Advertisement
Home Blog Page 580

Critics Choice Documentary Awards 2022 Winners: ‘Good Night Oppy’ Named Best Documentary

Good Night Oppy

Good Night Oppy, the moving story of the Mars rover that outlasted all expectations, was named Best Documentary Feature at the 2022 Critics Choice Documentary Awards. The film also earned Best Director (Ryan White), Best Score (Blake Neely), Best Narration (written by Helen Kearns and Ryan White, performed by Angela Bassett), and Best Science/Nature Documentary awards.

The Seventh Annual Critics Choice Documentary Awards selected David Siev’s Bad Axe as the Best First Documentary Feature and The Beatles: Get Back scored the Best Music Documentary award.

The CCDAs, hosted by Wyatt Cenac, took place on November 13, 2022 in New York City. This year marked the first time documentary fans were able to view the awards show live via the official Critics Choice Association’s website.

“Tonight was a whole new Doc Awards – hosting the ceremony in a new, bigger venue in Manhattan and streaming it live for the first time. We are thrilled to continue the celebration of so many groundbreaking and thought-provoking films while highlighting the works of so many brilliant filmmakers,” stated Christopher Campbell, Co-President of the Critics Choice Association’s Documentary Branch.

2022 CRITICS CHOICE DOCUMENTARY AWARDS NOMINEES:

BEST DOCUMENTARY FEATURE
Aftershock (Hulu)
The Automat (A Slice of Pie Productions)
Descendant (Netflix)
Fire of Love (National Geographic Documentary Films/Neon)
Gabby Giffords Won’t Back Down (Briarcliff Entertainment)
WINNER: Good Night Oppy (Amazon Studios)
The Janes (HBO)
Moonage Daydream (HBO/Neon)
Navalny (HBO/CNN/Warner Bros. Pictures)
Sidney (Apple TV+)

BEST DIRECTOR
Judd Apatow, Michael Bonfiglio – George Carlin’s American Dream (HBO)
Margaret Brown – Descendant (Netflix)
Sara Dosa – Fire of Love (National Geographic Documentary Films/Neon)
Reginald Hudlin – Sidney (Apple TV+)
Brett Morgen – Moonage Daydream (HBO/Neon)
Laura Poitras – All the Beauty and the Bloodshed (HBO/Neon)
Daniel Roher – Navalny (HBO/CNN/Warner Bros. Pictures)
WINNER: Ryan White – Good Night Oppy (Amazon Studios)

BEST FIRST DOCUMENTARY FEATURE
Andrea Arnold – Cow (IFC Films)
Lisa Hurwitz – The Automat (A Slice of Pie Productions)
Jono McLeod – My Old School (Magnolia Pictures)
Amy Poehler – Lucy and Desi (Amazon Studios)
Alex Pritz – The Territory (National Geographic Documentary Films)
WINNER: David Siev – Bad Axe (IFC Films)
Bianca Stigter – Three Minutes: A Lengthening (Neon)

BEST CINEMATOGRAPHY
Benjamin Bernhard, Riju Das – All That Breathes (HBO)
Magda Kowalczyk – Cow (IFC Films)
Lucas Tucknott – McEnroe (Showtime)
Gabriela Osio Vanden, Jack Weisman, Sam Holling – Nuisance Bear (The New Yorker)
WINNER: The Cinematography Team – Our Great National Parks (Netflix)
Alex Pritz, Tangãi Uru-eu-wau-wau – The Territory (National Geographic Documentary Films)

BEST EDITING
Jabez Olssen – The Beatles: Get Back (Disney+)
Erin Casper, Jocelyne Chaput – Fire of Love (National Geographic Documentary Films/Neon)
Joe Beshenkovsky – George Carlin’s American Dream (HBO)
Helen Kearns, Rejh Cabrera – Good Night Oppy (Amazon Studios)
WINNER: Brett Morgen – Moonage Daydream (HBO/Neon)
Langdon Page, Maya Daisy Hawke – Navalny (HBO/CNN/Warner Bros. Pictures)
Katharina Wartena – Three Minutes: A Lengthening (Neon)

BEST SCORE
Hummie Mann – The Automat (A Slice of Pie Productions)
Nicolas Godin – Fire of Love (National Geographic Documentary Films/Neon)
WINNER: Blake Neely – Good Night Oppy (Amazon Studios)
Max Avery Lichtenstein – The Janes (HBO)
David Schwartz – Lucy and Desi (Amazon Studios)
Marius de Vries, Matt Robertson – Navalny (HBO/CNN/Warner Bros. Pictures)

BEST NARRATION
Deep in the Heart: A Texas Wildlife Story (Fin and Fur Films)
Written by Ben Masters
Performed by Matthew McConaughey

Fire of Love (National Geographic Documentary Films/Neon)
Written by Shane Boris, Erin Casper, Jocelyne Chaput, Sara Dosa
Performed by Miranda July

WINNER: Good Night Oppy (Amazon Studios)
Written by Helen Kearns, Ryan White
Performed by Angela Bassett

Our Great National Parks (Netflix)
Performed by Barack Obama

Riotsville, U.S.A. (Magnolia Pictures)
Written by Tobi Haslett
Performed by Charlene Modeste

Three Minutes: A Lengthening (Neon)
Written by Bianca Stigter
Performed by Helena Bonham Carter

BEST ARCHIVAL DOCUMENTARY
The Beatles: Get Back (Disney+)
WINNER: Fire of Love (National Geographic Documentary Films/Neon)
Moonage Daydream (HBO/Neon)
Nothing Compares (Showtime)
Riotsville, U.S.A. (Magnolia Pictures)
Three Minutes: A Lengthening (Neon)

BEST HISTORICAL DOCUMENTARY
The Automat (A Slice of Pie Productions)
WINNER: Descendant (Netflix)
The Janes (HBO)
Lowndes County and the Road to Black Power (Peacock)
Still Working 9 to 5 (Mighty Fine Entertainment)
Three Minutes: A Lengthening (Neon)
The U.S. and the Holocaust (PBS)

BEST BIOGRAPHICAL DOCUMENTARY
George Carlin’s American Dream (HBO)
The Last Movie Stars (HBO Max)
Lucy and Desi (Amazon Studios)
The Rebellious Life of Mrs. Rosa Parks (Peacock)
Salvatore: Shoemaker of Dreams (Sony Pictures Classics)
WINNER: Sidney (Apple TV+)
Sr. (Netflix)

BEST MUSIC DOCUMENTARY
WINNER: The Beatles: Get Back (Disney+)
Hallelujah: Leonard Cohen, a Journey, a Song (Sony Pictures Classics)
If These Walls Could Sing (Disney Original Documentary)
Louis Armstrong’s Black & Blues (Apple TV+)
Moonage Daydream (HBO/Neon)
Nothing Compares (Showtime)
The Return of Tanya Tucker – Featuring Brandi Carlile (Sony Pictures Classics)

BEST POLITICAL DOCUMENTARY
Aftershock (Hulu)
All the Beauty and the Bloodshed (HBO/Neon)
Gabby Giffords Won’t Back Down (Briarcliff Entertainment)
The Janes (HBO)
WINNER: Navalny (HBO/CNN/Warner Bros. Pictures)
Retrograde (National Geographic Documentary Films)
Freedom on Fire: Ukraine’s Fight for Freedom (Netflix)

BEST SCIENCE/NATURE DOCUMENTARY
All That Breathes (HBO)
Cow (IFC Films)
Fire of Love (National Geographic Documentary Films/Neon)
WINNER: Good Night Oppy (Amazon Studios)
Nuisance Bear (The New Yorker)
Return to Space (Netflix)
The Territory (National Geographic Documentary Films)

BEST SPORTS DOCUMENTARY
WINNER (Tie): Citizen Ashe (Magnolia/HBO)
Hockeyland (Greenwich Entertainment)
Kaepernick & America (Dark Star Pictures)
McEnroe (Showtime)
The Redeem Team (Netflix)
WINNER (Tie): Welcome to Wrexham (FX/Hulu)

BEST SHORT DOCUMENTARY
38 at the Garden (HBO)
Angola Do You Hear Us? Voices From a Plantation Prison (MTV Documentary Films)
The Flagmakers (National Geographic Documentary Films)
Four Seasons Total Documentary (MSNBC)
My Disability Roadmap (The New York Times Op Docs)
WINNER: Nuisance Bear (The New Yorker)
Stranger at the Gate (The New Yorker)

BEST LIMITED DOCUMENTARY SERIES
WINNER: The Beatles: Get Back (Disney+)
Hostages (HBO)
The Last Movie Stars (HBO Max)
The Lincoln Project (Showtime)
Our Great National Parks (Netflix)
The U.S. and the Holocaust (PBS)
We Need to Talk About Cosby (Showtime)

BEST ONGOING DOCUMENTARY SERIES
WINNER: 30 for 30 (ESPN)
American Masters (PBS)
Cheer (Netflix)
The Circus (Showtime)
Unsolved Mysteries (Netflix)
Welcome to Wrexham (FX/Hulu)

The Pennebaker Award
Barbara Kopple, presented by Kopple’s producing partner and wife, Chris Hegedus

Kopple, a director of documentaries, narrative TV, and film, is a two-time Academy Award winner and ten-time Emmy Award nominee. Her most recent project is the forthcoming documentary Gumbo Coalition, which premieres at DOC NYC as the Centerpiece Presentation in November 2022.

Kopple produced and directed Harlan County USA and American Dream, both winners of the Academy Award for Best Documentary Feature. Her other films include Miss Sharon Jones!, Desert One, The House of Steinbrenner, Woodstock: Now and Then, Shut Up and Sing, Havoc, A Conversation with Gregory Peck, My Generation, Wild Man Blues, Running From Crazy, Fallen Champ: The Untold Story of Mike Tyson, This is Everything: Gigi Gorgeous, and many more.




Charlie Puth, Bebe Rexha Added as 2022 American Music Awards Performers

American Music Awards 2022 Performers

The 2022 American Music Awards will feature a tribute to 17-time AMA winner Lionel Richie, and P!nk will honor 10-time AMA winner Olivia Newton-John with a special performance of one of Newton-John’s most popular songs. Olivia Newton-John passed away on August 8, 2022 after a lengthy battle with breast cancer.

Two-time AMA winner Stevie Wonder and two-time AMA nominee Charlie Puth will perform a medley of Richie’s songs. Singer/songwriter Ari Lennox will also take part in the tribute to this year’s Icon Award recipient.

Additional just-announced performers include Anitta, David Guetta, Dove Cameron, GloRilla, and Lil Baby. Carrie Underwood, Imagine Dragons, J.I.D, Yola, and house DJ D-Nice were previously confirmed to take the stage during the 50th anniversary of the American Music Awards.

GloRilla will make her AMAs performance debut just days after the release of her new EP, Anyways, Life’s Great…. AMA winner David Guetta and two-time nominee Bebe Rexha will team up to perform their #1 Billboard Hot Dance/Electronic Songs hit “I’m Good (Blue).” New Artist of the Year nominee Dove Cameron will perform “Boyfriend” during the broadcast, marking her American Music Awards debut. Favorite Female Latin Artist nominee Anitta is set to perform “Lobby” and “Envolver.” And Favorite Male Hip-Hop Artist nominee Lil Baby is confirmed to perform a medley of “California Breeze” and “In a Minute.”

Wayne Brady has been tapped to host this year’s awards show airing live on ABC on Sunday, November 20, 2022 at 8pm ET/PT (tape-delayed on the West Coast).




‘The Equalizer’ Season 3 Episode 6 Photos, Plot and Cast: “A Time to Kill”

McCall finds herself in the hot seat on CBS’s The Equalizer season three episode six, “A Time to Kill.” Directed by Chris Fisher from a script by Melissa R. Byer and Treena Hancock, episode six will air on Sunday, November 20, 2022 at 8:30pm ET/PT.

Queen Latifah leads the cast as Robyn McCall. Season three also stars Tory Kittles as Detective Marcus Dante, Adam Goldberg as Harry Keshegian, Liza Lapira as Melody “Mel” Bayani, and Laya DeLeon Hayes as Delilah. Lorraine Toussaint returns as Viola “Vi” Marsette. Brett Dalton, Gabriel Sloyer, Chris Vance, and Stephen Bishop recur.

Eddie McGee, Lee Aaron Rosen, Natalie Roy, Tony Naumovski, and Georgi James guest star.

“A Time to Kill” Plot: After a teen girl dies from fentanyl-laced pills, a vigilante goes on a killing spree and McCall becomes a suspect.

The Equalizer Season 3 Episode 6
Queen Latifah as Robyn McCall in ‘The Equalizer’ season 3 episode 6 (Photo: Michael Greenberg © 2022 CBS Broadcasting, Inc)

The Equalizer Plot:

The Equalizer is a reimagining of the classic series starring Academy Award® nominee and multi-hyphenate Queen Latifah as Robyn McCall, an enigmatic woman with a mysterious background who uses her extensive skills as a former CIA operative to help those with nowhere else to turn. McCall presents to most as an average single mom who is quietly raising her teenage daughter. But to a trusted few, she is The Equalizer – an anonymous guardian angel and defender of the downtrodden, who’s also dogged in her pursuit of personal redemption.

Robyn’s clandestine work and her personal life collide when her smart and observant daughter, Delilah, and her aunt Vi, who lives with Robyn to help her balance life as a working mother, discover her secret career as a vigilante. While Robyn contends with uncertainty at home, she is joined in her pursuit of justice by Melody “Mel” Bayani, an edgy bar owner and sniper from Robyn’s past; and Harry Keshegian, a paranoid and brilliant white-hat hacker.

As Robyn aids the oppressed and exploited, she sometimes works with Marcus Dante, an NYPD detective who once sought to uncover her identity, but now respects the need for Robyn’s type of justice even as he often questions her methods.

The Equalizer Season 3 Episode 6
Tory Kittles as Detective Marcus Dante and Queen Latifah as Robyn McCall in the “A Time to Kill” episode (Photo: Michael Greenberg © 2022 CBS Broadcasting, Inc)
The Equalizer Season 3 Episode 6
Lorraine Toussaint as Viola “Vi” Marsette in season 3 episode 6 (Photo: Michael Greenberg © 2022 CBS Broadcasting, Inc.)
The Equalizer Season 3 Episode 6
Liza Lapira as Melody “Mel” Bayani in season 3 episode 6 (Photo: Michael Greenberg © 2022 CBS Broadcasting, Inc)
The Equalizer Season 3 Episode 6
Queen Latifah as Robyn McCall in season 3 episode 6 (Photo: Michael Greenberg © 2022 CBS Broadcasting, Inc)
The Equalizer Season 3 Episode 6
Adam Goldberg as Harry Keshegian in season 3 episode 6 (Photo: Michael Greenberg © 2022 CBS Broadcasting, Inc.)
The Equalizer Season 3 Episode 6
Tony Naumovski as Alexi Petrov in season 3 episode 6 (Photo: Michael Greenberg © 2022 CBS Broadcasting, Inc)
The Equalizer Season 3 Episode 6
Queen Latifah as Robyn McCall in season 3 episode 6 (Photo: Michael Greenberg © 2022 CBS Broadcasting, Inc)




‘Yellowstone’ Season 5 Episode 2 Recap: “The Sting of Wisdom”

Yellowstone Season 5 Episode 2
Kevin Costner stars as John Dutton in ‘Yellowstone’ season 5 episode 2 (Photo Credit: Paramount Network)

Paramount Network’s Yellowstone season five episode two opens with the heartbreaking and devastating scene of Monica and Tate’s car accident. An injured Tate was the only person who wasn’t ejected when Monica’s car and a stranger’s truck ran into a buffalo that wandered onto the road.

Monica (Kelsey Asbille) is in horrible pain as she yells for Tate (Brecken Merrill) to call an ambulance. Tate, who’s already endured so much trauma in his young life, makes the call as Monica screams.

The credits lead into a scene at Kayce’s place, with Kayce (Luke Grimes) gently holding his sleeping wife in bed. He quietly rises to drive Tate somewhere, assuring his son that they’ll be okay but it will take a while to mend. They’ve lost a son and brother, but Monica’s lost a part of herself so her healing will be much more difficult.

Tate wonders if they’ll try again and lets his dad know he liked having a brother, even if it was just for an hour.

Over at the Yellowstone Ranch, Rip (Cole Hauser) orders Carter to saddle up John’s horse. John’s not around but the horse needs to get out, so Carter’s going to be subbing in for the big boss. Carter moves a little too slowly for Rip’s taste and Rip says, “God didn’t add extra daylight to Tuesday, Carter!”

Lloyd (Forrie J Smith) joins Rip, and they watch Carter methodically work on saddling the horse. Rip finally loses his patience and takes off with the wranglers, leaving Lloyd to supervise. Carter’s nervous since he’s never done this for himself, and he pretty much forgets everything he normally does when getting the horses ready in the morning.

Lloyd has the patience of a saint and walks him through each step.

John (Kevin Costner) goes over his schedule with his assistant, Clara Brewer (Lilli Kay), and is stunned to learn just how many meetings he has to sit through in one day. He’s also frustrated when he hears about a talk he’s supposed to give the following day in Butte to promote one of his educational programs…a program he’s never heard of.

His patience is as short as Rip’s and he calls for his Chief of Staff Jim Roberts to be brought into this morning’s meeting. (Jamie, Beth, and Lynelle are already in attendance.) John’s savvy enough to know Jim’s friendship with someone who benefits from this new educational initiative is the reason it’s been approved.

Poor Jim…he’s barely made it into the meeting when he’s replaced by Beth as CoS and ordered to leave.

Beth (Kelly Reilly) doesn’t want the position but John insists that since she got him into this job, she has no choice but to get him through the next four years. Beth looks at her dad’s schedule and Lynelle explains what his next meeting’s about. (John’s clearly a fish out of water with exactly zero you-know-whats to give about being governor if it doesn’t concern his family’s ranch.)

Lynelle reminds him that as governor he needs to shake hands, pose for photos, and basically play nice. John, who’s already said he’s a one-term governor, doesn’t plan on doing any of that.

Jamie (Wes Bentley) is next up to explain what the legal process will be like if he calls off the funding for the airport and other Market Equities projects. Market Equities will just get funding elsewhere. Also, John can’t just cancel the lease or he’ll be sued. And Jamie’s certain if they sue, Market Equities will win.

“Revoke the funding, order an environmental review, and cancel the lease,” says John, not budging one iota from his position despite the legal consequences.

Jamie and Lynelle argue that Market Equities will ultimately wind up owning the ranch if John continues down this path. Beth points out the Yellowstone’s zoned as agricultural. That leads to – at least on the surface level – a civil discussion with Jamie about approvals and use of the land for purposes outside its zoning.

Jamie says that statute is waved by the governor’s office all the time, and Beth fires back. “Well, not this time.”

Beth has Clara set a meetup for drinks for her and John with Ronny and Kyle from the Park County Commissioners’ office today. John also has Clara clear any meetings from his schedule with groups that have “alliance” in their title.

Beth’s ready to wrap up the morning’s meeting after telling Clara to pack a bag, she’ll need it for their evening with the commissioners. But John has one more item to discuss. He orders Jamie to have the paperwork complete and on his desk in one hour. Jamie requests a private meeting with John, and Beth tells him to just go do his f*cking job.

Yellowstone Season 5 Episode 2
Kelly Reilly and Wes Bentley in ‘Yellowstone’ season 5 episode 2 (Photo Credit: Paramount Network)

After Jamie and Beth leave, Lynelle looks over John’s schedule and explains the game to him once again. It’s all about exchanging favors. First, he gives them and then he can ask for favors in return. She’ll fill in on as many of his meetings as she can, but he must agree to some meetings. She also reminds him that if he alienates everyone by insisting he’s not in it for the long haul, his supporters will desert him. And he’ll need them to help fight off Market Equities. It’s unlikely they’ll just slink away quietly into the night.

If Market Equities learns they only need to wait four years, they’ll wait. He’ll have to change laws while he’s in office if he wants to permanently hold them off. The Land Board has five officers – the Governor, Attorney General, Secretary of State, Auditor, and Public Interest Superintendent. Lynelle believes Jamie was smart to sign the lease in the first place, and if he hadn’t then the Land Board would have voted to allow the State to own the Yellowstone Ranch.

When John cancels the lease, it’ll go back in front of the Land Board and they could still turn over Yellowstone to the State – if John refuses to play the game. (He should listen – Lynelle understands exactly how this all works.)

Jamie ignores Beth when she follows him and keeps saying, “Hey,” slamming his office door behind him in her face. Undeterred, she barges in and slams the door even harder behind her. (She has to one-up him on every single thing!)

She warns her brother never to contradict John again, but Jamie patiently explains why he spoke up. Beth claims she wants to believe he’s doing what’s best for the family but then she reminds herself that John’s not his dad and this isn’t his family. She also brings up that he shot his own father (without saying those actual words).

Beth wants him to do as he’s told until Market Equities gives up. After that, he can leave. Beth confirms she views him as unredeemable.

“Your political career was over the moment you chose your father over mine,” says Beth. He had best not forget he’s her prisoner now unless he wants to go to jail. And, since he’s sold his ranch, she wants him home on weekends so she can keep an eye on him. (I’ve always been #TeamBeth but not loving this extreme version of a vengeance-driven Beth right now.)

Home alone, Monica makes it to the bathroom and stares at herself in the mirror. She touches her stomach and takes a deep breath before joining Kayce outside. He’s taken the day off work in case she needs anything, and Monica confesses she’d like to hold a very private funeral for the baby. Kayce blames himself and Monica warns him they’re not going to do that. It’s no one’s fault.

Monica wants to bury the baby at Yellowstone, and Kayce says he’ll ask John but already knows the answer’s yes.

Monica asks the question on all our minds. Is this what Kayce meant when he said he saw “the end of us”? He admits it isn’t; he never saw this coming.

“This won’t be the end of us,” says Kayce. He adds that he had to choose the end of us, and he will never choose that.

Kayce brings up that Tate wants a brother and Monica says she wanted him to have one. The couple holds each other tight as Monica sobs.

The wranglers work the cattle and come upon a dead momma cow. Rip and Lloyd believe that wolves did it, but Ryan (Ian Bohen) disagrees. Wolves might have eaten it, but something else killed it. He wants to call in Kayce, but Rip wants to leave Kayce out of it, given what he’s going through right now. Plus, they don’t need a State hunter on Yellowstone just a couple of days into John’s term.

They’ll deal with it themselves after they get a permit. Rip puts Ryan and Colby (Denim Richards) in charge of killing the wolves.

Episode two’s halfway done when one of season two’s new big baddies, Sarah Atwood (Dawn Olivieri), puts in her first appearance. Sarah’s a heavy-hitter called in by Market Equities CEO Caroline Warner (Jacki Weaver) to handle the Dutton situation.

Sarah joins Caroline and the Market Equities team to watch a press conference called by Governor John Dutton.

Meanwhile, Jamie delivers the paperwork John requested squashing the permit and funding. Jamie warns his dad that he’s basically declaring war by signing this order, and John says they’re already at war.

John delivers a speech about the meaning of the word freedom. Allowing a city to be built in the middle of the pristine wilderness strips Montanians from their freedom to breathe clean air and drink clean water. The development would also strain hospitals and key infrastructure. Plus, it will ultimately raise their taxes and make it harder to remain in Montana.

He signs an executive order to revoke Market Equities’ permits and cease all funding. John doesn’t take any questions and quickly leaves the press conference.

Caroline wants a cease & desist order filed along with a lawsuit over breach of contract. She wants them to throw in any other charges they can think of.

Sarah points out that Jamie doesn’t look up to the fight. He’ll be her first target.

Yellowstone Season 5 Episode 2
Finn Little in ‘Yellowstone’ season 5 episode 2 (Photo Credit: Paramount Network)

Back at the ranch, Lloyd’s impressed with Carter’s first real day of cowboying and sends him off to round up two nearby cows. Suddenly, his horse trips in a hole and falls, with Carter injuring his arm. However, that’s not the worst of it. The horse won’t be able to recover from this injury and Rip’s forced to put him down. (Remember, this is John’s horse.)

Rip dispassionately orders everyone back to work as Carter apologizes. Rip tells Carter to carry the bridle and saddle back to the barn, after reminding him to always have one eye on the ground and one eye on the cattle in the future.

Beth arrives early for the evening’s meeting over drinks, and a man unwisely chooses to hit on her at the bar. She pegs him as a professor with grown kids and a wife who left him. She shatters his ego by describing what she thinks is his way of life, sending him off to nurse his wounds after calling him a pencil d*ck.

The meeting begins and the men aren’t happy John just stripped the county of hundreds of millions in tax revenue. John points out they don’t have anywhere to spend hundreds of millions anyway, so it doesn’t really matter.

John promises to increase their tax revenue by doubling property tax on non-residents. Ronny Meyers (J Downing) and Kyle Fremont (James Remar) don’t think it’ll work but Beth attempts to sway them to John’s side. They cut to the chase and ask what John wants, and he asks them to turn down the request to rezone Yellowstone Ranch.

A discussion ensues and John promises there won’t be any litigation. And he promises they’ll remain in office if they take his side. Plus, when the rezoning request is denied he plans on placing the ranch in a “conservation easement” so there will be nothing to litigate.

This takes Beth completely by surprise. It’s also all it takes to convince Ronny and Kyle to promise to deny the rezoning request.

Beth warns her dad that if he makes that move, they won’t be able to cover their losses or taxes. They can’t sell off or develop any of the ranches, and will likely lose the whole ranch.

“But it will be whole, honey,” replies John. “It will be whole. That matters more than any name on a deed.”

Beth did not see this move coming.

John arrives back at the ranch and Rip fills him in on what’s going on. Carter broke his arm when John’s horse stepped in a badger hole and shattered his leg. He apologizes to John and says it was his fault. John understands and doesn’t hold it against Rip or Carter.

Rip’s happy to have his wife back, even if it is just for eight hours. Beth promises they’ll cram a week’s worth of loving into one night.

Night’s fallen, and Colby and Ryan follow Rip’s orders and shoot the wolves eating their cattle. It’s not until after they’re dead that the guys realize these are protected wolves from the park. They’re each wearing collars that track their movements and if they remain still for 12 hours, dozens of game wardens will come looking for them.

People love these wolves and follow their movements. They even have their own Facebook pages, and some supporters wear T-shirts with their faces. If they learn the wolves have been killed, all hell will break loose.

Ryan thinks they need to take off the collars until he can figure out what to do.

It’s only after the wolves are dead that Ryan admits they didn’t get the necessary permits to kill them. (What’s with all the animal deaths in this episode?!)

A flashback shows a young John Dutton (welcome back, Josh Lucas) and a ranch hand discovering dead fish, a calf, and a dead elk. There’s something in the water that’s poisoned the animals and fish, and John looks for the cause from a helicopter. He discovers a construction site and punches the foreman, Dick Weller (Elijah Mahar). He holds up his Livestock Agent badge and pulls out his gun, to show he means business.

One of the men explains they’ve been spraying a chemical to kill off weeds. Dick claims they’re licensed to spray it and doesn’t care the chemical’s made its way into the creek. The EPA approved it while they’re working on putting up a cell tower for the phone company.

Because they have a permit, they won’t stop using the chemical. John will have to speak directly with the phone company.

That night, a teenage Rip and other ranch hands destroy the construction site and the equipment. They also spray the chemical all around the foreman’s property and knock the man out when he confronts them.

The vegetation quickly dies along with birds and any other wildlife in the area. The foreman howls in the shower as he tries to wash off the chemicals after laying outside, unconscious, all night covered in poison.

Back to current events and Ryan and Colby are forced to call Rip about the dead wolves. He rides out in the middle of the night and instructs them to remove the collars. They’ll need to move like wolves as they ride back to the park.

They place the collars semi-loosely on pieces of wood and toss them in the river. Rip warns them never to shoot wolves with GPS tracking devices again (that’s pretty obvious, isn’t it?) and never to tell anyone what they’ve done.

Morning arrives on the ranch and Clara’s overwhelmed by the view. She can’t imagine what it takes to maintain the Yellowstone and John admits it takes everything they’ve got.

The episode ends with one of the pieces of wood, tracker still attached, getting snagged on a tree limb that’s fallen into the river.




‘Yellowstone’ Season 5 Episode 1 Recap: “One Hundred Years is Nothing”

Yellowstone Season 5 Episode 1
Kevin Costner stars as John Dutton in ‘Yellowstone’ season 5 episode 1 (Photo Credit: Paramount Network)

Season four of Paramount Network’s Yellowstone ended with Beth forcing Jamie’s hand and compelling him to murder his biological father. Of course, that means Beth now owns Jamie, which is incredibly good timing given John’s decision to run for governor—a position Jamie lusted after and assumed would be his for the taking. Kayce told Monica he saw “the end of us” after his vision quest and, in case you forgot, Monica is pregnant. Plus, Beth’s now a married woman with a bullseye painted on her back courtesy of Market Equities’ CEO.

And now for a recap of Yellowstone season five episode one, airing on November 13, 2022:

Episode one picks up the story on election day with John (Kevin Costner) winning the gubernatorial race. After calling John to congratulate him, Scott McMullen makes a concession speech that Jamie, Beth, outgoing Governor Lynelle Perry, and John’s supporters watch and savor from John’s campaign headquarters.

Jamie (Wes Bentley) has a quiet moment alone to take in the news.

As John’s about to deliver his first speech as governor-elect, Jamie requests the honor of introducing him as well as newly elected Montana Senator Lynell (Wendy Moniz) to their constituents. Beth (Kelly Reilly) knows Jamie’s only doing it to get on the stage. Whatever his motivations, Jamie does a fantastic job of selling his enthusiasm for both his dad and Lynelle’s victories.

John confirms they have a lot of work to do and a lot to undo. He’s determined not to allow Montana to become “the rich man’s plaything.” His goal as governor will be to preserve what sets Montana apart and be a faithful steward of the land and its people.

Jamie and Beth engage in a staring contest (a battle of wills) as the balloons fall and the crowd cheers.

Over at the casino, Thomas Rainwater (Gil Birmingham) concedes John’s election will be good for the land. However, it will kill a potential income stream for the tribe.

Market Equities CEO Caroline Warner (Jacki Weaver) smashes a glass as John’s win is announced, certain it spells the death of the airport and resort. But her associate, Ellis Steele, points out how glum and depressed Jamie looks on stage as the celebration continues. He’s the weak link, and Caroline instructs Ellis to bring in Sarah Atwood. The gloves are off and Caroline’s done playing around.

We’re treated to a brief flashback of a teenage Beth taunting a hard-working Rip, who promises that someday he’ll be top hand. She’s about to leave for college and asks if he wants to go on a date on her last night in town.

Rip agrees, and the bunkhouse boys give him a hard time as he leaves for his date. Beth continues to tease him as they head to the bar in town, and when they get there, Rip admits he’s never been there before. (He adds that he’s never been anywhere before.)

Rip’s also never had a martini before and settles for water while Beth gives the bartender a peek down her shirt when he requests her ID. Beth and Rip’s discussion turns serious as Beth explains she can either be a victim of how men look at her or benefit from it. She chooses the latter, and she claims men are the weaker sex.

Rip’s not in the mood for this discussion, and it’s obvious he’s incredibly uncomfortable. He suggests they leave, but Beth wants to stay. Rip leaves, alone, since Beth’s clearly not changing her mind.

Outside, the guys from the ranch are just pulling up and offer him one of their trucks so he can make it safely back to the Yellowstone.

Hours later, Rip’s waiting outside the barn as Beth and the wranglers return from the bar. Beth kisses one of the men and then slips into the backseat for a quickie. Rip looks devastated.

It turns out this unpleasant stroll down memory lane leads the Beth we now know and love into apologizing to her husband. Rip (Cole Hauser) doesn’t understand why she’s sorry, and she explains it’s nothing recent that’s making her feel the need to atone.

“This is a sort of blanket apology to generally cover the past,” says Beth. “Everything before right now…that’s what I’m sorry for.”

Beth admits she was awful to him when they were younger, but she claims she was worse on herself. Rip believes her brain is almost as big as her heart. He also thinks he’s the only one who truly understands just how big her heart is.

Beth becomes emotional as she expresses how much she regrets robbing them of years they could have spent together. Rip assures her he’s incredibly happy and doesn’t need anything, including those lost years—or anything else that time took from them. (Rip’s such a decent man and exactly who Beth needs in her life.)

Rip suggests she find someone new to fight so that she stops fighting herself. With a smile, Rip finally agrees she did put him through hell. Now, he just wants her to let herself be happy. She promises she will.

The ranch is buzzing as preparations for John’s party celebrating his win get underway. Rip’s angry about all the hoopla (he calls it a sh*tshow) and orders the wranglers to concentrate on the work at hand. Today that means looking for calves.

Meanwhile, Lynelle and John have a quiet chat at the capitol before John meets with his staff. John points out that the breakfast buffet could feed the poor, and Lynelle explains his staff will eat it while trying to figure out what issues deserve his attention. She also assures him he doesn’t have any friends in this building.

John teases that he blames her for his election, and she reminds him she wanted Jamie as governor because she could have controlled him. That’s not the case with John. They share a joke about their sexual relationship and confirm it’s going to be an interesting four years.

John isn’t going to run for reelection, and Lynelle suggests that he concentrate on that. He doesn’t need to compromise and can get things done without worrying about offending any potential 2026 backers.

We finally catch up with Kayce (Luke Grimes) half an hour into the season five premiere. He’s still Livestock Commissioner and has joined his men in pursuit of horse thieves. The thieves are attempting to drive the horses through the river and over to the Canadian side of the border, where Canadian police are waiting to arrest them. (Canada’s legal system doesn’t scare them as much as America’s does.)

Kayce manages to get the thieves back on American soil, but the horses have made it to Canada. Kayce touched Canadian soil while turning around the thieves and the Canadian police aren’t happy about that or that he’s snagged the thieves they were hoping to apprehend.

Kayce’s able to convince the Canadian cops to return the horses and to allow the thieves to be arrested in America since the U.S. justice system is much harsher. Kayce gets his way and also gets in a final jab at Canada by inferring the cops are sheep when they claim Canada’s more civilized.

Meanwhile at the capitol, a crowd of supporters and the media have gathered to watch John being sworn in as governor. John takes an extraordinarily long pause before stating his name as instructed while being sworn in. In fact, Beth has to prompt him to recite the oath of office.

Yellowstone Season 5 Episode 1 Recap
Kevin Costner, Kelly Reilly, and Wes Bentley in ‘Yellowstone’ season 5 episode 1 (Photo Credit: Paramount Network)

Governor Dutton dons his cowboy hat, and after a brief acknowledgement of applause, he delivers another speech. He reconfirms he didn’t want this job; he just wants to preserve what makes Montana special. He announces his first official action is to cancel the funding for the Paradise Valley Airport Project and the surrounding commercial developments.

John lists additional actions he’s going to take, all of which will financially impact non-residents. “We are not your playground. We are not your haven from the pollution and traffic and mismanagement of your home states,” declares John, as Jamie can barely contain his exasperation with his dad’s actions.

Jamie asks Beth if she knew about John’s plan. He’s certain it will set the state back 30 years. Beth assures him the plan is to actually set it back 100 years. Jamie’s concerned John’s proposals aren’t legal, and Beth doesn’t care. She’s going to work her brother like a “rented mule” and force him to ram John’s proposals through the courts.

It’s only John, Beth, Jamie, and the driver in the car as they leave the capitol, and Beth refuses to pour Jamie a whiskey—even when John tells her to. Jamie suggests John reconsider canceling the airport funding since it’ll bring in $5 million annually to the ranch. The ranch is currently losing $3 million a year as it is.

Jamie and Beth get into an argument over her use of campaign funds to pay for the party at the Yellowstone Ranch, and Jamie’s certain they’re all going to prison. John finally tells them to shut up but then starts the argument up again when he blames Jamie for the fact he’s now governor. John didn’t want the job, and all parties agree Jamie could have won the election. But, John asks, what would happen then? He couldn’t depend on Jamie to do right by the land.

John blames himself for the mess he made of his family and thinks they’re an embarrassment to the family’s legacy. John orders Jamie to sacrifice his ambition and sacrifice his “weak, self-loathing heart” and become strong. Jamie’s also ordered to do everything John says exactly as he says to do it.

John warns them every decision will be made for the good of the ranch. That is first and foremost in his mind as they move forward.

John reminds his driver that everything said between the family stays within the family. The driver earns himself a permanent role with Governor Dutton by agreeing he’d do exactly what John’s doing if he owned the Yellowstone.

The bunkhouse boys play poker and drink while discussing what to wear for the party. There’s a lot of lighthearted ribbing about the possibility of Jake wearing a dress and Teeter shocks everyone by revealing she owns a couple of dresses.

Rip arrives to warn them not to get drunk before the party. When he asks what they’re laughing about and learns Jake wants to wear a dress, Rip orders him not to even think about it. Rip’s serious as a heart attack, but the guys and Teeter are still chuckling. (Poor Jake, he’s in trouble and none of this is his doing!)

A short while later the party gets underway with Shane Smith & The Saints performing on stage. The ranch hands are wearing their dress shirts, but they’re still engaging in a lot of teasing as they discover there’s an open bar. The Bar M cowboys arrive and Lloyd suggests all the wranglers enjoy themselves away from the formal party.

A massive tent’s set up for dinner and applause greets John Dutton and Lynelle as they walk through the crowd and shake hands. They eventually arrive at the head table and Beth says her goodbyes; she’d rather be with Rip.

John complains to Lynelle that it’s the first time he’s been at the ranch in a month. This year marks the first time he’s ever spent the night away from his home. (I guess the nights spent in the hospital recovering from being shot don’t count.)

Yellowstone Season 5 Episode 1 Recap
Kelly Reilly and Cole Hauser in ‘Yellowstone’ season 5 episode 1 (Photo Credit: Paramount Network)

The cowboys are having a blast roping each other in the arena while pretty female party guests (including Lainey Wilson playing a Country singer named Abby) watch from the sidelines. The roping leads to dancing with the guests, and everyone enjoys themselves while Rip watches, relaxing on a nearby hill. Beth joins him and Rip says he’s just keeping an eye on things. He admits when he looks at this party, the future—which he normally never worries about—seems uncertain. Rip compares this whole affair to Nero playing the fiddle as Rome burned.

“He’s going to lose this place,” says Rip, calmly. He gives Beth a kiss and then heads home. Beth continues to sit on the hill and watch the party after he leaves.

Night’s falling as the stolen horses are corralled and waiting to be picked up. Kayce rings up Monica (Kelsey Asbille) to fill her in on what’s happening, and she appears to be ready to give birth any minute. He has to take the horses to Billings, and Monica reveals she probably needs to meet him there. It’s three weeks before her due date but she’s having painful cramps that seem to be getting worse.

Kayce’s worried about her driving and says he’ll have an ambulance meet her on the road.

Kayce leaves Steve Hendon (James Jordan) in charge of the horses and heads out to meet Monica at the hospital.

Monica’s continuing to experience bad cramping as she drives with Tate in the passenger seat. The cramps are almost debilitating, but she won’t pull over and Tate’s too young to drive. The car weaves all over the road.

A truck is heading in Monica’s direction with a driver who’s distracted by food. Suddenly, a buffalo appears on the road in between Monica’s car and the truck. We’re spared the moment of impact, but the sound of shattering glass confirms something horrible’s taken place!

It’s a peaceful morning at the Yellowstone Ranch when Carter (Finn Little), who’s really sprouted since season four, greets John at the barn. John doesn’t have time for a ride and Carter admits he misses their rides. John promises they’ll do them again and then orders Carter to stop growing because it freaks him out.

“You’re a living reminder of how much time I don’t have,” says John to a completely confused Carter. John tosses in a warning that if he grows a beard, he’s fired.

Jamie meets John at the car and informs him their plans have changed and they need to go to Billings. Beth’s with them as they arrive at the hospital and find Tate outside his mom’s room. Tate’s banged up but okay. The same can’t be said of Monica. She lost the baby and Tate tells his grandfather that he had a brother for an hour. Tate reveals his mom and dad named the baby John.

John enters Monica’s room and stands silently by the bed as Kayce lies in bed next to his unconscious wife.




‘Yellowstone’ Prequel ‘1923’ Unveils a Teaser Trailer and New Photos

Paramount+ just released the first teaser trailer for the Yellowstone prequel, 1923. The latest addition to the Yellowstone franchise stars Oscar winner Helen Mirren and Oscar nominee Harrison Ford as John Dutton’s ancestors, Jacob and Cara. The 30-second teaser, along with a batch of five photos from the upcoming drama, provides our first good look at Mirren and Ford in character.

1923 will premiere on Paramount+ on Sunday, December 18, 2022. The first episode will also be available on Paramount Network on December 18th after a new Yellowstone episode.

Joining Ford and Mirren to bring the early days of the Duttons in Montana to life are Darren Mann (Animal Kingdom), Michelle Randolph (A Snow White Christmas), James Badge Dale (Hightown), Marley Shelton (Scream), Brian Geraghty (Big Sky), Aminah Nieves (Blueberry), and Jerome Flynn (Game of Thrones).

Taylor Sheridan created the series and serves as executive producer along with John Linson, Art Linson, David C. Glasser, Ron Burkle, David Hutkin, Bob Yari, and Ben Richardson. 1923‘s produced by MTV Entertainment Studios, 101 Studios, and Bosque Ranch Productions.

Paramount+ released the following description of 1923:

1923, the next installment of the Dutton family origin story, will introduce a new generation of Duttons, led by patriarch Jacob (Ford) and matriarch Cara (Mirren). The series will explore the early 20th century when pandemics, historic drought, the end of Prohibition, and the Great Depression all plague the mountain west, and the Duttons who call it home.

1923 Helen Mirren and Harrison Ford
Harrison Ford as Jacob Dutton and Helen MIrren as Cara Dutton in ‘1923’ (Photo Credit: James Minchin III/Paramount+)

1923 Cast and Characters:

Harrison Ford will play Jacob Dutton, the patriarch of the Yellowstone ranch, husband to Cara Dutton and brother of James Dutton (1883‘s Tim McGraw).
• Helen Mirren will play Cara Dutton, the wife to Jacob Dutton and family matriarch.
• Darren Mann will play Jack Dutton, John Dutton Sr.’s son and great-nephew to Jacob Dutton. He is a dedicated rancher who is deeply loyal to his family.
• Michelle Randolph will play Elizabeth Strafford, a feisty and capable young woman set to marry into the Dutton family.
• James Badge Dale will play John Dutton Sr., the oldest nephew and right-hand man of Jacob Dutton.
• Marley Shelton will play Emma Dutton, the dutiful wife of John Dutton Sr. and the mother of Jack Dutton.
• Brian Geraghty will play Zane, a fiercely loyal ranch foreman.
• Aminah Nieves will play Teonna Rainwater, a young woman at a government residential boarding school.
• Julia Schlaepfer will play Alexandra, a British woman who meets one of the Duttons abroad.

1923 Harrison Ford
Harrison Ford as Jacob Dutton in ‘1923’ (Photo Credit: James Minchin III/Paramount+)
1923 Helen Mirren
Helen Mirren as Cara Dutton in ‘1923’ (Photo Credit: James Minchin III/Paramount+)
1923 Harrison Ford
Harrison Ford as Jacob Dutton in ‘1923’ (Photo Credit: James Minchin III/Paramount+)
1923 Helen Mirren
Helen Mirren as Cara Dutton in ‘1923’ (Photo Credit: James Minchin III/Paramount+)




Inside ‘Fleishman Is In Trouble’ with Claire Danes and Jesse Eisenberg

Fleishman Is In Trouble
Jesse Eisenberg as Toby Fleishman and Lizzy Caplan as Libby Epstein in ‘Fleishman Is In Trouble’ (Photo CR: Linda Kallerus/FX)

Fleishman Is In Trouble author Taffy Brodesser-Akner says one of the biggest challenges in adapting her book for the FX on Hulu limited series was learning to write dialogue rather than lengthy paragraphs. Fortunately, Brodesser-Akner’s a quick learner and had the support of experienced executive producers Sarah Timberman and Susannah Grant while working on her first show.

“When I met Sarah and Susannah, they told me that I was the only person who could write it, and I’m like, ‘Yeah, what if I’m the only person who could write it?’” recalled Brodesser-Akner during a November 2022 Fleishman is in Trouble press conference. “And that’s how I got to do it, with two people who believed in it and who showed me how you could change just a few words and change the nature of an entire scene.”

Showrunner, writer, and executive producer Brodesser-Akner joked that next she’s thinking of going into casting after snagging her first choices for the lead roles. Oscar nominee Jesse Eisenberg (The Social Network) stars as Toby Fleishman, three-time Emmy winner Claire Danes (Homeland) plays Rachel Fleishman, Emmy nominee Lizzy Caplan (Masters of Sex) is Libby Epstein, and Adam Brody (Single Parents) stars as Seth Morris. (The four leads joined Brodesser-Akner for the lengthy press conference.)

“I have to say that these are the only people I ever pictured for this role. I think that the roles are so specific. I can’t understand why these were the only people that occurred to me,” said Brodesser-Akner. “I think that these people together…I mean from the minute they were together – some of them knew each other before we started, some of them did not – and now when I watch Lizzy and Jesse and Adam together, I feel that they have been friends for life. When I watch Claire and Jesse together, I feel that they’ve been married, and it’s funny to be in a situation like this where I see them be friends after months of watching acrimony on screen. It’s extraordinary.”

According to Lizzy Caplan, the friendship vibe was there from the beginning of the Fleishman is in Trouble production.

“That was one of the things that I loved so much about being a part of this is showing this friendship which felt so familiar to me that it was – I mean from the first scene, we didn’t even have to ease into it. We were just kind of there. And I think that’s a combination of all of us doing this for so long, we could probably fake a friendship with whoever at this point, but for it to feel this authentic, the rarity of it, it just made it instantly fun,” said Caplan.

The series focuses on the shattered marriage of Toby (Jesse Eisenberg) and Rachel Fleishman (Claire Danes) and how Toby attempts to sort out his life as a newly single father of two. Lizzy Caplan and Adam Brody play Toby’s supportive friends, Libby and Seth, who he uses as sounding boards as he eases back into single life while struggling to understand how he got to this point.

Rachel’s sudden disappearance further throws a monkey wrench into Toby’s life as he’s forced to consider what transpired in their marriage that left them both such broken people.

Toby hadn’t been able to spend much time with his friends before the end of his marriage, and reconnecting has its own unique issues.

“The interesting thing for my character is that the reason we get back together is because I’m going through this horrible experience, and so I’m dipping my toes back into my past, but I really have one foot outside the door of the relationship because I’m so self-involved because I’m doing through this, you know, horribly fraught divorce. And so, it’s kind of an interesting way to backtrack into an old relationship, kind of not in the most responsible (way) – not as a complete, committed friend, but as somebody who really needs people at this horrible moment,” explained Jesse Eisenberg.

There’s a sense of loneliness that permeates each of the four main characters. The actors embraced and empathized with that aspect of their characters.

“I’ve only ever felt alone in a crowded room. And alone in rooms alone,” joked Eisenberg. “The whole show did feel like, at once, very specific, culturally and comically and dramatically, but also I felt when I had read it – the same feeling when I read the book – which was that this is something that feels so culturally specific to something I know very well, and I’m familiar with and grew up in, but at the same time, probably accessible to somebody who grew up in a completely different set of circumstances. That’s the kind of beauty of the show and the book.”

Adam Brody believes that rather than loneliness, there’s a melancholy to the show and book.

“I feel that about life, and I feel like as you get older and you’re in your 40s, you’re still asking the questions about who you are and where you want to go, and you’re still at a crossroads,” offered Adam Brody. “You still have a lot of lessons to learn, things to discover, and it’s not just for people in their 20s.”

Lizzy Caplan suggested there’s a specific kind of loneliness that occurs in a marriage. It’s unexpected and jarring, and accepting it can be difficult.

“I think there’s this unspoken thing that people say to themselves, like, ‘I’m never going to feel lonely again. I have this person. I have my person. And then a family.’ And so, when you start to feel those feelings of loneliness or alienation within your household or your family unit, it’s even more destabilizing because it’s like somebody’s reneging on the promise,” said Caplan.

She added: “There’s so many things in the show, in the book, that I love so much, but the idea that when the person closest to you, your husband, in Libby’s case, it’s very easy to point your finger at him when the rest of your life isn’t going the way that you envisioned it going because he was there for all of it. So, it’s very easy to blame him. I think you say he’s like a comorbidity to the rest of your life not working out. And the sad truth theme of this whole thing is that even if you divorce your husband, you’re not going to be 22, and you’re not going to get a do-over.

So, it’s facing down all of that, which is what it is to be in your 40s. And I certainly didn’t think I was going to be facing that down in my 20s. It’s like the thought doesn’t even occur to you until you’re in it.”

Fleishman Is In Trouble Claire Danes
Claire Danes as Rachel Fleishman in ‘Fleishman Is In Trouble’ (Photo CR: Matthias Clamer/FX)

Claire Danes loved exploring the Fleishmans’ marriage as well as the relationships that surrounded it.

“I think it does kind of tease at a huge fear that I think we all share, which is how well do you truly know your most intimate partner? And how well do you know yourself? And sometimes, the answer is confronting, right, not very,” said Danes. “I think that anxiety about that potential alienation within very close proximity is spooky. And tragic, right? But they’re all wrestling with the big stuff and have to go through their little crucibles and go through a lot of discomfort. But, you know, maybe at the end, they’re a little closer to their truth with themselves and each other. And therefore, a little closer to each other.”

Jesse Eisenberg found it interesting that his and Claire Danes’ characters were viewed from each other’s perspectives.

“So, when Claire is viewed from my perspective, she appears ambitious to a fault, vindictive, negligent, and then when the show flips perspectives and you see me from her point of view, you have similar feelings towards me,” explained Eisenberg. “And so, one of the challenges that we faced was just kind of modulating how villainous and how heroic we are as actors. Goodness, (how) sympathetic to make our characters, or how kind of aloof to create our characters when you’re in the perspective, the other person’s perspective – that was kind of a very interesting challenge. Sometimes, we would simultaneously do scenes from different perspectives and have to kind of make these small modulations to try to have that effect.”

The process of preparing to play this married couple with seemingly unsurmountable issues included playing dodgeball. Yes, you read that right. Dodgeball.

“We all had a couple of dinners, which are very helpful, truly. Just getting a sense of each other and breaking bread literally and developing a teeny, tiny bit of trust, and we had a couple of rehearsals, really only a couple. They were very brief, but they were effective. They were dense, and Jon (Dayton) and Val (Faris), our directors, had a really interesting approach,” said Danes. “They had us do some writing exercises and asked, like gave us these pretty provocative prompts, and we played a game of dodgeball, for reals.”

Danes continued: “They wanted to physicalize that sense of combativeness, right? And we had a rehearsal with our children, and that was all pretty helpful, and it did kind of shoehorn us into the actual, the real stuff of filming.

I can’t speak for Jesse exactly, but I felt very fortunate just to have a kind of immediate, natural affiliation and connection and rapport. I think we both love the story and both love the language…and we have a lot of it. We spar a huge amount and I know it was contentious, but it was actually kind of joyful.”

Fleishman Is In Trouble premieres on Hulu on Thursday, November 17, 2022.




‘NCIS’ Releases Details on a Special 3 Hour Crossover Event

NCIS Crossover Event Cast
The ‘NCIS’ franchise sets its first 3 hour crossover event (Photo Credit: CBS)

The NCIS franchise will be hosting its first three-hour crossover event on Monday, January 9, 2023 on CBS. (Moved off its original Jan. 2 air date.) NCIS, NCIS: Hawaii, and NCIS: Los Angeles fans will be treated to back-to-back-to-back episodes of the popular series, linked together by a hunt for a hitman.

“We are so excited to finally have the long-awaited, first-ever NCISverse crossover to share with our passionate, loyal viewers,” stated Amy Reisenbach, executive vice president of current programs at CBS. “The popularity, longevity and continued success of the franchise is a testament to the immense talent of the casts and writing and producing teams who bring these shows to life. They came up with a thrilling story for this epic three-hour event that creatively brings all three NCIS teams together for fans to enjoy in one night and beyond.”

The January 2nd event kicks off at 8pm ET/PT with NCIS followed by NCIS: Hawaii at 9pm and NCIS: Los Angeles at 10pm.

The announcement of the first-ever NCISverse crossover included the following details on the three episodes:

The NCISverse crossover will center around a very personal, high-stakes case to take down a mysterious hitman. Team members from the different NCIS divisions come together in Washington, D.C., to celebrate a beloved FLETC (Federal Law Enforcement Training Center) professor who taught multiple members of each of the squads. On the eve of the celebration, the professor is found dead of an apparent suicide and his former students immediately suspect foul play. While investigating his past, they uncover a mysterious hitman, and the more they dig into it, the bigger the targets on their backs become. Members of the team are suddenly kidnapped and all the agents must come together to take down the assassin and save their own.

NCIS: “Too Many Cooks” – NCIS agents from Washington, D.C., Los Angeles and Hawai’i, all in D.C. to attend the retirement party of a beloved Federal Law Enforcement Training Center (FLETC) professor, find themselves jointly investigating his shocking suicide.

NCIS: HAWAI’I: “Deep Fake” – Tennant, Jimmy Palmer (Brian Dietzen) and Sam Hanna (LL COOL J) find themselves captured with a woman who claims to be a CIA agent demanding intel from the team. Also, Jesse, Ernie, Whistler and Alden Parker (Gary Cole) learn about an asset that arrived in Hawai’i who could be connected to several overseas assassinations.

NCIS: LOS ANGELES: “A Long Time Coming” – While Agent Rountree and Fatima are searching for Kilbride, who has been MIA, they are ambushed and learn that every member of the team has a $200,000 bounty on their head via the dark web. The NCIS team must save Agent Rountree and find Kilbride while every cartel, hit man, gang and psychopath hunts them down.




‘Black Panther: Wakanda Forever’ Movie Review

Black Panther Wakanda Forever
A scene from Marvel Studios’ ‘Black Panther: Wakanda Forever’ (Photo courtesy of Marvel Studios © 2022 MARVEL.)

The Black Panther has passed away but “Wakanda is forever” is the main theme and message of the latest entry in the Marvel Cinematic Universe, Black Panther: Wakanda Forever.

The film opens with Shuri (Letitia Wright) desperately trying to find a cure to a mysterious illness her brother, T’Challa, is dying from. Just as she believes she has created a strong enough medicine to buy her brother more time, she learns the devastating news from her mother, Queen Ramonda (Angela Bassett), that her brother is gone. All of this happens even before the opening title sequence which is filled with images and scenes of the late Chadwick Boseman as King T’Challa/Black Panther.

The action leaps forward one year and picks up with Queen Ramonda addressing the United Nations and providing proof of hired mercenaries who were captured by Wakanda’s defense forces as they were attempting to steal vibranium (the indestructible metal found only in the nation of Wakanda). Ramonda is aware that the world believes that without its king, Wakanda is vulnerable. She issues a warning to all nations that any other acts of infiltration and aggression will be considered an act of war against Wakanda.

Only days later, an American ship out in the Atlantic Ocean is searching for vibranium in the depths of the sea when it’s attacked by blue-skinned people who have no problem breathing underwater.

They leave no survivors.

Meanwhile, back in Wakanda Shuri and Ramonda are still struggling with the grief of losing T’Challa when the ruler of the underwater kingdom of Talokan rises out of the water directly in front of them. His name is Namor (Tenoch Huerta) and his people call him Kukulkan, which means the Feather Serpent God. He warns Shuri and Ramonda that the surface world will not stop trying to get vibranium and he won’t allow that to happen.

To both Ramonda and Shuri’s surprise, part of what Namor is wearing is covered in vibranium.

After he leaves, Shuri and Ramonda do some investigating and contact their CIA friend Everett Ross (Martin Freeman). They discover that a brilliant teenage girl created a machine that can find vibranium. Believing Namor and his people will go after her, Shuri and General Okoye (Danai Gurira) leave Wakanda to try and save the girl and bring her back to Wakanda for protection.

Moving and heartfelt, Black Panther: Wakanda Forever is an emotional homage to the late Chadwick Boseman and his portrayal of King T’Challa. It’s as much a memorial to Boseman as it is a film about dealing with grief and moving on with life. It also introduces an intriguing and empathetic villain to the film series.

Letitia Wright returns to reprise her role as Shuri, T’Challa’s sister and genius inventor. Wright delivers a solid, emotional performance as a young woman dealing with her grief and guilt, as well as trying to figure out her role now that her brother the King is gone. Wright, however, doesn’t quite have the presence to carry the full weight of the film…but she doesn’t have to. This outing is much more an ensemble anchored by a powerful performance by Angela Bassett as Queen Ramonda who is determined to keep Wakanda secure from other nations looking to invade and profit at the nation’s expense.

Danai Gurira also reprises her role as General Okoye whose job it becomes to accompany Shuri and keep her safe. The scenes between Gurira and Wright are some of the best and most entertaining, and the chemistry’s solid between these talented performers.

Tenoch Huerta is well cast as Namor, the leader of an underwater civilization called Tulakan who will do anything to protect his people, including making war with all the nations of the lands.

The wonderful ensemble cast does its best to fill the void left by Boseman’s absence, but it’s still felt since his performance of T’Challa was the heart and soul of the Black Panther character and the Wakanda Kingdom.

The second Black Panther film does suffer from the use of too much CGI, especially with the underwater sequences and the big battle near the end of the film. And the two hours and 41 minutes running time is really pushing it, and many scenes could – and should – have been edited tighter. A few could even have been cut altogether without the film suffering from their loss.

Still, with stirring action scenes, a fantastic ensemble cast, and genuine emotional weight to it, Black Panther: Wakanda Forever is a fitting tribute to Chadwick Boseman and a Marvel film not to be missed.

GRADE: B

MPAA Rating: PG-13 for sequences of strong violence, action, and some language

Release Date: November 11, 2022

Directed By: Ryan Coogler




“The One With Fun Bobby” – An Interview with Vincent Ventresca

Vincent Ventresca in Friends
Monica (Courteney Cox) and Fun Bobby (Vincent Ventresca) in a scene from ‘Friends’ (Photo courtesy of NBC)

Even though he was a regular on five series, the role actor Vincent Ventresca is best known for is Fun Bobby on NBC’s hit sitcom Friends.

For two episodes.

That were a season apart.

And more than 27 years ago at that.

“More people saw those two episodes than anything else I’ve done. It’s a show that just keeps going, finding a new format; it’s being introduced to a whole new generation. That show became its own thing, its own world. It was a funny bit on a show that everybody saw. It’s rerunning all the time,” said Ventresca, 56, who lives in Los Angeles with Dianne, his wife of 27 years, with whom he has two children.

On Friends, Fun Bobby was the love interest of Monica (Courteney Cox), debuting in the Season 1 episode, “The One With the Monkey.” The life of the party, Fun Bobby is known and loved by all. He arrives late to a New Year’s Party, revealing his grandfather died and he wasn’t able to get a flight out, bringing everyone to tears.

“Not a lot of people remember that Friends in its first season was a moderate hit. All of them were relatively unknown with the exception of Courteney (Cox)… They were all happy to have a job,” recalled Ventresca. “At the end of (my episode), producer David Crane said to me, ‘We’ll have Fun Bobby back.’ I was like, ‘Great.’ I’ve been told ‘We’ll have you back’ a lot… Whenever they say that, they’ll never have you back.”

However, Crane kept his word and brought Ventresca back the following season. In the Season 2 episode, “The One With Russ,” Monica gives Fun Bobby another chance. However, it’s revealed he’s an alcoholic. Monica successfully helps him stop drinking. Once he does, he’s no longer fun to be around. In fact, Chandler (Matthew Perry) calls him “Ridiculously Dull Bobby.” Ironically, Monica begins drinking heavily around him, so she can be entertained in his presence. As a result, Fun Bobby thinks she has a drinking problem and breaks up with her.

“We would do a very fast run-through while putting on makeup… I had my wardrobe on. It was a muted color. (Producer Marta Kauffman) or Courteney suggested that I should be wearing something bright because I’m Fun Bobby. I changed into a red turtleneck, so I appear (in the episode) and I’m bright, I’m bouncy, I have all this energy, then I picked up Joey (Matt LeBlanc). It was just a good bit that worked. Who knows how things work on television?” said Ventresca.

Between the first and second seasons, Friends’ popularity skyrocketed. The cast appeared on the cover of Rolling Stone and became very famous. At one point, the cast was making $1 million/episode. For Ventresca, witnessing this was like night and day.

“It was like I’d been to a different planet,” he said. “There were metal detectors, there were helicopters… The set was packed with people all over the place. (The cast) didn’t change; they were still the same. It was exciting and scary. They were huddled together just trying to ride it out. They were an incredible group, and they were lucky to go through it together.”

Ventresca confessed he was intimidated working with them.

“I pretended I wasn’t, but I was,” he said. “They were all such great people. Courteney was so welcoming. She included me in the group. It sorta sucks going on someone else’s show because it’s like they’re having a dinner party – it’s their dinner party – and oftentimes you feel as if you’re sitting at a different table, then you leave. However, Courteney was very deliberate and mindful to include me in the group and all they were doing… She was really cool about it.”

Fun Bobby has become a cult character in his own right. Food, such as the Fun Bobby Hangover Burrito, has been named after him, according to Ventresca.

“I think he was a relatable character for a lot of people,” he said.

Asked what Fun Bobby would be doing now, Ventresca laughed. “Funny you should ask.”

Ventresca isn’t done with Fun Bobby yet. He’s written a spec script where it’s revealed Fun Bobby’s returned to his Midwestern hometown to care for his ailing parents.

“I always thought Fun Bobby should have his own show,” he said. “I know a lot of writers from TV shows who’ve helped me structure it… Fun Bobby has to help his mom and dad – that becomes his new mission in life. He’s Ridiculously Sad Bobby at this point. That’s sorta the bit: He has this mid-life angst, but everyone who sees him lights up because of what he means to them. At some point, maybe that’s enough – to be that person that people loved. He doesn’t feel like his own life was wasted.”

Vincent Ventresca

Part of the Family

When he was a senior at Bishop Chatard High School in Indianapolis, the only college Ventresca applied to was Indiana University. Ventresca joked he majored in basketball and partying his first two years at IU.

Around that time, the 1986 basketball movie Hoosiers was being filmed in Indiana. Basketball players were needed as extras, so Ventresca auditioned. Although he didn’t get the part, his was career path was set. At the beginning of his junior year, Ventresca took an Acting I class. At that point, everything pivoted toward acting. He double-majored in theater and psychology.

“It was a good trade-off because as an athlete and a basketball player, becoming an actor is pretty fluid,” he said. “It’s very similar in its preparation. There’s a performance, there’s game-time, there’s equivalence on both sides. I took hold of all those skills and my love of it – when you love something, you don’t mind doing it. It’s so much fun to be rehearsing a play until midnight and coming back the next night to work on it again and get better so you can be ready for opening night. Then performing it over the course of the run.”

Alongside his IU roommate Tuc Watkins (One Life to Live), Ventresca appeared in Eugene O’Neill’s Ah, Wilderness! This was the same night English reggae/pop band UB40 was performing at IU. Before his cue to go onstage, Ventresca was in the green room with UB40.

“We were all in there together,” recalled Ventresca. “There were real rock stars there. There was all this nervous energy. I was just doing this play with a bunch of makeup on my face. It was so weird and so bizarre, then I realized I just joined this group of people who are performers. Like gypsies, I became part of the caravan. It just felt like home – ‘Wow, this is so weird’ – but I loved it. I felt like I found a family I wanted to be a part of… The IU theater department is its own troupe. It was great. It was really helpful because it shrank the school down to size and then you were dealing with the same 150 people all the time and you were going to the same places all the time.”

IU prepared Ventresca well for his acting career.

“There were many talented people there. It’s like basketball – you play as good as who you’re around. I saw the work ethic, how hard it would be to be successful at it. I was surrounded by artists who worked really hard at what they did, and you saw them produce results from their approach,” he said. “The way IU really prepares you is it introduces the approach to acting, the work ethic, and the opportunity to do plays. That’s where the rubber meets the road, whatever that saying is. Getting out there and performing in front of people when the curtain goes up, that’s when you see if this is what you’re built for.”

Small Screen Success

In the early 1990s, Ventresca moved to L.A. He made his TV debut on the legal drama Reasonable Doubt. Next up was The Fresh Prince of Bel-Air, his first foray into sitcoms.

“That was incredible,” he said. “Queen Latifah also guest-starred in the same episode I did. Will Smith was just so generous. He did this prayer before the show.”

From there, he guest-starred on Life Goes On, Blossom, Almost Home, and Diagnosis Murder, before landing his first regular role as Dr. Tom Powell on the short-lived medical drama Medicine Ball, which he called “FOX’s version of ER.”

Then came Friends, which led to his role as Professor Jack Reed on Boston Common. He was the only one who auditioned for the sitcom, which ran for two seasons on NBC from 1996-97. The show was created by David Kohan and Max Mutchnik, who later created Will & Grace.

After Boston Common was canceled due to low ratings, his next major role was Dr. Ed Tate on ABC’s short-lived science-fiction series Prey. His co-star was a pre-Will & Grace Debra Messing. He has fond memories of working with her.

“Debra was awesome – so committed, so smart,” said Ventresca. “She just took the work very seriously – I loved that. We hung out a lot. When you have a friend who becomes really famous, people start calling you on their behalf and inviting you to things. I was cool with that. I’d get invited and there’d be so many people around her, I would have to fight through them to get to her and say hi.”

Admittedly, he didn’t want to do Prey and initially turned it down.

“I don’t remember why. I mean, what an idiot. I was young. You perceive you have power. There’s so much ego you have to navigate with acting. I did pretty well, but there are a couple of jobs I turned down that made no sense. This is embarrassing, but I’ll say it: I became an actor because I wanted to be Al Pacino. At some point, you realize you’re not Al Pacino; you’re Vinnie Ventresca. But there is a moment where you’re still delusional enough to think that you’re someone else that makes you think you should say no to certain jobs. It’s totally ridiculous,” he explained.

Fortunately, ABC offered Ventresca Prey again. They offered him a development deal for another series after Prey ended, sweetening everything.

“My ego loved that – ‘They really want me! They’re gonna let me do another show!’” he recalled. “The whole thing ended up being a mistake with the exception of doing the show. I really fell in love with the show. I really loved Prey. I loved Debra, I loved (creator William Schmidt)… Prey could’ve gone on forever.”

Unfortunately, Prey only aired one season.

“(Schmidt) said, ‘Look, we can’t offer you the part but (then-Warner Bros. Television President) Tony Jonas wants you to have the job, so you’re in pretty good shape, but you have to test for it. Even if you don’t get it, your development deal still holds; we’ll find another job for you.’ I did that. I got the job. I tried to make it my own. I got really interested in it. Your whole job as an actor is to fall in love with the story you’re trying to tell… I threw myself into it,” he said.

However, Schmidt was fired from Prey. Worse, Jonas, who gave Ventresca the development deal, got fired from Warner Bros. And the development deal ended after a year, turning out to be a “very big, fat dead end.”

“That’s what sucks about TV sometimes,” he said.

Kohan and Mutchnik asked Ventresca to contact Messing about Will & Grace.

“There’s a funny story there: Debra didn’t want to do it,” he said. “Prey had not been formally canceled. Debra is a very, very loyal person and she loved that show. Max called me and said, ‘Tell your friend she has to do our show.’ Max sent me the script. I called Debra and said she should do it. ‘But our show’s not canceled yet,’ she said. ‘Debra, our show’s canceled.’ The next day, Prey was canceled. Then Debra called me three days later, telling me she went to (director) James Burrows’ home for a meeting and got the part.”

As for why he didn’t appear on Will & Grace, Ventresca wasn’t funny enough.

“There’s a tone to their humor,” he explained. “They had to push me when I was doing Boston Common. There’s this mode you have to get in for a half-hour comedy. I remember even having problems with Fun Bobby – ‘You’ve got to amp it a little bit.’ I was always trying to be James Dean. I was always trying to be serious. That doesn’t work in a sitcom. Max and Dave probably thought I’m too much work. Plus, they had Eric McCormick. There’s a real fate to these things when they find the right guy. That whole cast – no one could’ve been better for those four parts than the four actors they got. Will & Grace was such a hot show, they could get big movie stars to guest-star. If you could get a movie star to do a guest spot rather than Vinnie Ventresca, that’s probably a good idea.”

Turning Invisible

Ventresca’s favorite role was cat burglar Darien Fawkes, the titular character on 2000-02’s The Invisible Man. This take on the familiar trope was quite different: Facing life imprisonment, Darien is recruited by a top-secret government agency and given invisibility powers via implantation of a special “Quicksilver” gland in his head. However, the Quicksilver gland causes intense pain and antisocial behavior, requiring regular doses of “counteragent” to keep him sane and healthy.

“I really loved that project,” he said. “I thought the script was great. I met creator Matt Greenberg and director Breck Eisner. I knew I was gonna get that part. I was the first person to read for it, too. Matt said after I read for it, ‘It can’t be that easy. That’s the guy we’re gonna hire.’ They saw people for two more months, then they came back to me. That was my part. You kinda know when it’s you.”

The Invisible Man ran for two seasons but was canceled due to budgeting issues and inter-political strife between the Sci-Fi Channel and then-parent company USA Network.

“At least we got to end the show,” said Ventresca. “That was a great group of people to work with.”

Ventresca’s last regular series was ABC’s 2004-05 sitcom Complete Savages. He’s had recurring and guest roles on Dollhouse, Monk, Cold Case, The Twilight Zone, CSI, CSI: Miami, CSI: NY, $h*! My Dad Says (a Kohan/Mutchnik show), Nikita, Psych, Franklin & Bash, Rizzoli & Isles, Wicked City, Nashville, 9-1-1, and Criminal Minds.

Quitting and Persevering

“When I first became an actor, I wanted to prove I could make a living as an actor. I wanted to have a house, a family, and pay for my kids’ school. After I proved to myself I could do that, acting has become a secondary creative thing. Writing is a primary creative thing,” explained Ventresca. “I never really thought about telling stories; actors are just pieces used to tell a story, but I started thinking about telling stories and what stories were interesting to me. I learned how to write. I write a lot and when I can, I audition for anything that will have me. Still, it’s a very hard, very competitive job.”

To date, Ventresca has completed several spec scripts in addition to his Fun Bobby proposal. He stated he’s constantly learning how to be a better actor and writer.

“(Acting teacher) Sanford Meisner used to say, ‘It takes 20 years to learn how to act.’ I’m just beginning to understand acting just now in a way I never did – and it’s super-exciting to have this thing you’ve been approaching your whole life and now you’re getting to a different phase where you’re just figuring it out,” he said. “If I can say anything, the cool part about being an actor is you really do have to develop all parts of your personality because it tests you in many ways.”

Ventresca continued: “It makes you realize whether you can persevere or not. There is something about perseverance that’s honorable. Most of my life, I quit stuff. I’ve always joked I’m a quitter. I kinda quit my way to this career that is ultimately about persevering… If you can ebb and flow with the sticks and stones acting throws at you, sometimes you can find yourself landing where you’re supposed to be. It’s a rough and tumble road, but I think the best work is ahead of me. Even if I’m wrong, to feel that way is powerful.”




Trending