The winter finale of CBS’s Matlock, season one episode eight, finds YouThree working on a case for a nanny in trouble. Directed by Yangzom Brauen from a script by Sheridan Watson, episode eight – “No, No Monsters” – will air on Thursday, December 12, 2024 at 9pm ET/PT.
The one-hour drama stars Kathy Bates as Madeline Matlock, Skye P. Marshall as Olympia, Jason Ritter as Julian, David Del Rio as Billy, and Leah Lewis as Sarah. Bates, Jennie Snyder Urman, Kat Coiro, Joanna Klein, and Eric Christian Olsen executive produce.
“No, No Monsters” Plot: YouThree help Olympia defend a defamed nanny at her children’s school. Also, Matty is on a stressful hunt for an important document on the Wellbrexa case.
Matlock stars Emmy and Academy Award winner Kathy Bates as Madeline “Matty” Matlock, a brilliant septuagenarian who achieved success in her younger years and decides to rejoin the workforce at a prestigious law firm where she uses her unassuming demeanor and wily tactics to win cases. Matty is assigned to Olympia (Marshall), a senior attorney and key rainmaker with a thirst for justice, Olympia’s ex-husband, Julian (Ritter), the son of the head of the firm, is intrigued by Matty and her clever skills.
As Matty endeavors to establish herself in her new high-stakes world, she works alongside the firm’s younger associates – the charismatic Billy (Del Rio) and the uber-ambitious Sarah (Lewis).
During his career, writer/director RaMell Ross has worked primarily in documentaries, and he’s done it all there, with features (Hale County This Morning, This Evening), short films (Easter Snap), and television episodes (“Independent Lens”). Now, he’s trying his hand at narrative with the feature Nickel Boys.
Nickel Boys is about a young black man in Jim Crow Florida named Elwood (Ethan Herisse from The American Society of Magical Negroes) who is falsely accused of being an accomplice in a car theft and is sent to a reform school called The Nickel Academy. There, he makes friends with another boy named Turner (The Way Back’s Brandon Wilson), and the pair is forced to survive the corruption and abuse of the school.
RaMell Ross, along with co-writer Joslyn Barnes (Harvest, Báttu), adapted the screenplay for Nickel Boys from the 2019 novel of the same name by Colson Whitehead. The book (and, by extension, the film) was based on the infamous real-life Dozier School for Boys in Marianna, Florida. Without spoiling anything about the movie, Dozier was a very bad place, and Nickel Boys doesn’t hold back on its portrayal.
There are really two components to Nickel Boys. There’s the story, and then there’s the presentation.
The story is one of those fascinatingly frustrating tales of injustice and racism. From early on in the film, even before Elwood gets arrested, the viewer can tell that there will be racial undertones, but when he gets to Nickel, everything is amplified. One especially telling scene occurs when a young Hispanic boy is playing football with the white boys and is asked to leave. The authorities admit that they don’t know where to put him in the segregationist school, but they do know that they don’t want him hanging out with the whites.
The racism is just the catalyst, though. The school itself is set up on a reward/punishment system, and you don’t need to have a degree in Race Studies to see which side gets the worst end of it. The African American boys are subjected to harder work, harsher sentences, and more gruelingly brutal punishments. And with every additional injustice and inequity, the audience just gets more and more angry.
So, yeah. Nickel Boys is a disturbing movie.
Then, there’s the presentation. Nickel Boys is shown from the points of view of both Elwood and Turner – literally. The camera sees what they see, and sometimes, the only way to tell whose head the camera is inside of is by whether or not the other is in the shot. As a documentary filmmaker, and as a cinematographer himself, Ross understands that this is a powerful way to tell his story. The audience is immersed in the school and all the violence within it – at least until the boy whose eyes that portion of the plot is told through blacks out from pain or illness. It’s not always 100% effective, but when it is, it’s eye-opening. The audience experiences the atrocities along with the boys.
There’s a realism to Nickel Boys that goes beyond the immersive point-of-view. RaMell Ross’ documentary experience has prepared him perfectly to make a movie like this. It feels like hard-hitting reporting wrapped in a dramatic package. The movie stands as both a scathing indictment of the reform school system and a harsh reminder of the racism that was present in the South during the mid-twentieth century. And RaMell Ross pulls no punches in showing his audience the realities of both corrupt practices.
Nickel Boys is not a documentary. But it may as well be. It has the same impact as one. Some viewers may be turned off by the changing points of view of the narrative. Others may be offended by the language or the violence, even if most of it is implied rather than shown. And still others just won’t want to hear what it has to say. Nickel Boys is powerful filmmaking. If RaMell Ross keeps going with narrative films, he’s got a bright future ahead of him.
GRADE: B
MPAA Rating: PG-13 for violent content, some strong language, racial slurs, smoking, racism, and thematic material
The San Diego Film Critics Society selected Sing Sing as Best Picture of 2024, with the film also receiving Best Actor (Colman Domingo) and Best Adapted Screenplay awards. Wicked tied as the most-awarded film, earning Best Supporting Actress, Best Production Design, and Best Costume awards.
Dune: Part Two led the list of San Diego Film Critics Society nominees with 12 nominations and won two: Best Director and Best Sound Design. Anora and September 5 also took home two awards from the Southern California-based critics.
2024 San Diego Film Critics Winners
Best Picture
Winner – SING SING
Runner Up – ANORA
Runner Up – CONCLAVE
Best Director
Winner – Denis Villeneuve, DUNE: PART TWO
Runner Up – Greg Kwedar, SING SING
Best Actor
Winner – Colman Domingo, SING SING
Runner Up – Adrien Brody, THE BRUTALIST
Runner Up – Daniel Craig, QUEER
Best Actress
Winner – Marianne Jean-Baptiste, HARD TRUTHS
Runner Up – Amy Adams, NIGHTBITCH
Best Supporting Actor
Winner – Kieran Culkin, A REAL PAIN
Runner Up – Denzel Washington, GLADIATOR II
Best Supporting Actress
Winner – Ariana Grande, WICKED
Runner Up – Joan Chen, DÌDI
Best Comedic Performance
Winner – June Squibb, THELMA
Runner Up – Michael Keaton, BEETLEJUICE BEETLEJUICE
Best Youth Performance (For a performer under the age of 18)
Winner – Izaac Wang, DÌDI
Runner Up – Alix West Lefler, SPEAK NO EVIL
Best Original Screenplay
Winner – Sean Baker, ANORA
Runner Up – Justin Kuritzkes, CHALLENGERS
Best Adapted Screenplay
Winner – Clint Bentley, Greg Kwedar, SING SING
Runner Up – Denis Villeneuve, Jon Spaihts, DUNE: PART TWO
Best First Feature (Director)
Winner – Zoë Kravitz, BLINK TWICE
Runner Up – Sean Wang, DÌDI
Best Documentary
Winner – SUPER/MAN: THE CHRISTOPHER REEVE STORY
Runner Up – DAUGHTERS
Best Animated Film
Winner – FLOW
Runner Up – THE WILD ROBOT
Best Foreign Language Film
Winner – ALL WE IMAGINE AS LIGHT
3 Runners Up
Best Editing
Winner – Hansjörg Weißbrich, SEPTEMBER 5
Runner Up – Marco Costa, CHALLENGERS
Best Cinematography
Winner – Jarin Blaschke, NOSFERATU
Runner Up – Stéphane Fontaine, CONCLAVE
Best Production Design
Winner – Nathan Crowley, WICKED
Runner Up – Craig Lathrop, Beatrice Brentnerova, NOSFERATU
Runner Up – Patrice Vermette, DUNE: PART TWO
Best Visual Effects
Winner – THE SUBSTANCE
Runner Up – DUNE: PART TWO
Runner Up – KINGDOM OF THE PLANET OF THE APES
Best Costume Design
Winner – Paul Tazewell, WICKED
Runner Up – Jacqueline Getty, Rainy Jacobs, THE LAST SHOWGIRL
Best Sound Design
Winner – DUNE: PART TWO
Runner Up – CIVIL WAR
Best Use of Music
Winner – A COMPLETE UNKNOWN
Runner Up – CHALLENGERS
Best Stunt Choreography
Winner – THE FALL GUY
Runner Up – MONKEY MAN
Best Ensemble
Winner – SEPTEMBER 5
Runner Up – CONCLAVE
Breakthrough Performance
Winner – Mikey Madison, ANORA
Runner Up – Nell Tiger Free, THE FIRST OMEN
Special Award for Body of Work- 3 or More Film Credits in 2024
Nicholas Hoult, JUROR #2, NOSFERATU, THE ORDER, THE GARFIELD MOVIE
A cat, a dog, a lemur, a bird, and a capybara gather on a boat. No, it’s not the start of a silly joke, but just part of the plot of the animated fantasy adventure Flow.
The film begins with a cat out and about, looking for food, and coming across a pack of dogs barking and chasing a rabbit. Cat evades the pack and goes back to his home, where it’s clear that he once lived with a human artist. However, some cataclysmic events seem to have wiped out mankind.
The next day, Cat is out again searching for food when one dog from yesterday’s pack tries to make friends with him, which is not to Cat’s liking. Cat then sees the pack of dogs running at top speed and looking scared. He runs as well, only to be overtaken by a giant flood that devastates his home and most of the land.
Cat swims to higher ground, continuously seeking safe refuge from the rising water. In the near distance, Cat spies a small sailboat and meows hoping someone onboard will rescue him. The boat, because of the current, floats toward him and he jumps for it just as the water overtakes the ledge where he’s trapped.
Aboard the boat is a mellow capybara who seems to recognize that the boat will keep them safe from the flood. While floating along, they pick up a lemur, determined to collect as many objects as it can. The cute and lovable dog, who tried to make friends with Cat, and a large injured-yet-proud bird, who learns to steer the boat with its working rudder, also seek shelter on the abandoned boat.
Together, these mismatched animals form an unlikely friendship. They bond together to survive as they travel with the current through the ever-rising water, past fallen trees, and by towers and tall buildings.
Flow is a stunningly animated, dialogue-free, compelling adventure focusing on animals from different backgrounds and packs coming together to survive and become a family. It’s masterfully crafted and one of the best animated films to come along in decades.
The perfect pacing by director Gints Zilbalodis and the musical score and sound work by Rihards Zalupe help create and control the tension and flawlessly convey what the animals, especially the cat, are feeling and thinking. The filmmakers used real sound recordings of animals in the film, helping to bring the animals alive on screen.
Their experience with the flood changes each animal. Contrary to instinct, the dog leaves his pack to team up with his new friend. The injured bird takes on a leadership role within the group of animals it would normally view as food or foe. The lemur must eventually decide which is more important: his collection of objects or his new friends. But it’s the cat, the moral center of the film and the audience’s entry into this world, who’s affected most. Cat learns to overcome his fear of water and learns to trust, help, and share with his new friends. All of which are important life lessons wonderfully played out through the actions and sounds of the animals.
With stunning animation, no dialogue, and a simple but gripping story, Flow is not just the best animated film of the year but one of the best films of 2024. It’s a must-see!
GRADE: A+
MPAA Rating: PG for peril and thematic elements
Release Date: November 22, 2024 (limited)
Running Time: 1 hour 24 minutes
Distributor: Sideshow / Janus Films
Emilia Pérez leads the 82nd Annual Golden Globes film nominations with 10, and The Bear picked up five nominations, topping the television side. Winners for the 2025 Golden Globes will be announced on Sunday, January 5th at 5pm ET/8pm ET on CBS.
Emilia Pérez‘s record-breaking 10 nominations was followed by The Brutalist with seven, Conclave with six, and Anora and The Substance with five. Challengers, A Real Pain, Wicked, and The Wild Robot each picked up four.
Despite coming off a season that divided fans, The Bear pulled off five nominations including Best Comedy, Best Actor, Best Actress, Best Supporting Actor, and Best Supporting Actress. Only Murders in the Building and Shōgun earned four nominations, followed by Baby Reindeer, Disclaimer, Hacks, Monsters: The Lyle and Erik Menendez Story, Mr. & Mrs. Smith, Nobody Wants This, and Ripley with three. Slow Horses, The Diplomat, The Penguin, and True Detective: Night Country also earned three nominations each.
This year’s nominees roster includes 26 performers scoring their first Golden Globes nominations. The 2025 list also finds Selena Gomez and Ariana Grande competing in the Best Performance by a Female Actor in a Supporting Role for Any Motion Picture. The last time two musical artists went against each other was in 2015 when Lady Gaga and Queen Latifah were nominated in the Best Performance in a Miniseries or Television Film category.
BEST MOTION PICTURE – DRAMA
THE BRUTALIST (A24)
A COMPLETE UNKNOWN (Searchlight Pictures)
CONCLAVE (Focus Features)
DUNE: PART TWO (Warner Bros. Pictures)
NICKEL BOYS (Orion Pictures / Amazon MGM Studios)
SEPTEMBER 5 (Paramount Pictures)
BEST MOTION PICTURE – MUSICAL OR COMEDY
ANORA (NEON)
CHALLENGERS (Amazon MGM Studios)
EMILIA PÉREZ (Netflix)
A REAL PAIN (Searchlight Pictures)
THE SUBSTANCE (MUBI)
WICKED (Universal Pictures)
BEST MOTION PICTURE – ANIMATED FLOW (Sideshow / Janus Films)
INSIDE OUT 2 (Walt Disney Studios Motion Pictures)
MEMOIR OF A SNAIL (IFC Films)
MOANA 2 (Walt Disney Studios Motion Pictures)
WALLACE & GROMIT: VENGEANCE MOST FOWL (Netflix)
THE WILD ROBOT (Universal Pictures)
CINEMATIC AND BOX OFFICE ACHIEVEMENT
ALIEN: ROMULUS (Walt Disney Studios Motion Pictures)
BEETLEJUICE BEETLEJUICE (Warner Bros. Pictures)
DEADPOOL & WOLVERINE (Walt Disney Studios Motion Pictures)
GLADIATOR II (Paramount Pictures)
INSIDE OUT 2 (Walt Disney Studios Motion Pictures)
TWISTERS (Universal Pictures)
WICKED (Universal Pictures)
THE WILD ROBOT (Universal Pictures)
BEST MOTION PICTURE – NON-ENGLISH LANGUAGE
ALL WE IMAGINE AS LIGHT (Sideshow / Janus Films) – USA / FRANCE / INDIA
EMILIA PÉREZ (Netflix) – FRANCE
THE GIRL WITH THE NEEDLE (MUBI) – POLAND / SWEDEN / DENMARK
I’M STILL HERE (Sony Pictures Classics) – BRAZIL
THE SEED OF THE SACRED FIG (NEON) – USA / GERMANY
VERMIGLIO (Sideshow / Janus Films) – ITALY
BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE – DRAMA
PAMELA ANDERSON (THE LAST SHOWGIRL)
ANGELINA JOLIE (MARIA)
NICOLE KIDMAN (BABYGIRL)
TILDA SWINTON (THE ROOM NEXT DOOR)
FERNANDA TORRES (I’M STILL HERE)
KATE WINSLET (LEE)
BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE – DRAMA
ADRIEN BRODY (THE BRUTALIST)
TIMOTHÉE CHALAMET (A COMPLETE UNKNOWN)
DANIEL CRAIG (QUEER)
COLMAN DOMINGO (SING SING)
RALPH FIENNES (CONCLAVE)
SEBASTIAN STAN (THE APPRENTICE)
BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
AMY ADAMS (NIGHTBITCH)
CYNTHIA ERIVO (WICKED)
KARLA SOFÍA GASCÓN (EMILIA PÉREZ)
MIKEY MADISON (ANORA)
DEMI MOORE (THE SUBSTANCE)
ZENDAYA (CHALLENGERS)
BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
JESSE EISENBERG (A REAL PAIN)
HUGH GRANT (HERETIC)
GABRIEL LABELLE (SATURDAY NIGHT)
JESSE PLEMONS (KINDS OF KINDNESS)
GLEN POWELL (HIT MAN)
SEBASTIAN STAN (A DIFFERENT MAN)
BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
SELENA GOMEZ (EMILIA PÉREZ)
ARIANA GRANDE (WICKED)
FELICITY JONES (THE BRUTALIST)
MARGARET QUALLEY (THE SUBSTANCE)
ISABELLA ROSSELLINI (CONCLAVE)
ZOE SALDAÑA (EMILIA PÉREZ)
BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
YURA BORISOV (ANORA)
KIERAN CULKIN (A REAL PAIN)
EDWARD NORTON (A COMPLETE UNKNOWN)
GUY PEARCE (THE BRUTALIST)
JEREMY STRONG (THE APPRENTICE)
DENZEL WASHINGTON (GLADIATOR II)
BEST DIRECTOR – MOTION PICTURE
JACQUES AUDIARD (EMILIA PÉREZ)
SEAN BAKER (ANORA)
EDWARD BERGER (CONCLAVE)
BRADY CORBET (THE BRUTALIST)
CORALIE FARGEAT (THE SUBSTANCE)
PAYAL KAPADIA (ALL WE IMAGINE AS LIGHT)
BEST SCREENPLAY – MOTION PICTURE
JACQUES AUDIARD (EMILIA PÉREZ)
SEAN BAKER (ANORA)
BRADY CORBET, MONA FASTVOLD (THE BRUTALIST)
JESSE EISENBERG (A REAL PAIN)
CORALIE FARGEAT (THE SUBSTANCE)
PETER STRAUGHAN (CONCLAVE)
BEST ORIGINAL SCORE – MOTION PICTURE
VOLKER BERTELMANN (CONCLAVE)
DANIEL BLUMBERG (THE BRUTALIST)
KRIS BOWERS (THE WILD ROBOT)
CLÉMENT DUCOL, CAMILLE (EMILIA PÉREZ)
TRENT REZNOR, ATTICUS ROSS (CHALLENGERS)
HANS ZIMMER (DUNE: PART TWO)
BEST ORIGINAL SONG – MOTION PICTURE
“BEAUTIFUL THAT WAY” –– THE LAST SHOWGIRL
Music & Lyrics by: Andrew Wyatt, Miley Cyrus, Lykke Zachrisson
“COMPRESS / REPRESS” –– CHALLENGERS
Music & Lyrics by: Trent Reznor, Atticus Ross, Luca Guadagnino
“EL MAL” –– EMILIA PÉREZ
Music & Lyrics by: Clément Ducol, Camille, Jacques Audiard
“FORBIDDEN ROAD” –– BETTER MAN
Music & Lyrics by: Robbie Williams, Freddy Wexler, Sacha Skarbek
“KISS THE SKY” –– THE WILD ROBOT
Music & Lyrics by: Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael
Pollack, Ali Tamposi
“MI CAMINO” –– EMILIA PÉREZ
Music & Lyrics by: Clément Ducol, Camille
Jeremy Allen White as Carmen “Carmy” Berzatto, Abby Elliott as Natalie “Sugar” Berzatto, and Ayo Edebiri as Sydney Adamu in ‘The Bear’ (Photo CR: Chuck Hodes/FX)
BEST TELEVISION SERIES – DRAMA
THE DAY OF THE JACKAL (PEACOCK)
THE DIPLOMAT (NETFLIX)
MR. & MRS. SMITH (PRIME VIDEO)
SHŌGUN (FX/HULU)
SLOW HORSES (APPLE TV+)
SQUID GAME (NETFLIX)
BEST TELEVISION SERIES – MUSICAL OR COMEDY
ABBOTT ELEMENTARY (ABC)
THE BEAR (FX/HULU)
THE GENTLEMEN (NETFLIX)
HACKS (HBO | MAX)
NOBODY WANTS THIS (NETFLIX)
ONLY MURDERS IN THE BUILDING (HULU)
BEST TELEVISION LIMITED SERIES, ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TELEVISION
BABY REINDEER (NETFLIX)
DISCLAIMER (APPLE TV+)
MONSTERS: THE LYLE AND ERIK MENENDEZ STORY (NETFLIX)
THE PENGUIN (HBO | MAX)
RIPLEY (NETFLIX)
TRUE DETECTIVE: NIGHT COUNTRY (HBO | MAX)
BEST PERFORMANCE BY A FEMALE ACTOR IN A TELEVISION SERIES – DRAMA
KATHY BATES (MATLOCK)
EMMA D’ARCY (HOUSE OF THE DRAGON)
MAYA ERSKINE (MR. & MRS. SMITH)
KEIRA KNIGHTLEY (BLACK DOVES)
KERI RUSSELL (THE DIPLOMAT)
ANNA SAWAI (SHŌGUN)
BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES – DRAMA
DONALD GLOVER (MR. & MRS. SMITH)
JAKE GYLLENHAAL (PRESUMED INNOCENT)
GARY OLDMAN (SLOW HORSES)
EDDIE REDMAYNE (THE DAY OF THE JACKAL)
HIROYUKI SANADA (SHŌGUN)
BILLY BOB THORNTON (LANDMAN)
BEST PERFORMANCE BY A FEMALE ACTOR IN A TELEVISION SERIES – MUSICAL OR COMEDY
KRISTEN BELL (NOBODY WANTS THIS)
QUINTA BRUNSON (ABBOTT ELEMENTARY)
AYO EDEBIRI (THE BEAR)
SELENA GOMEZ (ONLY MURDERS IN THE BUILDING)
KATHRYN HAHN (AGATHA ALL ALONG)
JEAN SMART (HACKS)
BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES – MUSICAL OR COMEDY
ADAM BRODY (NOBODY WANTS THIS)
TED DANSON (A MAN ON THE INSIDE)
STEVE MARTIN (ONLY MURDERS IN THE BUILDING)
JASON SEGEL (SHRINKING)
MARTIN SHORT (ONLY MURDERS IN THE BUILDING)
JEREMY ALLEN WHITE (THE BEAR)
BEST PERFORMANCE BY A FEMALE ACTOR IN A LIMITED SERIES, ANTHOLOGY SERIES, OR A MOTION PICTURE MADE FOR TELEVISION
CATE BLANCHETT (DISCLAIMER)
JODIE FOSTER (TRUE DETECTIVE: NIGHT COUNTRY)
CRISTIN MILIOTI (THE PENGUIN)
SOFÍA VERGARA (GRISELDA)
NAOMI WATTS (FEUD: CAPOTE VS. THE SWANS)
KATE WINSLET (THE REGIME)
BEST PERFORMANCE BY A MALE ACTOR IN A LIMITED SERIES, ANTHOLOGY SERIES, OR A MOTION PICTURE MADE FOR TELEVISION
COLIN FARRELL (THE PENGUIN)
RICHARD GADD (BABY REINDEER)
KEVIN KLINE (DISCLAIMER)
COOPER KOCH (MONSTERS: THE LYLE AND ERIK MENENDEZ STORY)
EWAN MCGREGOR (A GENTLEMAN IN MOSCOW)
ANDREW SCOTT (RIPLEY)
BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE ON TELEVISION
LIZA COLÓN-ZAYAS (THE BEAR)
HANNAH EINBINDER (HACKS)
DAKOTA FANNING (RIPLEY)
JESSICA GUNNING (BABY REINDEER)
ALLISON JANNEY (THE DIPLOMAT)
KALI REIS (TRUE DETECTIVE: NIGHT COUNTRY)
BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE ON TELEVISION
TADANOBU ASANO (SHŌGUN)
JAVIER BARDEM (MONSTERS: THE LYLE AND ERIK MENENDEZ STORY)
HARRISON FORD (SHRINKING)
JACK LOWDEN (SLOW HORSES)
DIEGO LUNA (LA MÁQUINA)
EBON MOSS-BACHRACH (THE BEAR)
BEST PERFORMANCE IN STAND-UP COMEDY ON TELEVISION
JAMIE FOXX (JAMIE FOXX: WHAT HAD HAPPENED WAS)
NIKKI GLASER (NIKKI GLASER: SOMEDAY YOU’LL DIE)
SETH MEYERS (SETH MEYERS: DAD MAN WALKING)
ADAM SANDLER (ADAM SANDLER: LOVE YOU)
ALI WONG (ALI WONG: SINGLE LADY)
RAMY YOUSSEF (RAMY YOUSSEF: MORE FEELINGS)
Top Gun: Maverick‘s Miles Teller and Emmy nominee Anya Taylor-Joy (The Queen’s Gambit) man posts on opposite sides of a gorge in the appropriately titled thriller, The Gorge. Heading to Apple TV+ on Valentine’s Day 2025, The Gorge comes from The Black Phone director Scott Derrickson and The Tomorrow War screenwriter Zach Dean.
Sigourney Weaver also stars, and David Ellison, Dana Goldberg, Don Granger, Scott Derrickson, C.Robert Cargill, Sherryl Clark, Adam Kolbrenner, Zach Dean, and Gregory Goodman serve as producers. Miles Teller executive produces.
“Two highly-trained operatives (Miles Teller and Anya Taylor-Joy) are appointed to posts in guard towers on opposite sides of a vast and highly classified gorge, protecting the world from an undisclosed, mysterious evil that lurks within. They bond from a distance while trying to stay vigilant in defending against an unseen enemy,” reads Apple TV+’s synopsis. “When the cataclysmic threat to humanity is revealed to them, they must work together in a test of both their physical and mental strength to keep the secret in the gorge before it’s too late.”
Miles Teller’s recent credits include The Offer, Spiderhead, Too Old to Die Young, and Thank You for Your Service. In 2024, Anya Taylor-Joy starred in Furiosa: A Mad Max Saga and Dune: Part Two. Her filmography also includes The Menu, Amsterdam, and Last Night in Soho.
Star Trek: Section 31‘s official trailer packs in action, drama, humor, and lots of Michelle Yeoh. The full trailer premiered during CCXP in São Paolo, Brazil, followed by its online debut. Paramount+ has set a Friday, January 24, 2025 streaming premiere.
Oscar winner Michelle Yeoh (Everything Everywhere All at Once) leads the cast, reprising her role as Emperor Philippa Georgiou from Star Trek: Discovery. The original film also stars Omari Hardwick (Power), Kacey Rohl (Hannibal), Sam Richardson (Ted Lasso), Sven Ruygrok (One Piece), and Robert Kazinsky (Pacific Rim). Plus, Humberly Gonzalez (Ginny & Georgia), James Hiroyuki Liao (Barry), and Miku Martineau (Kate) star.
“In the movie, Yeoh reprises her fan-favorite role as Emperor Philippa Georgiou – a character she played in Star Trek: Discovery’s first season – who joins a secret division of Starfleet,” reads Paramount+’s synopsis. “Tasked with protecting the United Federation of Planets, she also must face the sins of her past.”
Olatunde Osunsanmi directs and serves as an executive producer along with Michelle Yeoh, Alex Kurtzman, Aaron Baiers, Frank Siracusa, John Weber, Rod Roddenberry, and Trevor Roth. Craig Sweeny wrote the screenplay and also executive produces.
Cole Hauser as Rip Wheeler and Kelly Reilly as Beth Dutton in ‘Yellowstone’ season 5 episode 13 (Photo credit: Paramount Network)
Paramount Network’s Yellowstone season five episode 13, previously announced as the series’ penultimate episode, opens with the ranch preparing for a huge auction. Beth (Kelly Reilly) is selling everything, and Rip (Cole Hauser) worries that selling all their livestock will leave him with nothing to do. Beth believes businesses shouldn’t own anything outright. Businesses should run on loans.
“And you never pay any income tax because you never show a f**king profit – no matter how much money the ranch makes,” explains Beth.
Rip confirms Travis Wheatley is selling the big-money horses in Texas, and the first sale is happening tonight. Beth doesn’t trust Travis and jumps on the phone and books a flight. Rip doesn’t want her to see Travis without him. Travis is trustworthy around horses but a real player around women, including the wives of his friends. Of course, Beth is going anyway because she can take care of herself.
Thomas Rainwater (Gil Birmingham) and Mo (Mo Brings Plenty) watch as the pipeline work continues. Their hands are tied, legally, but Thomas thinks the people can stop things by tampering with the pipe. Mo believes that’s declaring war, and Thomas reminds him they’ve been at war for two centuries.
Ellis Steele (John Emmet Tracy) leads the Market Equities team as the news breaks that Montana Governor John Dutton was murdered after canceling Market Equities’ planned community. Ellis calls his superiors and suggests they consider the possibility that the recently gunned-down Sarah Atwood was involved. His call’s interrupted by a commotion in the main office.
Detective Dillard (Rory Cochrane) presents Ellis with a warrant and orders everyone to vacate the premises, backed up by a swarm of cops. Ellis confirms Sarah Atwood had an office in the building.
The chickens are also coming home to roost for Jamie (Wes Bentley). He’s home alone when a news report comes on with details about his relationship with Sarah. The breaking news includes the fact that Jamie will profit from the Market Equities land lease. Jamie screams, “How could you know that? What evidence? What? Who the f**k are you talking to?” (Absolutely love seeing Jamie squirm!)
Beth’s flying to Texas when Jamie (labeled as “F**ktard” on her phone) calls and warns her he’ll reveal all their family’s secrets if she destroys him. Beth reminds him it’s not his family and that, unlike him, she keeps her promises.
Kayce (Luke Grimes) arrives home and, without going into specifics, tells Monica (Kelsey Asbille) that he paid a visit to the people who murdered his father. He showed them what he’s capable of and warned them to stay away from his family. Kayce also reveals he’s been trying his entire life to leave this place, and now he’s finally going to do it.
Ian Bohen as Ryan in ‘Yellowstone’ season 5 (Photo Credit: Paramount Network)
The Texas crew – Teeter, Ryan, Walker, and Jake – return to the ranch, surprised to see bleachers set up. Carter informs them the ranch is auctioning everything. Teeter (Jen Landon) heads to the bunkhouse, and Ryan (Ian Bohen) wants to follow since Colby was his best friend. Walker (Ryan Bingham) believes that’s exactly why he’s the one who needs to check on her. Lloyd (Forrie J. Smith) and Teeter agree the horse that killed Colby should have been put down a while ago.
Walker reminds Teeter that Colby was doing what he loved when he died and that his death came quickly. Lloyd hands Teeter Colby’s hat, and Teeter pauses for a minute before putting it on.
Ryan hands Rip a check for $15 million for the sale of the cattle in Texas. Ryan wonders if they’ll still have jobs after this big sale, and Rip doesn’t mince words. He wants everyone to stay until after the auction. After that, the ranch will just need day workers. Lloyd and Carter will stay, but everyone else should try to catch on at other ranches. Rip suggests Ryan should put “wagon boss” on his resume. Ryan walks away without responding.
Beth walks into the 6666 Ranch’s big house as Travis (Taylor Sheridan) and some of his men are playing strip poker with a bunch of pretty women. Beth would rather have a gasoline enema than play and informs Travis that he’s keeping the buyers waiting down at the arena.
Minutes later, Travis shows the Dutton horses to Brazilian buyers. Travis’ girlfriend, Sadie (Bella Hadid), seems intelligent, and Beth is genuinely curious when she asks about his appeal. Beth describes him as arrogant, condescending, and misogynistic, but Sadie confesses it doesn’t matter after watching him ride.
Beth watches and says, “Okay, yeah, I get it.”
The Brazilians offer $2 million for the horse Travis just put through his paces. They’re shocked when Travis asks another small group of men if they want to top that. Travis didn’t inform the Brazilians they’d be bidding against anyone, and they up their offer to $3 million–take it or leave it. They win because, unbeknownst to them, they’re bidding against the ranch’s maintenance crew. Even Beth’s impressed with the ruse.
The ranch hosts a party to celebrate, and Beth learns from a cowboy that $3 million is a fair price for that horse. She asks Travis for a private chat and tells him she needs him in Montana for their auction. Beth’s impressed by the fireworks he just pulled off in the arena and admits she doesn’t know anyone else who can do what he does.
Travis isn’t interested because auctions don’t earn him a commission. Beth did not know he just netted $300,000 for selling that horse, but she’s undeterred. She reminds him that Rip is his friend, and their ranch is in trouble. Surprisingly, Beth politely asks if he’ll help at the auction without a commission. She even adds “please” at the end.
Travis suggests they play strip poker for it, and Beth warns Rip will tear out his heart for this. They both go all-in on the first hand and Travis wins easily. He pulls out his cell phone to film her stripping, and Beth stands up, ready to pay off the bet. Travis tells her to stop before she removes anything. He will help without a commission and plans to fly out tomorrow morning.
Back at the ranch, Rip tells Lloyd he’s invited everyone who meant something to the ranch to the auction. That includes Charlie, another chuck wagon cook. Rip informs Lloyd that he wants him to stay on, and Lloyd confesses that after 43 years, he hated the thought of leaving.
Jamie pays a late-night visit to his ex, Christina (Katherine Cunningham). He confesses to sleeping with Sarah, but denies any involvement in his father’s death. Their son’s asleep, so they talk quietly in the living room. Jamie sticks to his claim that he did not know what was planned. Sarah did, but he was clueless until after the fact. Jamie also insists that although he knew Sarah was involved, he said nothing since the company she hired for the hit would take him out.
Christina says he’s complicit, and Jamie asks for her advice. Christina agrees to help, but only to protect their child’s legacy. She suggests Jamie call a press conference and launch an investigation into Sarah and John’s deaths. He must announce that he was working with Sarah to restore the development, but never had an affair. Christina believes he should threaten legal action against those who say otherwise. She also thinks he needs to praise John’s love of Montana.
Christina, in full political advisor mode, says Jamie should say that John’s murder was an act of violence against the citizens of Montana and their right to choose their representatives. He’ll also need to release all findings of the investigation and connect Sarah to the murder. (This won’t work because Jamie told Detective Dillard they were in a relationship and that they weren’t discussing business.)
Beth returns home, and Rip’s sleeping on the couch. She admits he was right about Travis and wonders how he could possibly be his friend. Rip recalls being on a date 20 years ago (Beth isn’t happy about that) and having a man hit on the girl he was dating. Travis, who was training horses for John, was at the bar and stood up for him. The fight was brutal, but Rip noticed Travis smiling during the fight.
After they were kicked out of the bar, Travis went back in to get his hat. Travis’ nose and jaw were broken, and he was a bloody mess, but when he noticed a guy wearing Rip’s hat, he stared him down. The guy handed over Rip’s hat with no further bloodshed.
Rip asks Beth how many friends she has like that, and Beth says, “Just you.”
Travis shows up, like he promised, and the auction’s crowded with potential bidders. Monica quietly asks Beth if this will raise enough to cover the taxes. Beth admits it won’t and that they’ll have to start selling off pieces of the land soon to cover the debt. “There is no solution. We’re just buying time while we look for it,” says Beth.
Luke Grimes in ‘Yellowstone’ season 5 (Photo Credit: Paramount Network)
Kayce joins them with an update from the coroner. They need to know where to send John’s body, and Monica volunteers to handle the arrangements. Beth’s touched and thanks her before walking away to collect herself. She tells Rip her dad’s coming home and that they’ll hold the funeral after the auction ends. She doesn’t want to invite anyone.
Travis and the cowboys get busy impressing buyers in the arena. The Turnpike Troubadours entertain the crowd after day one of the auction wraps up in the arena. The Yellowstone gang spends some downtime discussing their potential next jobs, and Walker asks Jimmy if the 6666 is hiring. Jimmy informs them they only hired married men to work the cattle.
Laramie (Hassie Harrison) shows up, and she and Walker immediately kiss. (In real life, Harrison and Bingham fell in love and got married after meeting during Yellowstone season three.) Teeter walks off, deep in mourning for Colby.
Beth reminds the head bartender to make tonight’s drinks light and make tomorrow’s drinks doubles. She doesn’t want the bidders to be hungover. Beth spots Senator Lynelle Perry (Wendy Moniz) and joins her for a drink. Lynelle recalls her private times with her dad. she knew Beth’s mother well and confesses she’s been to more funerals on this ranch than anywhere else in Montana. Beth invites her to John’s funeral, a private affair with just family and the ranch’s cowboys.
Kayce asks Monica to dance and she jokes she didn’t know he knew how. They hit the dance floor and Kayce says they’re making memories while they still can. Monica admits Beth made it sound like the ranch has no future. Kayce reveals he’s got a plan that he knows in his heart will work, but he can’t tell anyone–including her–yet. He’s also certain it’s the right thing.
Beth and Rip are having a quiet moment when Teeter walks by, heading to the bunkhouse. Beth knows Teeter needs someone to listen to her and follows her to Colby’s bunk. Beth confesses that when she’s upset, she goes to a tourist bar and waits for one of the men there to hit on her. When they do, she metaphorically slices them from pecker to sternum. She invites Teeter to get drunk with her and f^^k with a bunch of out-of-towners.
They head to a fancy bar full of garbage people invading their beautiful state. A man glances over and smiles, and Beth and Teeter primp before he comes over and introduces himself. Beth assesses him and guesses he went to Penn State, which his dad paid for, then worked as a trader and is a deadbeat dad. He left them behind and moved to Miami where he’s been banging wannabe models, trying to forget the one time he sucked a man’s penis.
He walks away, tail between his legs. Teeter thinks Beth is psychic or a witch. Another man walks over, and Beth lets Teeter take this one. Teeter threatens him with violence, and Beth admits this might not be a game for her. Teeter doesn’t care, she’s just thankful that Beth took her out. Beth admits this feeling won’t go away and that there will always be a hole in her heart. Teeter wonders how she’s supposed to fix it, and Beth confesses she still hasn’t figured that out.
Day two of the auction starts with the National Anthem followed by Teeter and Kayce riding into the arena with two horses, saddled but riderless. The auctioneer asks the crowd to remain standing to honor the memories of two men who loved this land. He says that if John Dutton were here today, his one hope would be that he “inspired in you the tenacity to persevere in a world that sees you – the farmer, the rancher, the food producers of this nation and the world – as an obstacle instead of the keystone to their very survival.”
After the auction ends, Beth walks through an empty barn, footsteps echoing in the quietness. Carter walks up, confused about what he’s supposed to do now that he doesn’t have chores to look after.
Beth informs Kayce they brought in over $30 million. That should buy them at least a year, but Kayce doesn’t smile even though this is good news. He asks Beth to promise him not to spend any money that she’s earned on this place. She makes him make the same promise.
Kayce finally reveals part of his plan, but it takes Beth a minute to catch on. He asks what her car is worth, and she says, “$300,000.” He wonders how much he’d have to pay in sales tax if she sold it to him for a dollar. Would it be based on the car’s actual value or how much he paid? Beth confirms it would be based on the purchase price.
Kayce walks away and Beth stands there for a second as it finally hits her. As he’s driving off, she wonders why she didn’t think of it first. Beth screams, “Kayce!” and he stops. She asks who, and he says she needs to give him the day to make sure. “You’re smarter than you look, little brother,” says Beth, giving him a kiss on the cheek before adding, “Thank you.”
Monica still doesn’t know Kayce’s plan, but now Beth does. Kayce believes the only way to save this place is to give it away!
Paramount+ with Showtime’s new two-minute Dexter: Original Sin clip finds a young Dexter Morgan showing up for his first day at work. The clip, which premiered at CCXP in São Paolo, Brazil, ends with Dexter being shown to his desk and taking his work chair for a spin.
Patrick Gibson slips into the role of the serial killer in training, with Michael C. Hall returning to provide his inner voice. Christian Slater plays Dexter’s dad, Harry Morgan, and Molly Brown plays his sister, Debra. The cast includes Christina Milian, James Martinez, Alex Shimizu, and Reno Wilson. Sarah Michelle Gellar guest stars as Tanya Martin and Patrick Dempsey plays Aaron Spencer.
Patrick Gibson as Dexter Morgan in ‘Dexter: Original Sin’ (Photo Credit: Myrna Suarez/Paramount+ with Showtime)
“Dexter: Original Sin is set in 1991 Miami and follows Dexter (Gibson) as he transitions from student to avenging serial killer. When his bloodthirsty urges can’t be ignored any longer, Dexter must learn to channel his inner darkness. With the guidance of his father, Harry (Slater), he adopts a Code designed to help him find and kill people who deserve to be eliminated from society without getting on law enforcement’s radar,” reads Showtime’s synopsis. “This is a particular challenge for young Dexter as he begins a forensics internship at the Miami Metro Police Department.”
The prequel will premiere on Paramount+ with Showtime on Friday, December 13, 2024 and on Showtime linear on December 15th at 10pm ET/PT.
Clyde Phillips serves as showrunner and executive producer of the 10-episode season. Scott Reynolds, Michael C. Hall, Mary Leah Sutton, Tony Hernandez, and Lilly Burns also executive produce. Robert Lloyd Lewis produces, and Michael Lehmann is the directing executive producer.
Isaac gets a dinosaur bed and Sam and Jay get a new, hopefully temporary, guest on CBS’s Ghosts season four episode seven. Directed by Heather Jack from a script by Guy Endore-Kaiser, episode seven will air on Thursday, December 12, 2024 at 8:30pm ET/PT.
Rose McIver stars as Sam, Utkarsh Ambudkar is Jay, Brandon Scott Jones is Isaac, and Richie Moriarty plays Pete. Danielle Pinnock is Alberta, Asher Grodman is Trevor, Román Zaragoza stars as Sasappis, Rebecca Wisocky plays Hetty, Devan Chandler Long is Thorfinn, and Sheila Carrasco is Flower.
“Sad Farnsby” Plot: When Sam accidentally creates a rift between Sam and Jay’s neighbors, the Farnsbys, Henry Farnsby moves into Woodstone B&B. Also, Isaac and Nigel battle over a belated wedding present.
Ghosts is a single-camera comedy about Samantha and Jay, a cheerful freelance journalist and up-and-coming chef from the city, respectively, who threw both caution and money to the wind when they decided to convert Woodstone Mansion, which Sam inherited, into a bed & breakfast – only to find it was inhabited by the many spirits of deceased residents who now call it home.
The departed souls are a close-knit, eclectic group that includes a saucy Prohibition-era lounge singer (Danielle Pinnock); a pompous 18th-century militiaman (Brandon Scott Jones); a ‘60s hippie fond of hallucinogens (Sheila Carrasco); an overly upbeat ‘80s scout troop leader (Richie Moriarty); a cod-obsessed Viking explorer from 1009 (Devon Chandler Long); a slick ‘90s finance bro (Asher Grodman); a sarcastic and witty native from the 16th-century (Román Zaragoza); and a society woman and wife of a 19th-century robber baron who is Sam’s ancestor (Rebecca Wisocky), to name a few. The opening of the B&B has been a source of intrigue, anxiety, and curiosity among the spirits, but they will gladly put up with the commotion as long as they can continue to interact with a living inhabitant.