in waving it.

Other undertones go unspoken but will be obvious to fans, like “Sally’s Pigeons,” with an introduction Lauper makes mostly about her neighbors … but which her followers will know is about a childhood friend who died from a back-alley abortion. (The “21 years” in the originally recorded lyric has now been changed to “52 years,” to establish that the song still takes place the year before Roe v. Wade was implemented.) None of this is put in the casual viewer’s face, but feminists and the gay community can take, well, pride in how Lauper continues to be a poster girl for their revolutions even as she holds court as your basic eager-to-entertain veteran pop star.

One of the most telling stories Lauper offers is about the tradition of seamstresses ran strong in her Italian immigrant family, and how she thought, “If they could do that with cloth ” — sewing together disparate elements, that is — “maybe I could do that with music… I was into deconstruction before it was way happening.” But as much as she did it with a marriage of music styles, she actually did do it with cloth, too, even if she wasn’t the one manning the sewing machines. The music may have ended up pretty danged mainstream, but there’s still an interestingly avant-something quality to her changing costuming during the night. (She credits Christian Siriano and Geoffrey Mack for the tour couture.) At one point, she is just a rooster, and at another, she has what looks like part of a black bodice sewn onto the front of a white dress shirt, and at still another, she is starkly wigless. Fashion may be among the least of the things most people watching “A Grammy Salute to Cyndi Lauper” will care deeply about, but in this case, it does make the woman… or at least render the woman’s lifelong career curiosities symbolically large.

October 6, 2025 0 comments
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Actors 'Incentivized To Make Bad Things To Get Paid'
TV & Streaming

Actors ‘Incentivized To Make Bad Things To Get Paid’

by jummy84 October 6, 2025
written by jummy84

Channing Tatum explained why he feels streamers have “effed up” and “confused” Hollywood and the moviemaking process.

In a recent appearance on Hot Ones with Sean Evans promoting his upcoming film Roofman, Tatum got the opportunity to clarify his statement.

“I think, now, when you get asked to do a movie, or you’re trying to get a movie made, it’s a very confused pipeline of possibilities, and it really feels like, at times, that you’re incentivized to make bad things to get paid, rather than make something really, really good, for the fucking people that actually get to see these things and people that I want to see these movies, the person that I was when I was a kid,” The Lost City actor explained. “And I want good movies.”

He continued, “I’m like, ‘Man, I want to give my money to the good movies.’ It’s such an upside-down moment, but I do believe that the disruption is going to lead to something good. I do believe that. I do believe the streamers came in for a reason, and it had to change, it had to morph.”

Elsewhere on the show, Tatum threw light zingers at his past projects, calling 2010’s Dear John a “generic” movie and saying of his recent Deadpool & Wolverine cameo, “I was in it for two seconds, so I don’t feel like a part of that,” while guessing the projects in his filmography based on logline.

In addition to Roofman, which is bowing in theaters Oct. 10, Tatum has a slew of projects forthcoming, including: Kockroach also starring Zazie Beetz and Oscar Isaac, family-friendly comedy Dance Partners with Charlize Theron, an Amazon MGM Studios film about the Isle of Man Tourist Trophy Race that he is also producing alongside Brad Pitt, thriller-drama Josephine from Beth de Araújo with Gemma Chan, star-studded alien invasion comedy Alpha Gang and Warner Bros. action-comedy Calamity Hustle co-starring Ryan Reynolds.

Watch the full episode of Hot Ones below:

October 6, 2025 0 comments
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Kimberly Hébert Gregory
TV & Streaming

Vice Principals’ Actress Was 52

by jummy84 October 5, 2025
written by jummy84

Kimberly Hébert Gregory, best known for playing Dr. Belinda Brown on the HBO series Vice Principals, died Friday. She was 52.

Gregory’s ex-husband, Chester Gregory, confirmed her death on Instagram. The cause of death wasn’t immediately available.

“Kimberly Hébert Gregory You Were Brilliance Embodied, A Black Woman Whose Mind Lit Every Room, Whose Presence Carried Both Fire And Grace. You Taught Us Lessons In Courage, In Artistry, In Resilience, And In How To Keep Showing Up, Even When Life Demanded More Than Its Share,” Chester Gregory wrote on Instagram. Thank You, Kimberly, For Every Chapter We Shared. Your Story Was Never Defined By The Battle, But By The Beauty You Carried Through It.”

Born on Dec. 7, 1972, in Houston, Gregory starred in dozens of projects throughout her career. One of her most notable roles was as the fiery principal of North Jackson High School in Vice Principals, starring Danny McBride and Walton Goggins.

Goggins, who starred as Lee Russell in Vice Principals, wrote in a tribute: “We lost one of the best yesterday… one of the best I’ve ever worked with. Kimberly Hebert Gregory. I had the honor… the good fortune of getting to know, getting to spend months working with this Queen on Vice Principals. She made me laugh like no other. A professionals professional. A gatdamn SOPRANO that never missed a note. You will be missed my friend. As much as you know.”

Busy Philipps, who played Gale Liptrapp on the dark comedy, also wrote: “Oh my god i’m devastated to hear this. she was a light and a force. she will be missed.”

Gregory’s other credits included Five Feet Apart, Barry, Genius, Future Man, John Henry, Medical Police, The Chi, The Act, Every Other Weekend, Kevin (Probably) Saves the World, Better Call Saul, Red Hook Summer, Brooklyn Nine-Nine, Devious Maids, The Big Bang Theory, Two and a Half Men and Private Practice, among others.

She also voiced characters in Craig of the Creek, Jessica’s Big Little World and No Activity.

October 5, 2025 0 comments
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Frauds review | Jones and Whittaker fight typecasting in bold heist drama
TV & Streaming

Frauds review | Jones and Whittaker fight typecasting in bold heist drama

by jummy84 October 5, 2025
written by jummy84

At a time of funding woes and fragmenting audiences, widely marketable detective shows and true crime dramas have come to dominate our schedules more than ever, seemingly leaving little room for much else.

By design, Frauds isn’t wholly original – its influences in the heist caper genre are clear to see – but its vibrant setting and eccentric leads still offer a welcome break from smartly dressed sleuths standing morosely against a grey sky.

Indeed, between all of the violent atrocities and calculating sociopaths in our TV diet, it’s no wonder that the country seems perpetually on the cusp of a nervous, paranoid breakdown. Frauds is a holiday by comparison.

The story picks up after loose canon Bert (Jones), a fraudster and thief, is released from prison on compassionate grounds due to ill health, bringing her back together with former partner-in-crime, Sam (Whittaker).

It isn’t long before old habits rear their head, with the quiet sundown that Bert had promised swiftly mutating into a pitch for one last job, intended to leave a lasting impact – and potentially set Sam up for life.

As is tradition, a crew is assembled, including magician’s assistant Jackie (Elizabeth Berrington), forgery pro Bilal (Karan Gill) and mentor figure Miss Take (Talisa Garcia), all of whom are overlooked and facing pressures of their own.

Alas, the full potential of this line-up doesn’t present itself until the third episode (by far the strongest of the first half), which sees our gang finally collaborate on a mission where their chemistry rapidly builds.

Jodie Whittaker and Suranne Jones star in Frauds. ITV / Monumental Television

Prior to this, Frauds drags its feet through a flat introduction, where perhaps the most memorable moment is Bilal eagerly guzzling a can of room-temperature baked beans – mainly for how it made me feel viscerally nauseous.

(Let the record show that I am a chronic beans-on-toast eater, but cold from the can is just wrong – and I’m sorry, but it’s something I won’t budge on.)

That this moment has lingered so long in the mind exposes not just my own firmly held beliefs around cupboard essentials, but also that Frauds is at its best when being silly or downright bizarre.

In the first two episodes, too long is spent airing Bert and Sam’s historic grievances (as well as creating a few new ones) in scenes that creak as Jones and Whittaker get settled into these new roles.

Karan Gill plays Bilal in Frauds; seen here on the phone against an ocean backdrop with wind blowing in his hair

Karan Gill plays Bilal in Frauds. ITV / Monumental Television

Frauds represents a striking departure for both of its prolific stars (a fact acknowledged on the press tour), but neither actor immediately disappears behind the hair dye, fake tattoos and elaborate costumes deployed here.

Jones just doesn’t quite fit the mould of a reckless, bawdy burnout, nor Whittaker as a brooding, angry thug, although their respective roles do become more believable as the series progresses and your brain has a chance to recalibrate.

Of course, actors should be given the chance to escape typecasting and flex new muscles – and fans of this duo can expect to see just that – but Frauds is arguably a case of too much, too soon.

At least that, again, speaks to its ambition as a work of genre fiction clearly trying to defy expectations of not just its lead actors, but of primetime programming more broadly.

Having only seen the first half, I can’t yet say whether Frauds will stick the landing; but if it doubles down on the zany action, team camaraderie and genre elements in the chapters to come, then we might yet have something as enjoyable as it is admirable.

Frauds premieres ITV1 and ITVX on Sunday 5th October 2025.

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

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

October 5, 2025 0 comments
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Diane Brewster, 1957. ph: Nolan Patterson / TV Guide / courtesy Everett Collection
TV & Streaming

The Surprising Connection Between ‘Leave It to Beaver’ and ‘The Fugitive’

by jummy84 October 5, 2025
written by jummy84

Leave it to Beaver fans got to know Beaver’s very first teacher, Miss Canfield, in the show’s very first episode, which debuted Oct. 4, 1957. Played by popular character actress Diane Brewster, Ms. Canfield appeared in only a handful of episodes throughout the show’s first season (including the show’s ill-fated pilot), but she earned spot in Leave it to Beaver fans’ hearts — so much so that Brewster would return in the role in the 1983 TV movie Still the Beaver and the sequel series The New Leave it to Beaver, which ran from 1983-1988. But while plenty of the actress’s fans may remember as Beaver’s beloved teacher,  they might not know the surprising connection she had to TV’s The Fugitive  — she played Helen Kimble, the woman murdered by the infamous One-Armed Man.

October 5, 2025 0 comments
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New York Neighbor Revenge Comedy
TV & Streaming

New York Neighbor Revenge Comedy

by jummy84 October 5, 2025
written by jummy84

Even if its plot didn’t center around the staging of an off-Broadway play, there would be no denying that “The French Italian” is a theater kid movie. Its approach to comedy is ripped straight from the world of musical cast parties and improv shows, with every performer doing their best to turn every line into a GIF-able burst of wholesome self-deprecation. Even its most mean-spirited plotline, in which a married couple assemble a fake theater production to humiliate their ex-neighbor whose noisiness prompted them to move, is presented as more of a gentle exercise in silliness than anything truly vindictive. The fact that the entire movie builds to a climax in a New York black box theater was an inevitability that makes it all seem intentional.

Monster: The Ed Gein Story stars Charlie Hunnam as the actor playing Ed Gein, shown here smiling in the dark with his hand above his face

Boasting a cast of faces you’ll recognize — and names you probably won’t — from the New York comedy scene, Rachel Wolther’s film follows Valerie and Doug (Catherine Cohen and Aristotle Athari), a married Brooklyn couple who insist they just want to get some decent sleep. But that lie they tell themselves masks a deeper truth: They’re bored and need a new source of excitement. And the arrival of some suspicious new neighbors presents an opportunity that solves one problem while worsening the other.

These new downstairs neighbors live a life that’s completely at odds with Valerie and Doug’s comfortable monotony: they’re constantly fighting and singing loud karaoke, and the volatile relationship becomes a source of entertainment that our protagonists follow as if its a true crime podcast. Valerie and Doug start filling their days with speculation about the strange relationship: Is he abusing her? Is she abusing him? Is their entire a life a facade for something more sinister?

But the intellectual stimulation of judging one’s neighbors isn’t enough to make the noise tolerable, and Doug and Valerie soon give up their rent-controlled apartment to move to the suburbs. They expect to score points for recounting this story to a group of artsy friends at a party, but everyone berates their stupidity for allowing strangers to force them out of such a great apartment. The mistake tortures them, which prompts the couple to try and solve the mystery by producing a fake play in an attempt to get their ex-neighbor Mary (Chloe Cherry) to audition. Their encounter with her only makes them madder, prompting them to actually stage this play and cast her as part of a larger revenge scheme.

Wolther’s choice to use a Brooklyn cocktail party as a framing device for the entire film is a clever one, as “The French Italian” is constructed entirely out of banter that you’d hear at the afterparty for your friend’s comedy show that you didn’t really want to attend. The humor gets grating at times, but the film deserves some credit for knowing exactly what it wants to be. It’s the kind of New York comedy that’s more influenced by 2020s “Saturday Night Live” humor than Woody Allen movies, and Wolther executes that vision with inoffensively colorful cinematography and a breezy script that never asks you to think too much.

Ultimately, “The French Italian” has far more to say about navigating the mundanities of a stable and pleasant relationship in your thirties than about theatre, revenge, or noisy neighbors. Valerie and Doug have been punished to a life of DINK contentment: they’re comfortable in every way that counts, but without a quest that adds structure to their lives and drives them to get out of bed every morning, they start looking for battles that they have no business fighting. In some of the prime years of their lives, they devote the bulk of their energy to neurotically pursuing more and more comfort and serenity, only to drive themselves a bit insane in the process.

The film appears to be made by and for the kinds of people who might find themselves in a similar state of cozy ennui. If you’re drowning in comfort, you might find “The French Italian” to be a comforting watch.

Grade: C+

“The French Italian” is now playing at the Quad Cinema in New York City. It expands to Los Angeles on Friday, October 10 before hitting VOD on October 28.

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

October 5, 2025 0 comments
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