Jeff Daniels in 'The Newsroom' - Photo by Melissa Moseley/HBOHBO’s critically acclaimed dramatic series The Newsroom airs on Sunday nights at 10pm ET/PT with Jeff Daniels leading the ensemble cast. And as we approach August, HBO’s just unveiled details on the four episodes set to air next month.
The Newsroom August Episodes
Episode #14: “Unintended Consequences”
Debut: SUNDAY, AUG. 4 (10:00-11:00 p.m. ET/PT)
Other HBO playdates: Aug. 4 (midnight), 6 (11:00 p.m.), 7 (9:00 p.m.), 8 (8:00 p.m.), 9 (11:00 p.m.) and 10 (10:45 p.m.)
HBO2 playdates: Aug. 5 (10:00 p.m.), 6 (9:00 p.m.), 7 (11:00 p.m.) and 10 (3:30 p.m.)
Maggie (Alison Pill) tries to convince Rebecca (Marcia Gay Harden) that she’s fine following her shattering trip to Africa with Gary (Chris Chalk). An Occupy Wall Street protester with a Black Op lead refuses to cooperate with Neal (Dev Patel) and Jerry (Hamish Linklater) after an on-air interview with Will (Jeff Daniels) goes poorly. Jim (John Gallagher, Jr.) lands Hallie (Grace Gummer) a one-on-one, but gets heat from Mac (Emily Mortimer) as a result.
Written by Aaron Sorkin; directed by Carl Franklin.
Episode #15: “News Night with Will McAvoy”
Debut: SUNDAY, AUG. 11 (10:00-11:00 p.m.)
Other HBO playdates: Aug. 11 (midnight), 13 (11:00 p.m.), 14 (9:00 p.m.), 15 (8:00 p.m.), 16 (11:00 p.m.) and 17 (1:30 a.m.)
HBO2 playdates: Aug. 12 (10:00 p.m.), 13 (9:00 p.m.), 14 (11:00 p.m.) and 17 (2:50 p.m.)
Will is distracted during his telecast by a phone call and an unflattering Twitter post. Charlie (Sam Waterson) gets a visit from a longtime friend at the Office of Naval Intelligence, who has knowledge of Operation Genoa. Sloan (Olivia Munn) phases from humiliation to rage following a revenge posting. The newsroom traverses the slippery slope separating fact from fiction.
Written by Aaron Sorkin; directed by Alan Poul.
Episode #16: “One Step Too Many”
Debut: SUNDAY, AUG. 18 (10:00-11:00 p.m.)
Other HBO playdates: Aug. 18 (midnight), 20 (11:00 p.m.), 21 (9:00 p.m.), 22 (8:00 p.m.), 23 (11:00 p.m.) and 24 (10:15 p.m.)
HBO2 playdates: Aug. 19 (10:00 p.m.), 20 (9:00 p.m.), 21 (11:00 p.m.) and 24 (3:15 p.m.)
Mac and Charlie score a key witness, a retired Marine general, in their attempt to corroborate Jerry’s Operation Genoa story. Will follows Nina’s (Hope Davis) lead to soften his image by making an impromptu appearance on a morning talk show. Jim gets unexpected company during his reunion with Hallie, who’s in town to cover a Romney rally.
Written by Aaron Sorkin; directed by Julian Farino.
Episode #17: “Red Team III”
Debut: SUNDAY, AUG. 25 (10:00-11:00 p.m.)
Other HBO playdates: Aug. 25 (11:00 p.m.), 27 (11:00 p.m.), 28 (9:00 p.m.), 29 (8:00 p.m.), 30 (midnight) and 31 (10:45 p.m.)
HBO2 playdates: Aug. 26 (10:00 p.m.), 27 (9:00 p.m.), 28 (11:00 p.m.) and 31 (5:10 p.m.)
Through depositions with the newsroom staff, Rebecca pieces together the events that led to ACN’s fateful decision to go forward with Jerry’s special report on Operation Genoa – as well as the post-air revelations that undermined its credibility. The repercussions threaten to ruin “News Night” while eclipsing breaking news during another 9/11 anniversary.
Written by Aaron Sorkin; directed by Anthony Hemingway.
Rachel Boston, Julia Ormond and Jenna Dewan Tatum star in ‘Witches of East End’ (Photo by Sergei Bachlakov Copyright 2012)
Witches of East End will be arriving on Lifetime this October 6th at 10pm ET/PT. The dramatic series starring Julia Ormond, Madchen Amick, new mom Jenna Dewan Tatum, and Rachel Boston is inspired by Melissa de la Cruz’s bestseller and marks the network’s second scripted dramatic series to debut this year.
Mark Waters directed the pilot episode with Maggie Friedman scripting and executive producing. The cast also includes Eric Winter, Daniel DiTomasso, Jason George, and Oscar and Virginia Madsen.
The Plot:
Witches of East End centers on the mysterious Beauchamp family: free-spirited artist Joanna (Ormond) and her two grown daughters, wild-child bartender Freya (Dewan Tatum) and shy librarian Ingrid (Boston), both of whom are unaware that they are gifted (and cursed) with a magical birthright. Freya is recently engaged to the man of her dreams, wealthy playboy Dash Gardiner (Winter), but when she finds herself inexplicably drawn to Dash’s troubled, enigmatic brother Killian (DiTomasso), bizarre occurrences begin to manifest in her life.
Meanwhile, Joanna’s long-estranged sister Wendy (Amick) shows up with a warning that could change the Beauchamps’ fate forever, forcing Joanna to reveal to her daughters they are, indeed, immortal witches who possess great untapped powers. With their idyllic small town life now turned upside down, and a formidable and ancient enemy intent on ending the Beauchamp family line, will Freya and Ingrid be able to accept their true potential before it is too late?
According to CBS President Nina Tassler, season two of the dramatic series loosely based – make that extremely loosely / basically just the names of the characters are the same – on Stephen King’s novel will have a 13 episode summer of 2014 run. And speaking of King, he’ll be penning the first episode of season two.
“We’re excited to tell more stories about the mystery of the dome and the secrets in Chester’s Mill, and are thrilled to have the master storyteller himself, Stephen King, tell the first one of next season,” stated Tassler.
Season one of Under the Dome has been averaging 13.84 million viewers. And according to Amazon, more viewers have tuned into the show via their Prime Instant Video service than any other series they offer.
The Plot:
Under the Dome is a serialized drama from Steven Spielberg’s Amblin Television based on Stephen King’s bestselling novel of the same name. It tells the story of a small town that is suddenly and inexplicably sealed off from the rest of the world by an enormous transparent dome. The town’s inhabitants must deal with surviving the post-apocalyptic conditions while searching for answers to what this barrier is, where it came from, and if and when it will go away.
ReelzChannel has picked up JFK: The Smoking Gun documentary directed by Malcolm McDonald (On the Trail of Genghis Khan) and written by Steve Lucas (Exhibit A: Secrets of Forensic Science). The documentary follows police detective Colin McLaren’s four-year investigation of JFK’s assassination.
Using modern technology and with access to all of the evidence in the killing of President John F Kennedy, McLaren believes he’s solved the crime and has found “the smoking gun” which killed JFK.
Per the network’s official acquisition announcement:
“This special investigative documentary with dramatic re-creations takes audiences back to that tragic day in Dallas at Dealey Plaza, to Parkland Hospital where the president was pronounced dead, to the Bethesda Naval Hospital where the autopsy was conducted and to the conclusions of the Warren Commission that have remained controversial to this day. It uses time-tested investigative techniques to solve the crime.”
Daniel Gillies says he wasn’t at all shocked that The CW and executive producer Julie Plec decided to spin-off The Originals from The Vampire Diaries. However, Gillies did admit that he was surprised at the speed in which the series was developed. The new show, which is set to debut on October 15, 2013 at 8pm ET/PT, features Gillies as Elijah, Joseph Morgan as Klaus, and Claire Holt as Rebekah – all reprising their roles from The Vampire Diaries. And at the 2013 San Diego Comic Con, Gillies provided a little insight into what fans can expect from this new series set in New Orleans.
Daniel Gillies The Originals Interview
Since this is your first Comic Con, how was the panel and how were the fans?
Daniel Gillies: “The fans were terrific. I made a pledge that I wouldn’t talk about masturbation to all of my cast mates. The problem with the mind is it’s a very anarchic little thing. If you tell somebody not to do something, I immediately want to do the thing that they tell me not to do. They said, “‘Please don’t mention ‘masturbation.” The first thing I did was I said to the audience that I was in fact not comma going to talk about masturbation. ‘That’s not what we’re going to talk about to you today.”
Can you talk about getting that phone call from executive producer Julie Plec saying there was going to be a The Originals spin-off?
Daniel Gillies: “Truthfully, the writing was on the wall for a little while. I believe in Julie more than anyone, really. She’s one of those people who when she says she’s going to do something, it comes into being, you know? It didn’t really come as a blind-siding sort of shock. When Joseph first came to be on The Vampire Diaries and we did some of our original scenes together, no pun intended, and she mentioned it. I remember seeing her in Video Village looking at the image. She just said, ‘Boys, this has to be a show.’ She’s just sitting there giddy, looking at it. She goes, ‘This has to be a show.’
I remember feeling then that the show was going to come into being. To be honest, I just didn’t think it would be so rapid. She thinks this is a long time, but for me, from inception, conception to realization, was only really a year and a half or two years, but she was always talking about it.”
Does it differ from The Vampire Diaries in tone?
Daniel Gillies: “You, it’s a little bit more like a war. It’s a little bit more strategic. Mystic Falls was all about survival in a sense. I think that New Orleans is going to be about reclaiming our former kingdom. That’s going to require a lot more, as I said before, strategy and a clever usurping of the power from Marcel who holds the keys to everything in that realm.”
What about romance? Are we going to see some?
Daniel Gillies: “For who?”
Everybody.
Daniel Gillies: “Wow. This is a Julie Plec question, really. I can’t say for myself. I know that we just terminated me with Katherine and I know that fans adored Caroline and Klaus together. But in truth, and perhaps I’m a little bit more brutal, cynical and old, I feel that these relationships, although they’re forged, they were made to be broken. The amount of venom that I’ve received online for being even momentarily dismissive about the Caroline thing not taking place… Put it this way: it’s doesn’t win over fans talking about that stuff.
I think they’re going to have to create all new relationships. It’s a whole new world. Who knows whether the Caroline/Klaus thing will continue or the Katherine/Elijah thing? Truthfully, I’m just excited to see who they bring into it. There will definitely be romance, but let’s put it that way. You can’t have a Julie Plec show and not have couples within them. She adores that stuff and she’ll never exclude it from her writing.”
How much do you enjoy doing this romantic stuff?
Daniel Gillies: “You know, man, that’s a really good question. In truth, it’s quite mechanical. I never dated an actress before my wife. I used to date women who would get jealous of that stuff, which was so odd because when you’re with an actor as well, they understand that it’s altogether the most unsexy thing that you could ever do. It’s really not a turn-on. It doesn’t matter who. I mean, look, Nina Dobrev is a beautiful woman and to make out with her should, in theory, be a pleasure – no matter who you’re married to or what your codes are. The problem is that when you go and do this stuff, and it sounds like I’m just saying it, but it’s so ‘by the numbers.’ Nothing could be more of an erection-killer than cameras around you. That sounded terrible.
Honestly, man, and this is going to sound so actor-y but it’s like dance steps. It’s literally like choreographing a fight. ‘You’re going to grab me here, I’m going to kiss you here, you’re going to drop there, we’re going to go to the clothes, you’re going to pull my shirt off…’ It’s like dance steps. You’ll be in the middle and they’ll be, ‘Oh, just tilt your chin up because the lights not quite you clearly.’ It’s the opposite of sexy, these romantic scenes.
I enjoy the interplay of wooing someone or things like that, because that can be a real energy that you can tap into. But as for the physical act of making out, it’s not that fun.”
Do you prefer the action story?
Daniel Gillies: “I like them both. I like to be able to successfully do a scene. In my entire body of work, I think I’m pleased with about two scenes that I’ve ever done. It’s what I love about being an actor. I think that you’re always trying to do a wonderful scene, so if I do anything well, I’m just pleased. I mostly think of my career as just a series of f*ck-ups.”
Is writing a more creative outlet for you compared to acting?
Daniel Gillies: “Writing is a beautiful outlet. You end up … I’m going to be careful here… No, you know, I won’t be that careful. Why stop now? Why start now, start being careful. You end up doing a lot of writing as an actor anyway. You just do. I could deny this, but you do because after a time you get to know the character and it’s yours, and it belongs to you. There might be a certain cadence, or specificities of speech, or things that you wouldn’t say, sometimes. You’re like, ‘I don’t need to say that because in the last episode I did this.’ Nobody becomes a better master of your character than you do. I always think that…not always, often actors will have terrible ideas for lines, but often they have really good ones. Often, they’re a really good consultant on what to say.
To sort of splinter off and answer your question more specifically, when you’re writing for the purposes of just writing, I’m writing my next film, for example, right now and it’s excruciating. It’s the most difficult. Anybody can write a screenplay. Anybody. I mean, I’m going to say it. Anybody can write a TV show, but to write a good TV show, that’s a slim percent. To write a great movie, that’s almost no one. The ravine between you and a good piece of work, to span that can take years. I find writing absolutely brutal and one of the most difficult parts of the process of creation.”
Do you want to see Lindsay Lohan opposite porn star James Deen in The Canyons? If so, you’ll have your chance when the film becomes available on August 2, 2013 on Video On Demand. We’ve been hearing about this movie and all the behind-the-scenes shenanigans since production started last July, and it’ll be interesting to check it out just to see if it’s the train wreck everyone seems to assume it’ll be based on Lohan’s reputation.
As the VOD release date nears, IFC’s released this brand new poster for the film that also stars Nolan Gerard Funk and Amanda Brooks. Taxi Driver and American Gigolo writer Paul Schrader directed The Canyons from a script by American Psycho author Bret Easton Ellis.
The Plot: While calculating young movie producer Christian (Deen) makes films to keep his trust fund intact, his actress girlfriend, Tara (Lohan), hides an affair with an actor from her past. But Christian becomes aware of her infidelity, which leads the young Angelenos into a violent, sexually-charged tour through the dark side of human nature.
Season three of Syfy’s Being Human was loaded with twists and turns, and season four will be just as strong according to Sam Witwer. Witwer, along with his fellow Being Human cast members Meaghan Rath, Sam Huntington, & Kristen Hager, talked about the upcoming season of the supernatural series while at the 2013 San Diego Comic-Con and although he couldn’t give away any secrets, he did say big risks will be taken and he loves the direction the writers have taken his character, Aidan.
Sam Witwer Being Human Interview
We heard we’re going to get some interesting flashbacks this season.
Sam Witwer: “Yes, sort of. In a way, we’re going to get just as many flashbacks but in another way not at all. Is that confusing? We’re going to see some faces that frankly the audience won’t be able to predict, certain actors that I’ve missed working with very much.”
Mark Pellegrino is coming back?
Sam Witwer: “He’s always back, that guy. I was running around with him last night, and we’re very much looking forward to the specific stuff they’re going to ask us to do this season. Fun, really fun.”
Haven’t you shot any of that yet?
Sam Witwer: “No, we haven’t. But it’s coming up.”
What can you tell us about what’s happening this upcoming season?
Sam Witwer: “Well, the great thing is when we started the show in season one, it was very defined turf for each actor. They had Sam Huntington and Meaghan Rath, two screwballs, and they were like, ‘Let them be screwballs, let them be big and funny and all that stuff, and then Witwer’s just going to anchor it dramatically.’ And then as the series went on, we get to sort of flip-flop a little bit.
Now that we’re in season four, the writers are more interested in sending me on dates with people like Deanna Russo. And they want to put Meaghan, Sammy, and Kristen [Hager] in life-threatening situations, which I find to be delightful because Aidan, I think, has become in a different way than Huntington’s character a suddenly funny who the audience laughs at but he doesn’t think he’s funny. He doesn’t know that. He would be very shocked to know how an audience reacts to his life. And so, those things were really fun to play. It’s a good time. I like that.”
How much is improv and how much do you stay with the script?
Sam Witwer: “Plenty. […]We do quite a bit. As long as the meaning is the same to what the writers intended, we get away with it. For example, I remember last year, me and Meaghan just in scenes that we have, we just started improv’ing. The scene would be going fine and then we’d just completely go off the rails.
For example, I don’t know if you remember Meaghan Rath’s character really starts sexually harassing Aidan. And in this season, we just kept rolling with that. And Anna Fricke’s reaction when she saw the dailies, she was like, ‘Great, keep doing that.’ It had nothing to do with the script, but it was just funny, weird things that would happen in these scenes and she wanted more of that. That’s where these writers’ heads are at. They write wonderful, beautiful stuff, and then they want to see if they get a little bit extra.”
How many takes do you normally get?
Sam Witwer: “Not a lot, my friend. I remember our British counterparts when we started talking about, ‘Oh they have the biggest budget in the world.’ No true. If you don’t get it in two or three takes, you don’t get it. That’s how it is. A lot of times, for example, I remember doing the 1930s stuff in season two, and half of the takes that you see of my character with the pencil-thin mustache on, I had one take which is a very uncomfortable position for an actor to be in when he’s creating a new version of a character. But that’s just simply the reality of making the show.
We have too much to shoot, so you need the actors to be on their toes. You need the crew to be on their toes. We have a pretty sharp machine. Sharp machine? It’s like a machine called ‘the knife.’ It’s a well-oiled machine over there as far as its efficiency, but we’re not necessarily given the most time to do any number of things, so we just hope we get something worth putting on TV in two or three takes.”
How would you describe season four’s Aidan and whether he’s going to take a lead role in the vampire hierarchy?
Sam Witwer: “It’s a big thing this year because he fell off the wagon big time in season two. Season three, he went through a drying-out process because they buried him. Season four, he still hasn’t gone back to the real deal because he’s doing the bag blood. The difference is he’s doing it more. He’s kind of like, ‘No, it’s methadone. It’s fine; it’s fine.’ That’s definitely going to influence his judgment.
I think in this season, particularly, we will tackle that issue and perhaps solve it once and for all, which side he is on. Because what I really liked was that in one of the early scripts, we identified that all the vampires are still dead. The ones that died of the virus are still dead. They need to rebuild. There’s still a power vacuum, so of course people are looking for a dead Aidan, and he’s like, ‘Screw you, I want nothing to do with it,’ so other people are doing that.
And it’s fun to see Aidan go, ‘I don’t want anything to do with that, screw you guys. But here’s what we did in the ’40s that worked really well and you might want to try this. Don’t do this. That’s a mistake. Make sure you’ve got good coverage out.’ He throws little pieces of advice out which says he’s still invested over there. He pretends not to be.”
With season three you said you thought the series was in a really good groove. Are you maintaining that or are you even taking it a step further?
Sam Witwer: “There are some risks being taken this season that will either work or they won’t work, basically. In terms of my character, I very much approved of what they are doing – big time. There’s no setup that needs to be done with my character this year. It’s all been done in the third season.
It’s like Kenny [Connor Price] is out there somewhere, and he’s in the middle of a relationship with Kat, but don’t tell her he killed her ex-boyfriend. There’s this chick that looks a lot like his wife from the 1700s. The setup’s been done, now we just get to have character scenes. So, that’s cool. You know what I mean? I really like that. I don’t like to scramble to make plot points. That’s already been done.”
What you guys are doing is establishing your own identities separate from the BBC series.
Sam Witwer: “Funny enough, I got a really nice letter from Toby Whithouse stating that yes we had done that, but he felt that we were very true to the heart of what he felt his show was about. That was nice. I was happy to receive that letter and humbled considering I’m a huge fan of his show, all the way through, all of it.”
You went through some massive changes last season, character-wise. What was the season two experience like?
Robert Carlyle: “Well, it’s gold dust for an actor, that. You know, nothing would be more dull than playing the same thing for 22 episodes. With the best will and intent, you know, it would start to wobble. But the guys continue to keep me on my toes by changing things around.
A wonderful thing for me, of course, with Rumplestiltskin, is there’s not two characters but five. You’ve got the early one; you’ve got the kind of just where he became the dark one; the evil, dark one at the beginning; the guy who’s maybe a wee bit more fun towards the end of it; and you’ve got the different versions of Gold, as well, in there. There’s something different for me almost every episode.”
Of those five characters or parts of the same character, which one is really interesting to play?
Robert Carlyle: “I like the one who’s just became the dark one. I like that guy there because he’s still struggling with himself. He doesn’t really know where he is or what he can actually do and he’s impressed by that, so he impresses himself. I think that’s the guy who’s going to get the most mileage. I think that as this season progresses, I think we actually do go back to him. I think it will be episode four or five or six or something you see him again. I think you see him probably more than any of the other characters that I mentioned. I like playing that guy.”
Rumplestiltskin has almost become sort of a Greek tragic figure on the show in the sense that he knows he’s going to die. How has that affected your performance?
Robert Carlyle: “Well, he didn’t know that until maybe episode 16, 17, something like that. I think in the beginning he rejects it. I think that certainly Henry was absolutely in danger for a few episodes. I think he would have killed him. There’s not any doubt about that, but as it’s progressed, of course, he realizes who this kid is and this is too much even for him to take in.
As season two ends, we understand, obviously, that he thinks Baelfire is dead. What can he do to honor the memory of his son and to take away all the bad feelings that go along with that because of the fractious relationship that they’ve had? What can he do other than try to find Baelfire’s son, even though that means his eventual undoing? In a sense, at the beginning of season three, he’s in the most dangerous place that he’s been in so far. He is on a suicide mission. I think he expects to die…and he may well.”
What happens when he discovers his son isn’t dead? Does that suicide mission change for him?
Robert Carlyle: [Laughing] “I really don’t know because we’ve only got two scripts of season three at the moment, so I can’t see into the future there.”
Actors always say that they wanted to do something for their kids. Was that one of your thoughts when you got into this three years ago?
Robert Carlyle: “Yeah, I certainly thought of it. I wouldn’t say it was whole thing. It’s certainly part of it. I thought, for the first time my kids can actually sit and watch things that I’m in…and they do. They love it. That’s, again, the great thing about the show. It plays right across the board. My seven-year-old gets as much out of it in his way as my mother-in-law does in her way, who’s in her 80s. They enjoy it for different reasons.”
How do you feel about ‘happily ever after’ and do you think that we should sell that to our children?
Robert Carlyle: “Yeah, certainly, absolutely. I think fairy tales in general are things that have been kind of not lost exactly but in these days of video games, etc., etc., it’s easy for these things to get left behind when you see young kids at four and five years old with iPods and stuff like that. It’s sad. I remember when I was putting my kids into early kindergarten school, the teachers said that very few kids know nursery rhymes these days. That is really sad. ‘Hickory, Dickory, Dock’ or whatever it is, they don’t know these things; they’re not taught these things any more.
I think it’s one of the reasons why this show has been so successful is that it takes the audience back to that time. It’s maybe a simpler time, in a way, but these fairy tales themselves, they were originally used for warnings. Hansel and Gretel was ‘don’t take sweets from strangers. Don’t get in the house.’ These things are important life lessons to give to your kids early on, I think. I think this show brings a lot of that back.”
How about waiting for your Prince Charming then?
Robert Carlyle: “Why not? Why not? [Laughing] I believe everyone has someone for them. I think there’s someone out there for everyone. Maybe they just have to wait for Prince Charming to arrive.”
Downton Abbey‘s Julian Fellowes adapted William Shakespeare’s classic tale of forbidden love for the screen and Carlo Carlei directs this latest film version of Romeo & Juliet coming to theaters on October 11, 2013. The romantic tale stars Hailee Steinfeld (Ender’s Game) and Douglas Booth as the star-crossed lovers with support from Damian Lewis as Lord Capulet, Paul Giamatti as Friar Laurence, Ed Westwick as Tybalt, and Stellan Skarsgard as the Prince of Verona.
Take a look at the new poster and trailer just released by Relativity Media:
The Plot:
An ageless story from the world’s most renowned author is reimagined for the 21st Century. This adaptation is told in the lush traditional setting it was written, but gives a new generation the chance to fall in love with the enduring legend. With an all-star cast including Hailee Steinfeld, Douglas Booth, Paul Giamatti, and Stellan Skarsgaard, it affords those unfamiliar with the tale the chance to put faces to the two names they’ve undoubtedly heard innumerable times: Romeo and Juliet.
Every generation deserves to discover this lasting love.
Director Kyle Newacheck teamed up with Anders Holm in a room crowded with members of the media to discuss Comedy Central’s Workaholics at the 2013 San Diego Comic-Con. The Workaholics gang is always a popular draw both with fans and the press, yet Ders says he can actually still walk around the convention floor without being bombarded by fans if he holds his head down and doesn’t make eye contact.
Even after being friends for years and working together on different projects, Newacheck and Holm say they don’t have a problem coming up with fresh material. And, in fact, they’ll even being working together on a feature film outside the word of Workaholics. Check out what else they had to say about the popular series and what they’re currently up to in our interview
