Janie Mallowan (Gwyneth Keyworth) has been promoted to detective inspector and is wondering if her seniority means she can no longer call herself J-Dog. She remains charming but also goofy and tactless; at one point, she complains about a teabag being left in a cuppa made for her by the wife of a recent murder victim.
Heimann has so much to say about difficult friendship dynamics, difficult relationship dynamics and general millennial malaise that it's a relief that the tone and pace is mostly light and zippy.
The show, which traced the depths into which two Angelenos descend after a road-rage incident, reintroduced Ali Wong as a dramatic lead, gave Steven Yeun a chance to go darkly comic, and shined a rare light on the issue of Asian American mental health.
A time jump resets this show's character dynamics with Rue (Zendaya) working off her debt to a drug dealer and seemingly nearly all the series' other female characters engaged in sex work of some kind. Sam Levinson's vision of a woman's life is pretty depressing.
I was a massive fan of 'Silicon Valley.' Anybody who says that you're just doing 'Silicon Valley' part two, thank you very much. Fantastic compliment. But there is a darkness in this show that I think is offset by comedy.
Will is like strait-laced, follow the rules, wants to do good. I'm more of a wildcard. She's hard to contain. They take this business all the way to Australia where they get into a little bit of trouble pretty quickly - and there ends up being a bit of violence.
The title he really wanted was: Andre Is Dying of Cancer 'Cause He's a Fucking Idiot. My suggestion was to shorten that and lose the expletive. But he wanted that to be the title because he wanted to make sure that nobody thought he was making fun of cancer.
DTF St. Louis's impressive first episode, "Cornhole," possesses the very traits that made Lasdun's article a riveting piece of long-read true crime. The article chronicles how the writer's dentist, Dr. Gilberto Nunez, was arrested and tried for the murder of a friend, whose wife he'd been sleeping with. Its evocations of landmarks that dot American suburbia paint a vivid portrait of humdrum living: dentist offices, karate schools, Olive Gardens, a fateful weekend at Mohegan Sun Casino.
Three middle-aged women may be all you need for anything. To run a business, raise a village, end a war, retool a civilisation, empty the loft. Even more usefully, you can make a great murder-mystery caper with them, as Lisa McGee (a fourth woman! If it ain't broke, don't fix it) has done with her new series How to Get to Heaven from Belfast.
burdened by loneliness, depression, and the incessant needs of others, pours herself a stiff drink and steps up to the noose she's hung from the rafters of her airy farmhouse. Then the phone rings: her ungrateful brother, making demands. She tries again-another ring, another request, this time from a friend. She plays the piano, doesn't she? Will she join a group of fellow-amateurs for a charity gig? Twice thwarted, Beth sighs, says yes, and gets on with the business of living.
Jason Biggs directed and stars in "Untitled Home Invasion Romance," as Kevin, who tries to woo back his estranged wife by having an actor friend pretend to be a burglar. Kevin thinks that if she sees him bravely confronting the burglar, she will respect his strength and courage and fall in love with him again. Meaghan Rath plays Suzie, the wife who turns out to have enough strength and courage for both of them.
In her debut work of fiction, Half His Age, McCurdy continues to shake open a Pandora's box, shedding light on blurred parent-child boundaries and loss of identity due to over-enmeshment, with solid one-liners that feel straight out of a sitcom writers' room. Lead character Waldo is a high school senior whose life doesn't seem to be her own. She play-acts through sexual encounters and disassociates at the school disco (I stand off to the side watching, enveloped by a blanket of catatonia).
Sam Rockwell stars as the otherwise unnamed "Man from the Future," who shows up at a Los Angeles diner looking like a homeless person but claiming to be a time traveler from an apocalyptic future. He's there to recruit the locals into his war against a rogue AI, although the diner patrons are understandably dubious about his sanity. ("I come from a nightmare apocalypse," he assures the crowd about his grubby appearance. "This is the height of f*@ing fashion!") Somehow, he convinces a handful of Angelenos to join his crusade, and judging by the remaining footage, all kinds of chaos breaks out.
The opening credits suggest a work of serious intrigue: a view of Earth from outer space zeroes in on the east coast ot the US and zooms into what's revealed to be a large building complex nestled in woodland what we'll soon learn is CIA headquarters in Langley, Virginia to a soundtrack of propulsive, thundering percussion. From here, it will
In the second episode, Rachel Sennott's Maia and Odessa A'zion's Tallulah meet with the latter's rival from New York, a polished blonde influencer who claims Tallulah stole her Balenciaga bag. The visit is meant to mend fences; naturally, it devolves into a cocaine-fueled nightmare caught on video. The footage leaks online, and Maia's gentle teacher boyfriend, Dylan (Josh Hutcherson), learns his coke-snorting face has become a meme, "Coke Larry," while chaperoning the school carnival.
As the end credits began to scroll at my screening of Bugonia, the audience sat silently in the darkness for several long seconds. Director Yorgos Lanthimos' latest film follows Teddy (Jesse Plemmons), a grimy, raw-boned conspiracy theorist who, alongside his cousin Don (Aidan Delbis), kidnaps Michelle (Emma Stone) a steely Big Pharma CEO, because he's convinced himself she's an alien.
There is still a storyline here; in fact, there are several ongoing threads, and I'm sensing that some seemingly throwaway scenes and interactions might remain relevant much later in the season. Broadly speaking, the plot follows a man who thinks he has discovered some sort of criminal conspiracy related to a chair company, then starts to lose control of his life as he travels deeper and deeper down the rabbit hole. That's easy to get our heads around, even if some of the detours aren't.
By its third season, The Diplomat has established a reputation for shocking developments and sudden, dramatic pronouncements. Characters deliver lines like, "The president is asking you to serve as ambassador to the United Kingdom," or "The president is dead," or "I killed the president." This level of stakes is not unusual for a political thriller or even the many shows that live alongside The Diplomat on Netflix.
In the trailer, audiences meet Linda Liddle (Rachel McAdams) and Bradley Preston (Dylan O'Brien), two colleagues who survive a plane crash and find themselves stranded on a deserted island. Forced to rely on each other, they face both physical and psychological challenges that test their limits. What begins as cooperation soon turns into a darkly humorous and tense battle of wills.
Bronstein's film-her first since her début feature, " Yeast " (2008)-boasts its own version of that line. "I'm one of those people who's not supposed to be a mom," a mother named Linda (Rose Byrne) laments. Her young daughter (Delaney Quinn) has a chronic gastrointestinal illness, and her husband, a ship captain, is away at sea. In the space of several fraught days, an already difficult situation is compounded by nightmarish setbacks.
