Original CSI star Eric Szmanda continues his guest-starring run on CBS’s CSI: Vegas with season two episode 19. Directed by Pam Veasey from a script by Craig O’Neill, episode 19 – “Dead Memories” – will air on Thursday, May 4, 2023 at 10pm ET/PT.
The second season stars Paula Newsome as Maxine Roby, Marg Helgenberger as Catherine Willows, Matt Lauria as Joshua Folsom, and Mandeep Dhillon as Allie Rajan. Ariana Guerra plays Detective Serena Chavez, Lex Medlin is Beau Finado, and Jay Lee is Chris Park.
“Dead Memories” Plot: When wrongly accused former suspect Gene Farrow (J.P. Manoux) enters the Crime Lab covered in blood, wielding a cleaver and looking for Allie Rajan, the CSI team investigates his peculiar story about a macabre party with a fatal ending.
CSI: Vegas, the sequel to the Network’s global hit CSI: Crime Scene Investigation, returns for a second season in Las Vegas – the city where it all began. Amidst the neon lights and long shadows, dark threats continue to lurk in Sin City. Maxine Roby leads her brilliant team of Crime Scene Investigators – Joshua Folsom, Allie Rajan, Detective Serena Chavez, Chris Park, and Beau Finado – as they use science to solve baffling cases. Catherine Willows returns to help the CSIs face off with a dealer of death who is planning to beat the odds in Las Vegas.
This combined force will deploy the latest forensic techniques to do what they do best – follow the evidence – in order to preserve and serve justice in Sin City.
Dylan Walsh returns to guest star as Mayor Chase on CBS’s Blue Bloods season 13 episode 18. Directed by Ralph Hemecker from a script by Jack Ciapciak and Peter D’Antonio, episode 18 – “Family Matters” – will air on Friday, April 21, 2023 at 10pm ET/PT.
The cast is led by Tom Selleck as Frank Reagan, Donnie Wahlberg as Danny Reagan, and Bridget Moynahan as Erin Reagan. Will Estes stars as Jamie Reagan, Len Cariou is Henry Reagan, Sami Gayle is Nicky Reagan-Boyle, Marisa Ramirez plays Det. Maria Baez, and Vanessa Ray is Officer Eddie Janko.
“Family Matters” Plot: Danny and Baez investigate a case of grand larceny tied to feuding crime families when the gifts are stolen during a mob wedding. Also, Frank clashes with Mayor Chase (Walsh) when an influx of immigrants arrive in the city; Erin questions whether her district attorney campaign is compromising her day job; and Eddie enlists Jamie’s help to bust a drug dealer responsible for fentanyl overdoses in order to comfort a grieving grandfather (Larry Manetti).
Blue Bloods is a drama about a multi-generational family of cops dedicated to New York City law enforcement. Frank Reagan is the New York Police Commissioner, and heads both the police force and the Reagan brood. He runs his department as diplomatically as he runs his family, even when dealing with the politics that plagued his unapologetically bold father, Henry, during his stint as chief.
A source of pride and concern for Frank is his eldest son, Danny, a seasoned detective, family man and Iraq War vet who on occasion uses dubious tactics to solve cases with his partner and new mother, Detective Maria Baez. Erin, the middle daughter, is a New York assistant D.A. who serves as the legal compass for her siblings and father, while also pursuing a run for district attorney. Jamie is the youngest Reagan, a Harvard Law graduate and the family’s golden boy.
Unable to deny the family tradition, Jamie decided to give up a lucrative future in law and follow in the family footsteps as a cop. He’s found a friend and ally in his wife, Eddie, who keeps him on his toes, and has very different reasons than the Reagans for joining the police force.
Season one of CBS’s True Lies continues with episode eight, “Honest Manipulations.” Directed by Mary Lou Belli from a script by Kathryn Price and Nichole Millard, episode eight airs on Wednesday, April 19, 2023 at 10pm ET/PT.
Steve Howey stars as Harry and Ginger Gonzaga stars as Helen. The season one cast also includes Erica Hernandez as Maria, Omar Miller as Gib, Mike O’Gorman as Luther, Annabella Didion as Dana, and Lucas Jaye as Jake.
“Honest Manipulations” Plot: Omega Sector has a new mission to manipulate the girlfriend of a hedge fund CEO in an attempt to collect sensitive data about the company to determine if they have been responsible for major catastrophes and loss of human life.
True Lies follows Harry Tasker (Howey), a first-class international spy for U.S. intelligence agency Omega Sector, and his wife, Helen (Gonzaga), a language professor bored with her daily routine, who makes the shocking discovery that her seemingly ordinary husband is leading an extraordinary double life.
With the secret out, Omega recruits Helen, who impresses everyone with her formidable skills (thanks to Tae Bo and yoga), and she joins Harry and his team of top-notch operatives, embarking on covert missions around the globe and an exhilarating life of danger and adventure – all while keeping their adventures a secret from their children. The renewed bond between them adds much-needed sizzle to the Taskers’ emotionally distant marriage and upends the top-secret world of Omega Sector.
But, as Harry says, if you’re going to save the world, you might as well do it for the ones you love.
Renfield’s a fun, albeit lightweight, take on Dracula and his bug-eating minion, lifted by the entertaining performances of Nicholas Hoult and Nicolas Cage. There are exploding heads, an ample smattering of blood, guts, and gore, and the creative use of disembodied arms as weapons. But for all its onscreen carnage, this R-rated horror comedy is really just a campy good time, forgettable yet enjoyable enough while it lasts.
It’s a no-brainer to cast Nicolas Cage as Dracula, and the Oscar-winning actor sinks his teeth into the role with a joyous, demented glee. Very seldom is Renfield’s Dracula viewed as an actual threat to humanity, despite the film’s simple plot which suggests Dracula is positioning himself as a god who desires to be worshipped by his food source.
The film sets up the relationship between the Count and Robert Montague Renfield via black and white footage, with Cage and Hoult recreating Bela Lugosi and Dwight Frye’s encounter in the 1931 classic horror film. That setup makes perfect sense when you consider Renfield director Chris McKay (The Tomorrow War, The LEGO Batman Movie) views this film as a direct sequel to the original.
Renfield’s convinced to give up his life as a husband, father, and real estate lawyer to become Dracula’s servant and familiar. However, after nearly 100 years of trapping meals (i.e.humans) for his master, Renfield’s ready to get out from under the narcissistic creature of the night’s thumb.
But how does a servant of evil shake off the chains binding him to a bloodsucking monster? By seeking advice from others caught up in unhealthy co-dependent relationships.
Renfield joins a support group and although his dilemma is in no way similar to his fellow attendees, he’s able to pick and choose applicable pieces of wisdom. With a newfound sense of self, Renfield manages to rent an apartment, choose a wardrobe that wasn’t in style in the ’30s, and at least momentarily refrain from inflicting bodily harm on innocent humans. As for the not-so-innocent…what’s the harm in ridding the earth of those tormenting his self-help group friends?
While on a quest to capture one of his friend’s oppressors, he accidentally gets caught up in a drug deal involving local mobster Tedward Lobo (Ben Schwartz) and the Lobo crime family. He also manages to insert himself into a deadly fight between the only decent cop on the New Orleans police force (played by Awkwafina) and the Lobo mob.
Of course, Dracula’s not about to release his servant just because Renfield’s had a change of heart about his circumstances and wants to make amends for past bad deeds. Dracula isn’t used to not commanding Renfield’s full attention and reacts like a petulant child. If Renfield won’t furnish him with busloads of cheerleaders and other tasty treats, he’ll find others willing to do his bidding and help further his quest for world domination.
Nicholas Cage’s performance is exactly what you’d hope a Cage as Dracula performance would be. Unfortunately, the Prince of Darkness is just the supporting player in this horror comedy. The title is Renfield – not Dracula. But when Dracula’s off the screen, Renfield misses his presence. Now that we’ve gotten a taste of Cage as the Count, it’s obvious he deserves to be the titular character in more horror than comedy-skewing sequel.
Nicholas Hoult does a terrific job making Renfield a sympathetic and likable guy, despite his decades of fetching innocent victims for his master to suck dry. Hoult plays Renfield as tortured and remorseful, yet somehow still kind of sweet and earnest. Renfield does what he’s told, but that doesn’t mean he likes it. His struggle to break free of Dracula’s grasp is surprisingly touching, as is the relationship he forms with Awkafina’s Rebecca the cop and the self-help group.
Renfield, with supernatural skills enhanced by the consumption of bugs, takes on cops, mobsters, and a wide assortment of thugs in exceptionally gruesome fight scenes. The body count is probably among the highest of any Dracula film, but that’s due to Renfield and not his bloodsucking boss.
Renfield focuses on the psychological impact of being part of a toxic, co-dependent relationship, which sounds rather heady. It’s not. Screenwriter Ryan Ridley and director Chris McKay never let things get too serious, and they’ve packed the cast with actors who can pull off the absurdity of Dracula’s familiar seeking help with an unhealthy employment situation. (Ghosts’ Brandon Scott Jones is a standout as the self-help group’s leader.)
Renfield could have benefited from more Nicholas Cage and less police drama. Toss in a few more scenes of Cage and Hoult facing off, and you’ve got something special. Still, at a swift 93 minutes, Renfield’s a fun enough romp that won’t tax your brain.
GRADE: B-
MPAA Rating: R for some drug use, language throughout, bloody violence, and some gore
Disney’s two-minute The Little Mermaid featurette kicks off with the new Ariel, Halle Bailey, describing the original Little Mermaid as changing her world. “Like so many of us little girls, we all just wanted to be mermaids,” says Bailey, adding, “This Little Mermaid reflects what it means to want something greater for yourself.”
The video features new clips from the live-action adaptation along with interviews with director Rob Marshall, Melissa McCarthy (“Ursula”), Awkwafina (the voice of “Scuttle”), Alan Menken, and Lin-Manuel Miranda.
The film also features Jonah Hauer-King (A Dog’s Way Home) as Prince Eric, Tony Award winner Daveed Diggs (Hamilton) as the voice of Sebastian, and Jacob Tremblay (Luca) voices Flounder. Noma Dumezweni (Mary Poppins Returns) is Queen Selina, Art Malik (Homeland) is Sir Grimsby, and Oscar winner Javier Bardem (No Country for Old Men) plays King Triton.
Oscar nominee Rob Marshall (Chicago) directed from a screenplay by two-time Oscar nominee David Magee (Life of Pi, Finding Neverland). The songs feature music from Alan Menken and lyrics by Howard Ashman, with new lyrics by Lin-Manuel Miranda. Miranda, Marshall, Marc Platt, and John DeLuca produce, with Jeffrey Silver executive producing.
The Little Mermaid will open in theaters on May 26, 2023.
The Little Mermaid is the beloved story of Ariel, a beautiful and spirited young mermaid with a thirst for adventure. The youngest of King Triton’s daughters and the most defiant, Ariel longs to find out more about the world beyond the sea and, while visiting the surface, falls for the dashing Prince Eric. While mermaids are forbidden to interact with humans, Ariel must follow her heart. She makes a deal with the evil sea witch, Ursula, which gives her a chance to experience life on land but ultimately places her life – and her father’s crown – in jeopardy.
Hardy scored seven nominations and tops the list of the 58th Academy of Country Music Awards nominees. Lainey Wilson picked up six nominations, followed by Kane Brown, Luke Combs, Miranda Lambert, and Cole Swindell with five.
Dolly Parton is returning as ACM Awards host for the second straight year. She’ll be joined by Garth Brooks who’ll be making his Academy of Country Music Awards hosting debut.
This year’s awards show will take place at the Ford Center at The Star in Frisco, Texas. The ACM Awards will air live on Prime Video on Thursday, May 11th.
58th Academy of Country Music Awards Nominees:
ENTERTAINER OF THE YEAR
• Jason Aldean
• Kane Brown
• Luke Combs
• Miranda Lambert
• Chris Stapleton
• Carrie Underwood
• Morgan Wallen
FEMALE ARTIST OF THE YEAR
• Kelsea Ballerini
• Miranda Lambert
• Ashley McBryde
• Carly Pearce
• Lainey Wilson
MALE ARTIST OF THE YEAR
• Kane Brown
• Luke Combs
• Jordan Davis
• Chris Stapleton
• Morgan Wallen
DUO OF THE YEAR
• Brooks & Dunn
• Brothers Osborne
• Dan + Shay
• Maddie & Tae
• The War and Treaty
GROUP OF THE YEAR
• Lady A
• Little Big Town
• Midland
• Old Dominion
• Zac Brown Band
NEW FEMALE ARTIST OF THE YEAR
• Priscilla Block
• Megan Moroney
• Caitlyn Smith
• Morgan Wade
• Hailey Whitters
NEW MALE ARTIST OF THE YEAR
• Zach Bryan
• Jackson Dean
• ERNEST
• Dylan Scott
• Nate Smith
• Bailey Zimmerman
ALBUM OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
• Ashley McBryde Presents: Lindeville – Ashley McBryde
Producer: John Osborne
Record Company-Label: Warner Music Nashville
• Bell Bottom Country – Lainey Wilson
Producer: Jay Joyce
Record Company-Label: Broken Bow Records
• Growin’ Up – Luke Combs
Producers: Luke Combs, Chip Matthews, Jonathan Singleton
Record Company-Label: Columbia Records
• Mr. Saturday Night – Jon Pardi
Producers: Jon Pardi, Bart Butler, Ryan Gore
Record Company-Label: Capitol Records Nashville
• Palomino – Miranda Lambert
Producers: Jon Randall, Luke Dick, Miranda Lambert, Mikey Reaves
Record Company-Label: Vanner Records/RCA Records Nashville
SINGLE OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
• Heart Like A Truck – Lainey Wilson
Producer: Jay Joyce
Record Company-Label: Broken Bow Records
• Never Wanted To Be That Girl – Carly Pearce & Ashley McBryde
Producers: Josh Osborne, Shane McAnally
Record Company-Label: Big Machine Records/Warner Music Nashville
• She Had Me At Heads Carolina – Cole Swindell
Producer: Zach Crowell
Record Company-Label: Warner Music Nashville
• Thank God – Kane Brown with Katelyn Brown
Producer: Dann Huff
Record Company-Label: RCA Nashville
• ‘Til You Can’t – Cody Johnson
Producer: Trent Willmon
Record Company-Label: Warner Music Nashville/CoJo Music
SONG OF THE YEAR [Awarded to Songwriter(s)/Publisher(s)/Artist(s)]
• Sand In My Boots – Morgan Wallen
Songwriters: Ashley Gorley, Josh Osborne, Michael Hardy
Publishers: Relative Music Group; Sony/ATV Accent; Sony/ATV Cross Keys Publishing; Sony/ATV Tree Publishing
• She Had Me At Heads Carolina – Cole Swindell
Songwriters: Ashley Gorley, Cole Swindell, Jesse Frasure, Mark D. Sanders, Thomas Rhett, Tim Nichols
Publishers: Ashley Gorley Publishing Designee; Be A Light Publishing; Colden Rainey Music; EMI Blackwood Music Inc; Songs Of Roc Nation Music; Sony Tree Publishing; Telemitry Rhythm House Music; Universal Music Corp; WC Music Corp; Warner-Tamerlane Publishing Corp
• ‘Til You Can’t – Cody Johnson
Songwriters: Ben Stennis, Matt Rogers
Publishers: Anthem Canalco Publishing; Dead Aim Music; The Stennis Mightier Music
• wait in the truck – HARDY feat. Lainey Wilson
Songwriters: Hunter Phelps, Jordan Schmidt, Michael Hardy, Renee Blair
Publishers: Humerus Publishing Global; Nontypical Music; Pile of Schmidt Songs; Rednecker Music; Relative Music Group; Round Hill Verses Publishing; Sony/ATV Accent; Sony/ATV Tree Publishing; The Money Tree Vibez; WC Music Corp; Who Wants to Buy My Publishing
• You Should Probably Leave – Chris Stapleton
Songwriters: Ashley Gorley, Chris DuBois, Chris Stapleton
Publishers: One77 Songs; Sea Gayle Music; Songs of Southside Independent Music Publishing; Spirit Two Nashville; WC Music Corp
VISUAL MEDIA OF THE YEAR [Awarded to Producer(s)/Director(s)/Artist(s)]
• HEARTFIRST – Kelsea Ballerini
Producers: Christen Pinkston & Wesley Stebbins-Perry
Director: P Tracy
• She Had Me At Heads Carolina – Cole Swindell
Producer: Troy Jackson
Director: Spidey Smith
• Thank God – Kane Brown with Katelyn Brown
Producer: Luke Arreguin
Director: Alex Alvga
• ‘Til You Can’t – Cody Johnson
Producer: Maddy Hayes
Director: Dustin Haney
• wait in the truck – HARDY feat. Lainey Wilson
Producer: Inkwell Productions
Director: Justin Clough
• What He Didn’t Do – Carly Pearce
Producer: Ryan Byrd
Director: Alexa Campbell
SONGWRITER OF THE YEAR
• Nicolle Galyon
• Ashley Gorley
• Chase McGill
• Josh Osborne
• Hunter Phelps
ARTIST-SONGWRITER OF THE YEAR
• Luke Combs
• ERNEST
• HARDY
• Miranda Lambert
• Morgan Wallen
MUSIC EVENT OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
• At the End of a Bar – Chris Young with Mitchell Tenpenny
Producers: Chris DeStefano, Chris Young
Record Company-Label: RCA Nashville
• She Had Me At Heads Carolina [Remix] – Cole Swindell & Jo Dee Messina
Producer: Zach Crowell
Record Company-Label: Warner Music Nashville
• Thank God – Kane Brown with Katelyn Brown
Producer: Dann Huff
Record Company-Label: RCA Nashville
• Thinking ‘Bout You – Dustin Lynch feat. MacKenzie Porter
Producer: Zach Crowell
Record Company-Label: Broken Bow Records
• wait in the truck – HARDY feat. Lainey Wilson
Producers: Derek Wells, HARDY, Joey Moi, Jordan Schmidt
Record Company-Label: Big Loud Records
STUDIO RECORDING AWARDS:
BASS PLAYER OF THE YEAR
• Mark Hill
• Tony Lucido
• Steve Mackey
• Lex Price
• Craig Young
DRUMMER OF THE YEAR
• Fred Eltringham
• Miles McPherson
• Jerry Roe
• Aaron Sterling
• Nir Z
ACOUSTIC GUITAR PLAYER OF THE YEAR
• Tim Galloway
• Todd Lombardo
• Danny Rader
• Bryan Sutton
• Ilya Toshinskiy
PIANO/KEYBOARDS PLAYER OF THE YEAR
• Jim “Moose” Brown
• Dave Cohen
• Charles Judge
• Billy Justineau
• Alex Wright
SPECIALTY INSTRUMENT PLAYER OF THE YEAR
• Dan Dugmore
• Stuart Duncan
• Jenee Fleenor
• Josh Matheny
• Justin Schipper
ELECTRIC GUITAR PLAYER OF THE YEAR
• Kris Donegan
• Kenny Greenberg
• Rob McNelley
• Sol Philcox-Littlefield
• Derek Wells
AUDIO ENGINEER OF THE YEAR
• Drew Bollman
• Josh Ditty
• Gena Johnson
• Justin Niebank
• F. Reid Shippen
PRODUCER OF THE YEAR
• Buddy Cannon
• Luke Dick
• Jay Joyce
• Joey Moi
• Jon Randall
• Derek Wells
INDUSTRY AWARDS:
CASINO OF THE YEAR – THEATER
• Deadwood Mountain Grand – Deadwood, SD
• Golden Nugget – Lake Charles, LA
• Resorts World Theatre at Resorts World Las Vegas – Las Vegas, NV
• Seminole Hard Rock Hotel & Casino – Hollywood, FL
• Soaring Eagle – Mount Pleasant, MI
CASINO OF THE YEAR – ARENA
• Fallsview Casino Resort – Niagara Falls, ON
• Harrah’s – Council Bluffs, IA
• Harveys Lake Tahoe – Stateline, NV
• Mystic Lake Casino Showroom – Prior Lake, MN
• Northern Quest Resort & Casino – Airway Heights, WA
• Turning Stone Resort Casino – Verona, NY
FESTIVAL OF THE YEAR
• C2C: Country to Country – UK
• Carolina Country Music Fest – Myrtle Beach, SC
• Country Concert – Fort Loramie, OH
• Country Fest – Cadott, WI
• Country Thunder – Bristol, TN
• Stagecoach Festival – Indio, CA
• Tortuga Music Festival – Fort Lauderdale, FL
FAIR/RODEO OF THE YEAR
• Auburn Rodeo – Opelika, AL
• Cheyenne Frontier Days – Cheyenne, WY
• Florida Strawberry Festival – Plant City, FL
• Houston Livestock Show and Rodeo – Houston, TX
• Iowa State Fair – Des Moines, IA
CLUB OF THE YEAR
• Billy Bob’s Texas – Fort Worth, TX
• Coyote Joe’s – Charlotte, NC
• Grizzly Rose – Denver, CO
• Gruene Hall – New Braunfels, TX
• Joe’s on Weed St. – Chicago, IL
THEATER OF THE YEAR
• Crystal Grand Music Theatre – Wisconsin Dells, WI
• Florida Theatre – Jacksonville, FL
• Grand Ole Opry House – Nashville, TN
• Orpheum Theater – Omaha, NE
• Stiefel Theatre – Salina, KS
OUTDOOR VENUE OF THE YEAR
• Bank of NH Pavilion – Gilford, NH
• FirstBank Amphitheater – Franklin, TN
• Greek Theatre – Los Angeles, CA
• Santa Barbara Bowl – Santa Barbara, CA
• St. Augustine Amphitheatre – St. Augustine, FL
• The Wharf Amphitheater – Orange Beach, AL
ARENA OF THE YEAR
• Denny Sanford PREMIER Center – Sioux Falls, SD
• Dickies Arena – Fort Worth, TX
• Hertz Arena – Estero, FL
• Moody Center – Austin, TX
• Simmons Bank Arena – Little Rock, AR
• Thompson-Boling Arena – Knoxville, TN
DON ROMEO TALENT BUYER OF THE YEAR
• Ron Pateras
• Pat Powelson
• Michelle Romeo
• Stacy Vee
• Troy Vollhoffer
PROMOTER OF THE YEAR
• Patrick McDill
• Aaron Spalding
• Ed Warm
• Adam Weiser
• Jay Wilson
The trailer for season four of Netflix’s Never Have I Ever warns viewers to buckle up, senior year is going to be a wild ride. The one-minute teaser for the final season finds Devi and her friends prepared to take on their last year of high school, believing they’re ready for anything. Which, of course, means they’re most definitely not.
The 10-episode fourth and final season premieres on June 8, 2023.
Maitreyi Ramakrishnan stars as Devi Vishwakumar, Poorna Jagannathan is Nalini Vishwakumar, Richa Moorjani is Kamala, and Jaren Lewison plays Ben Gross. Darren Barnet is Paxton Hall-Yoshida, Lee Rodriguez is Fabiola Torres, and Ramona Young stars as Eleanor Wong. Michael Cimino (Love, Victor) joins the cast as Ethan.
Mindy Kaling and Lang Fisher co-created the series and serve as writers and executive producers, with Fisher as showrunner. Additional executive producers include 3 Arts Entertainment’s David Miner and Howard Klein.
Showrunner Fisher described Cimino’s smoldering bad boy Ethan as too tempting for Devi to resist. “There’s something undeniably appealing about a person who doesn’t give a crap about the rules,” said Fisher, adding, “And Ethan finds Devi’s hot temper pretty intriguing.”
Never Have I Ever is a coming-of-age comedy about the complicated life of a modern-day first-generation Indian American teenage girl. The series stars Maitreyi Ramakrishnan as Devi, an overachieving high school student who has a short fuse that gets her into difficult situations.
The team’s called in to search for missing agents on CBS’s FBI: Most Wanted season four episode 18. Directed by Loren Yaconelli from a script by Richard Sweren and Ryan Causey, episode 18 – “Rangeland” – will air on Tuesday, April 18, 2023 at 10pm ET/PT.
Season four stars Dylan McDermott as Supervisory Special Agent Remy Scott, Alexa Davalos as Special Agent Kristin Gaines, Roxy Sternberg as Special Agent Sheryll Barnes, Keisha Castle-Hughes as Special Agent Hana Gibson, and Edwin Hodge as Special Agent Ray Cannon.
“Rangeland” Plot: After two agents from the Bureau of Land Management go missing while executing a land seizure warrant in Wyoming, the Fugitive Task Force heads west to track them down in an unwelcoming county. Also, Hana receives a threat.
FBI: Most Wanted is a high-stakes drama that focuses on the Fugitive Task Force, an elite unit that relentlessly pursues and captures the notorious criminals on the Bureau’s Most Wanted list. The team’s charming but formidable new leader is Supervisory Special Agent Remy Scott, who started his career in the New York FBI field office before rising through the ranks of the Bureau in Philadelphia and Las Vegas.
The team includes Special Agent Sheryll Barnes, a former NYPD detective and forensics expert who is raising two young children with her wife; Special Agent Hana Gibson, a gifted millennial computer whiz with a sharp wit and mad hacking skills; Special Agent Kristin Gaines, a Navy veteran who became a star in the FBI’s Miami Field Office as a result of her dogged pursuit of cold cases; and their newest member, former New Orleans cop-turned-junior detective Ray Cannon, who was recently working Violent Crimes in Albany after following in his retired FBI agent father’s footsteps and graduating at the top of his class at Quantico last year.
Always in the field and always on the run, FBI: Most Wanted is a weekly adrenaline shot about the thrill of the chase.
Shanel Bailey as Hazel in ‘Grease: Rise of the Pink Ladies’ episode 3 (Photo Credit: Eduardo Araquel / Paramount+)
Paramount+’s Grease: Rise of the Pink Ladies episode three introduces a new character to the mix. Hazel (Shanel Bailey) is an intelligent, introverted Black teenager who doesn’t fit in after transferring to Rydell. She’s an academic whiz who’s set her sights on attending college. However, she’ll first have to survive Rydell High School to do so.
Hazel breaks out in song to share her feelings, describing the promise of greener grass and cleaner streets – a promise that thus far hasn’t been kept. Still, she keeps her focus on the stars and realizes that despite all the changes, the sky remains constant.
“The stars, they still shine. Orion says hi. Everything’s changed, but I’ve got the same sky,” belts out Hazel.
Meanwhile, Jane (Marisa Davila) and her family host a party for their friends and neighbors. Jane’s dad brags about his daughter running for class president, and Jim Johnson, an attendee who happens to be a popular local reporter, believes there’s a story there that his viewers would love to hear about. His audience deserves to learn about a changing Rydell. That comment prompts an eavesdropping woman to note all you have to do is look outside to see that Rydell’s changing. Three Mexican families have moved onto her street and, given her overt racism, it’s not a shock when she says she hates their music.
Jim’s wife, Ethel, points out Jane’s mom, Kitty (Vivian Lamolli), has a much darker complexion than her daughters. Ethel assumes it’s because of Kitty’s Italian heritage, and Kitty quickly cuts off Jane’s little sister, Fran (aka Frenchy), when she tries to correct Ethel. (Kitty is Puerto Rican but passing as Italian.)
Ethel suggests Jane’s family should join the local athletic club. It’s a good way to meet the town’s movers and shakers. The Johnsons offer to show the Faccianos around, and Kitty jumps at the opportunity.
The following morning, Kitty warns her youngest daughter that she needs to be seen, not heard, at gatherings. Frenchy (Madison Elizabeth Lagares) confesses to being confused about her mom’s heritage, and Kitty claims Californians don’t understand or care to learn anything about Puerto Rico. It’s just easier to let them assume she’s Italian.
Jane stashed her jacket outside and grabs it on the way to meet up with her Pink Ladies and T-Birds crew before school. Olivia (Cheyenne Isabel Wells) shows off promotional buttons she made for Jane’s campaign, and Jane’s so impressed she asks her to take over as campaign manager. After a brief hesitation and some ego-stroking, Olivia agrees.
The gangs make it to school and the Pink Ladies are passing out buttons when Nancy (Tricia Fukuhara) arrives dressed head to toe in black leather. She’s got a new attitude and isn’t taking crap from anyone anymore.
Buddy (Jason Schmidt) puts a damper on the gang’s cheery mood when he announces that if he wins, everyone’s invited to a celebratory dance at the Rydell country club. And rather than buttons, his pack of football players and cheerleaders toss candy to the crowd.
Olivia and Cynthia (Ari Notartomaso) suggest that Jane should get busy with debate prep. Rumor has it that Buddy’s dad hired a big-time debate coach to help him prepare.
Ari Notartomaso as Cynthia Zdunowski in ‘Grease: Rise of the Pink Ladies’ episode 3 (Photo Credit: Eduardo Araquel / Paramount+)
Asst Principal McGee (Jackie Hoffman) breaks up the group and sends Cynthia off to her first drama class. Mr. Vaughan introduces himself as the instructor and Cynthia’s first assignment is to pretend to be a Martian who’s never seen a chair before. Needless to say, her first performance doesn’t impress anyone.
Jane heads to a debate club meeting, and thankfully her audience is much more impressed with her skills. She works on convincing them why she’s the better candidate and the guys crush on her beauty and brains. However, Hazel – the only other female in attendance – isn’t won over.
Hazel points out that Jane’s definition of a fun time isn’t the same as everyone else’s. Although Jane’s proud of herself for negotiating a reduced rental rate at the country club (something Buddy never thought to do), Hazel isn’t on board. After all, a quarter of the school – herself included – would never be allowed into the country club if it weren’t for the dance.
Hazel adds that Jane’s basically targeting the same votes as Buddy by using the dance as part of her campaign. Jane confesses she didn’t consider any of this.
The gangs meet up at the Frosty Palace after school, and Olivia and the guys agree with Hazel. They can’t get into the country club except for this school dance. Cynthia and Nancy also agree. “Those dances ain’t really for us, so I ain’t really for them,” says Cynthia.
Richie (Johnathan Nieves) says only better tunes would make him want to go.
Jane decides she’s going to switch things up and host a new kind of dance – one that’s more inclusive and hipper. Olivia promises to get the word out.
The next day at school, Olivia tricks Assistant Principal McGee into leaving her office, which gives the Pink Ladies time to make the morning announcement. A vote for Jane means a new kind of fall ball…one without a dress code, without a date mandate, and one that’s all rock and roll. Plus, they’ll host it in the gym, saving money and making it open to everyone.
The cherry on top is a promise to get a super popular DJ to work the dance.
The students go wild, and Hazel realizes Jane listened to her suggestions.
Later, Cynthia’s suffering through another drama class when her assigned partner, Lydia, describes her as scared. Cynthia stalks off, angry.
Students petition Jane with ideas for other changes, including getting rid of preferred parking for the football team. Jane promises she’ll take care of things when she’s elected.
Jane spots Hazel and thanks her for all her suggestions. She invites her in for a burger, but Hazel declines, indicating she doesn’t fit in with this crowd.
The unexpected arrival of reporter Jim Johnson makes the malt shop crowd cheer. Jim explains he’s there to see Jane and delivers the news that his station will televise Jane and Buddy’s debate. Susan (Madison Thompson) and Olivia speak for the candidates and immediately accept the invitation.
Jane looks incredibly nervous, and Richie tries to save her by taking her away from the malt shop. Olivia jumps in the car with them, ready to work on Jane’s debate prep which is definitely not what Richie had in mind.
Jane sheds her jacket and as she’s heading up to her house, Richie asks her to the dance. Jane doesn’t get a chance to reply because her mom steps outside and interrupts their conversation.
Marisa Davila as Jane, Madison Lagares as Frenchy, David Alpay as Vincent, and Vivian Lamolli as Kitty in ‘Grease: Rise of the Pink Ladies’ season 3 (Photo Credit: Eduardo Araquel / Paramount+)
Jane’s prep will have to wait because the Johnsons have invited them to tour the country club. It’s a snobby place, and Kitty’s uncomfortable when a Hispanic maid attempts to take her coat. The man giving the tour assures them they’re a progressive establishment. After all, they’ve allowed Italians to join for the past five years.
Old photos of white students attending previous fall balls grace the walls, along with the all-male, all-white portrait of the club’s founders. Jane notices the workers are all Hispanic and asks for a moment to collect herself, claiming she feels a little off.
After she’s left alone, the seven men from the portrait spring to life and sing about the good life and being a part of this exclusive club. They croon about trust fund babies, fat wallets, and how members all have each other’s backs…as long as you’re not Jewish, Asian, Brown, or Black. Oh, and no homosexuals or single women.
Their racist song is punctuated by donning white napkins resembling KKK hoods. As they slip back into the painting, they sing the quiet part out loud – albeit in a whisper – confirming the club’s restricted to the rich, white, and straight.
Back at home, Kitty seems to think joining the club is a good investment. Jane reminds her the club represents everything wrong with this town; she’s already promised not to have the dance there if she wins. Too many of the kids at her school are not welcome there.
Kitty warns her daughter not to ruin things for the family. Every choice she’s made is for her daughters so they can live better lives.
The following day, the debate’s about to start when Buddy’s dad reminds him to stick to the school’s traditions and let his opponent come across as a radical. The Pink Ladies also work on last-minute instructions with Jane, with Olivia reminding her to be bold. Cynthia tells her to show no fear.
The debate begins, and Jane falls flat on her face, unwilling to stand up for her ideals after glancing at her mom. Buddy’s relaxed and stresses Rydell’s traditions, while Jane is tense and nervous and fails to mention a single one of her campaign promises. Not only that, but she also denies she proposed any changes.
Jane did a miserable job and probably tanked her candidacy. She apologizes to the Pink Ladies and leaves her jacket behind when she exits.
At home, Kitty tells her daughter she’s proud of her. Jane knows she disappointed everyone except her mom.
That night, the Pink Ladies and T-Birds show up outside Jane’s house, and Olivia says it’s time for an emergency campaign meeting. Plus, there’s a birthday party going on at Richie and Olivia’s house, and they all deserve to have fun.
Richie wants to dance, but Olivia snags Jane for a meeting. Before heading upstairs to talk, Cynthia and Nancy decide to chug some mezcal. When Cynthia backs out, Nancy laughs at her, which sets Cynthia off. Cynthia hates being laughed at and brings up drama club. Nancy suggests that instead of being laughed at by the thespians, she should join them in all their ridiculousness. Maybe that’s what being fearless and being a Pink Lady really means.
Nancy thinks she might be drunk from one sip and Cynthia grabs the bottle and takes a huge swig.
Jane admits to Olivia that she’s never felt like she’s enough of anything to count. Olivia assures her she is. She got everyone to believe a new Rydell’s possible. Olivia tells Jane she just needs to run as herself.
Richie breaks up the meeting and grabs Jane for a dance. They sneak away and kiss.
The following day at school, Jane’s back passing out her buttons, but this time no one takes one. They’re making fun of Jane for freezing up on live TV when class begins, and Hazel takes her seat next to the only Black student who’s popular at Rydell. Wally’s in with the cool kids because he’s a football player and because he’s hung out with them since kindergarten. He advises Hazel not to hang out with the Pink Ladies because it’ll lead to trouble.
“Trouble just might hit you differently than it might hit them,” warns Wally.
Cynthia decides to dive into drama club and delivers an outstanding performance as a Martian encountering a chair for the first time. Mr. Vaughan leads a round of applause and compliments her work.
Marisa Davila as Jane and Jason Schmidt as Buddy in ‘Grease: Rise of the Pink Ladies’ episode 3 (Photo Credit: Eduardo Araquel / Paramount+)
Hazel runs into Jane in the hallway and asks for a button. She also believes Jane needs just to be herself and suggests that she ask Buddy for a rematch.
Jane hits up Buddy at the malt shop and asks for a do-over right now. Buddy seems okay with it, but Susan’s totally against it. The discussion is temporarily put on hold when Jane’s mom shows up to pick up dinner. Jane explains she has things she wants to say but couldn’t, and she needs to get them off her chest now.
Jane asks Buddy again, and he agrees.
Of course, it’s a singing debate and Jane kicks it off by describing Buddy and his group as able to get away with anything at school since they’re wealthy. If people vote for her, the socs’ time will be up. Jane sees a new way to run Rydell that includes everyone.
Buddy takes over the next verse, ticking off a list of what Jane’s changes will lead to, including anarchy, crime, and Communism.
Jane sings back that the lower class, wallflowers, and iconoclasts are done being the popular kids’ easy targets.
Everyone’s into the song and dance number when Buddy joins Jane on the malt shop counter. He’s not watching what he’s doing and tumbles off the counter, injuring his arm. The Pink Ladies and T-Birds make a fast exit as Susan calls for an ambulance.
Episode three ends with Hazel sitting on the roof outside her window when she notices Buddy in the window next door. Buddy wonders if she saw him make an idiot out of himself, and Hazel admits she did. After Buddy confesses that he didn’t believe the horrible things he was singing, Hazel points out that when he says them, he makes everyone believe they can also spout insults and slurs. He’s not leading by example.
Hazel hates Rydell and Buddy feels terrible about that. He admits she’s right about his behavior and is sorry she’s having such a rough time.
Episode eight, the season finale of Paramount+’s School Spirits, begins with Maddie (Peyton List) hanging out on the school’s roof waiting for word from Simon. He’s busy searching for the money at Maddie’s house, looking in what Maddie described as her mom’s favorite hiding places.
Simon (Kristian Flores) discovers an envelope tucked away in one of Maddie’s drawers. As he’s leaving, Simon’s so distracted that he nearly forgets his excuse for being at Sandra’s place when she asks if he found Maddie’s history notebook.
Back at school, Simon reveals the envelope’s contents – Maddie’s necklace. Maddie wore it on the day she died, but it was missing after her death. Simon suggests there’s a “non-murderous” explanation, and Maddie thinks he needs to get her mom to come to the school. Maddie will be able to tell by watching her if she’s lying and if her mom actually killed her.
Simon wonders if Maddie really wants to know if that’s true, and Maddie doesn’t reply.
Meanwhile, Xavier (Spencer Macpherson) thinks Nicole (Kiara Pichardo) should tell his dad, Sheriff Baxter, that she’s the one who was blackmailing Mr. Anderson, and that she took the cash, accidentally made it look like Maddie did it, and then buried the money. Nicole and Claire (Rainbow Wedell) think that’s a horrible idea and that they’ll just ruin their futures. Xavier points out that if they don’t come clean, Mr. South’s future will be over.
Nicole and Claire believe they need proof of who killed Maddie. If they confess now, the real killer will probably get away.
Ghost therapy is underway, and the topic of conversation is Dawn. Charley (Nick Pugliese) and Wally (Milo Manheim) describe the lights, feeling goosebumps, and hearing a humming sound. Charley insists nothing like that happened when Janet crossed over, and Mr. Martin (Josh Zuckerman) can’t stop fidgeting and looking uncomfortable. He claims spirits might cross over differently.
Mr. Martin’s always told the group that looking back is a bad thing. Charley’s incredibly frustrated and insists Mr. Martin’s wrong – looking back might be the key to crossing over. Mr. Martin’s forced to admit it’s just too painful to look back. He reveals he made a huge mistake the day he died 60 years ago, which led to a fire. He saved his class but not himself.
Mr. Martin blames himself for not paying attention and believes his students have had to live with the memory of that traumatic moment because of him. “Let’s just say that I failed them, and I don’t want to fail all of you, too,” says the former chemistry teacher.
He confesses he wishes he had the answers to what makes spirits move on.
Maddie missed the session and Wally finds her alone in the hallway. Wally asks what she said to Dawn before she left, and Maddie explains she comforted her and told her she didn’t deserve to be bullied by her friends. Maddie adds that she apologized for what happened to her. Maybe hearing what she needed to hear is what finally allowed her to cross over.
Maddie confesses she’s scared of learning the truth about her murderer. Wally replies, “Hey, if anybody taught me how to face my fears, it’s you.”
Wally pulls her in for a hug and Maddie sobs in his arms.
Simon’s offered the perfect opportunity to get Maddie’s mom to school when Ms. Fields reveals Maddie won the fall English award. Simon suggests Sandra should accept the award at a ceremony that evening at school.
Xavier attempts to convince his dad that Mr. South had nothing to do with Maddie’s murder. Xavier reminds his father that he was with Mr. South when Maddie disappeared. Plus, Mr. South doesn’t fit the description of the person he saw jumping out of the window at the house where Maddie’s backpack was found. Sheriff Baxter refuses to listen to anything that doesn’t point to Mr. South.
On his way out of his dad’s office, Xavier snaps a photo of a note with the address 4916 Quebec Street written on it.
Meanwhile at school, Charley’s confused about why Rhonda (Sarah Yarkin) didn’t ask more questions in their session. He’s convinced that if they talk it through, they might figure out how they can cross over too. Something in the anti-séance allowed Dawn to leave, but Rhonda’s refusing to discuss what happened. She completely shuts out Charley, even after he reminds her that they’re friends and can talk about anything.
Later, Simon and Sandra (Maria Dizzia) walk the hallways, and Simon suggests they practice her speech. She doesn’t want to talk when she accepts Maddie’s award, but Simon leads her into Ms. Fields’ classroom to prepare, just in case. Maddie’s already there, waiting to hear what her mom has to say.
Maddie prompts Simon to ask what she remembers about her final day. Sandra doesn’t want to talk about it and tries to leave, so Maddie tells him to ask about the necklace. That stops Sandra in her tracks. Simon knows Maddie was wearing it on her death day, but Sandra claimed she never met up with Maddie. How did she get the necklace?
Maddie stares at her mom and touches the necklace while her mom’s also touching it. That sparks a memory of Maddie walking through the hallway and Sandra rushing into the school. Maddie tells Simon to ask why she lied about seeing her that day, and Sandra admits she was ashamed about what happened.
A flashback shows Sandra excited that a guy she met in treatment told her about these cabins that were on sale for a bargain price. Sandra bought one using the money she put away after Maddie’s dad died. The money was earmarked for Maddie for college, and Sandra insisted they could still figure out how to afford school up north by the cabin. Maddie was confused and reminded her mom she planned to attend college in Chicago.
Maddie admitted she wanted to get away from her mom; that’s why she chose Chicago. Sandra wasn’t a responsible adult, never looked after Maddie, and Maddie had been on her own since her father died.
The flashback confirms Maddie took off her necklace and threw it at her mom. Since her mom took away everything her father left her, Sandra might as well have the necklace he gave her, too.
The flashback ends, and Maddie tells Simon her mom didn’t kill her. “She killed my spirit, but she didn’t murder me,” says Maddie.
Maddie sits in the bleachers and watches as her mother accepts her award. Sandra hopes those gathered understand that Maddie cared so much about everything – her friends, college, and her family. Sandra admits Maddie took care of her more than she should have had to. She knows her daughter was always willing to help anyone who needed it and was a wonderful person.
Sandra sobs as she confesses that she wishes she’d been there for her daughter. Mr. Martin joins Maddie and tells her she’s lucky she got this goodbye from her mom. Maddie says she’s ready to write her obituary now.
Xavier, Claire, and Nicole pull up outside 4916 Quebec Street and discover the door’s open. It looks like someone broke in, and Xavier wants to check it out. Claire talks him out of that and suggests a stakeout instead. However, after just a few minutes of arguing in the truck, Xavier can’t take it anymore and heads into the house, followed by Nicole. Claire is assigned getaway driver duty and stays behind in the truck.
They look around for anything indicating someone’s squatting in the deserted house. Xavier suggests they split up and search.
Claire’s watching their flashlights move around inside when she spots someone in a hoodie entering the house. She races from the truck and finds Nicole just as Nicole spots a bed on the floor. They hear a noise and scream for Xavier. As he runs toward them, he slams into the intruder. The intruder flees the house and jumps into the truck.
The intruder backs up into Xavier as the girls scream for help. Nicole also manages to film the incident on her phone.
Back at school, Wally and Charley decide to investigate Dawn and Janet’s pasts to figure out what they learned that allowed them to move on. They pull up old microfiche and look through old files, but nothing’s jumping out at them. Charley admits he feels bad he didn’t get to say goodbye to Dawn, and neither just wants to disappear when it’s their time.
Wally comes across an article on the fallout shelter being built in the location where a fire destroyed a chemistry lab on January 14, 1958. The article mentions two people were killed in the fire – teacher Everett Martin and sophomore Janet Hamilton. Mr. Martin told the group he was the only person who died in that fire! Janet also lied to the group about her death.
They check out the fallout shelter, and it looks like nobody’s been there in years. But then Charley spots a box that appears to have been recently moved. Behind the box are journals written by Mr. Martin, along with the obituaries he made them write. Mr. Martin wrote notes on each of the ghosts describing their mental states. Wally realizes Mr. Martin’s been documenting them and documenting their deaths. There are even multiple drawings of the football play that killed Wally.
Charley finds an article stating Janet’s parents sued the school over her death. The article reveals the surviving students claimed Mr. Martin started the fire.
Wally realizes none of Mr. Martin’s notebooks mention Janet. They’re still looking through the notebooks and articles when Rhonda joins them. Charley realizes she knows Mr. Martin is treating them like test subjects. Rhonda explains she began following Mr. Martin after Maddie arrived and she learned Maddie could communicate with Simon.
Rhonda opens a container and inside are all the objects they had with them when they died, including her acceptance letter to Berkeley and Wally’s football. Rhonda refuses to allow someone in authority to take advantage of her again. As they’re talking, the fallout shelter’s metal door locks and they are unable to open it.
Outside of 4916 Quebec Street, Xavier comes to before the ambulance arrives. His head’s bleeding, but he’s more concerned with figuring out who hit him. Nicole watches the video and says, “What the f**k?!” She sends the video to Simon.
Xavier looks at the blood on his hands from his head wound and passes out.
Over at the school, Maddie’s found a quiet spot to write her obituary. Simon finds her and is about to show her the video when Maddie announces she wants to read him her obituary. She struggles to hold it together as she reads, “I was born. It was really hard, but I had Simon.”
She goes on to say he’s never taken more than he’s given; that’s why they can talk. He’s the only person she can always trust and the only person who’s loved her unconditionally.
Simon cries as Maddie tells him she’s grateful she had him in her life and never had to be alone.
“I wish that was true,” replies Simon.
He shows her the video and it’s clear that Maddie was driving the truck that hit Xavier!
Simon says she’s the one who’s been breaking into houses which means his conversations with her might just be coping mechanisms. “You’re alive out there and I lost my mind,” sobs Simon.
Maddie insists she’s real as Simon leaves without looking back.
Maddie’s at the bus bench when Simon hurries out of the school and grabs his bike. She screams at him to listen and swears she’s there, but he ignores her and rides away. She tries to run after him and because he’s off the school property, she’s flung back into the boiler room.
Simon looks back, but she’s no longer there.
She screams in frustration and then hears Charley calling out for help from the fallout shelter.
A flashback shows Maddie sobbing in the boiler room after the run-in with her mom. She hears a girl cry out for help and follows the sound to the fallout shelter. She opens the door as Mr. Martin and Janet are arguing, and Janet runs toward her, pushes Maddie out of her body, and takes over! That leaves Maddie without a physical form but also not dead.
Back to current events, and Maddie tries to open the door to let Charley, Wally, and Rhonda out. It won’t budge and Rhonda yells for her not to trust “him.” She turns and sees Mr. Martin standing at the top of the stairs.
Meanwhile, Janet – in Maddie’s body – buys a bus ticket out of town. She slips up, gives her name as Janet, and then corrects it to Maddie. On her way to the bus, she spots a missing flyer with Maddie’s photo and rips it off the wall.
And that’s the end of season one. Paramount+ hasn’t indicated if there will be a season two, but the ending certainly leaves enough threads dangling to warrant a second season.
How was Maddie able to hear Mr. Martin and Janet fighting in the fallout shelter, and why was Janet able to leap into her body? Inquiring minds / fans of the series need explanations. Hopefully, Paramount+ will renew the supernatural coming-of-age tale for a second season and answer all of the lingering questions.