‘The history of fantasy is racialized’: Lord of the Rings series sparks debate over race

Introduction of characters of color into Tolkien’s fantasy world has some fans complaining but as others point out, it’s not less authentic to cast Black actors

As the new Lord of the Rings series gears up for its September launch on Amazon, the company finds itself navigating treacherous, if familiar, waters and has already triggered a fierce debate over race by introducing characters of color into JRR Tolkien’s fantasy world.

The tech giant has spent a dragon’s dungeon of gold on adapting the beloved story famous for its cultish fans, some of whom are deeply enmeshed in the rightwing culture war industry. Yet it is fully aware its final product has to reach a broad and modern audience to justify its eye-popping expenditure.

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Lindsey Pearlman, US TV actor, found dead after being reported missing

  • Pearlman, 43, appeared in General Hospital and Chicago Justice
  • Los Angeles police said Pearlman had failed to return home

Lindsey Pearlman, an actor known for television series including General Hospital and Chicago Justice, was found dead in Hollywood several days after going missing, authorities and her husband said. She was 43.

“Today around 8.30am, Hollywood area officers responded to a radio call for a death investigation at Franklin Avenue and North Sierra Bonita Avenue,” Los Angeles police said on Friday.

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Bob Odenkirk on Better Call Saul and surviving a heart attack: ‘I have to keep going. Life is great’

Having escaped an ‘existential lightning bolt’, you might expect the comic actor to be slowing down. You’d be wrong

For at least a couple of weeks after it happened, Bob Odenkirk couldn’t remember he’d had a heart attack. He would wake up, feeling pretty good, and think about heading to work. “And everyone would say: ‘Calm down, you had a heart attack,’” he recalls. There is an absurdity to this daily revelation of bad news that I think Odenkirk – a connoisseur of the absurd – might enjoy.

“Here, let me show you this,” he says. “This is something my daughter made for me because every day was the same thing of not remembering.” He gets out his phone and finds a picture he took of a whiteboard with a timeline of the events of that week or so in July last year – collapsing on the set of his TV drama Better Call Saul, hospital, his family arriving – so that Odenkirk would know what had happened. He holds it up to the screen. On day one, she has written “die” (the quote marks are hers).

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The Cuphead Show! review – this fast, funny spin-off has perfected the original video game

Netflix’s giddy, knowing adaptation sees the indie game reach its ideal form: a cartoon that has great fun splashing around in the tropes of 1930s animation

Few video games in recent years have managed to equal the sledgehammer disappointment of Cuphead. For those of you not in the know, Cuphead was an independent 2017 game that captured gamers’ imagination like little else before.

This was almost entirely down to how it looked. An out-and-out love letter to 1930s cartoonists such as Max Fleischer and Grim Natwick – with a main character inspired by a 1936 Japanese propaganda cartoon about an invasion of an evil Mickey Mouse army – Cuphead thrummed with a gloriously authentic Betty Boop feel. The animations were hand-drawn and imperfect. The big-band jazz soundtrack was recorded on analogue. The voices crackled and hissed as if recorded from worn vinyl. No detail was spared, to the extent that the creators had to remortgage their home to pay for it. And people fell for Cuphead hard. After some initial footage was shown as proof of concept, anticipation hit fever pitch and stayed there for three years.

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‘Childbirth as it really is’: This Is Going to Hurt actor defends series accused of misogyny

Ambika Mod, who plays stressed junior doctor, reacts to criticism that BBC drama disrespects women

It is the TV drama that has divided its viewers. Hailed by some as a brutally accurate depiction of the realities of working in an NHS maternity unit, This Is Going to Hurt has been denounced by others as misogynistic and insulting to women giving birth.

Now the actor who plays an exhausted and stressed female junior doctor in the show has rejected criticism of the BBC series set on an NHS obstetrics and gynaecology ward.

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The Tinder Swindler fallout shows the dark side of Netflix fame | Adrian Horton

The subject of the hit documentary, who conned women out of hundreds of thousands, is trying to launch a celebrity career, a depressing but inevitable next step

When I first watched The Tinder Swindler last month, in anticipation for an interview with director Felicity Morris, I was, like many viewers, completely absorbed by the story.

Several women meet a man on Tinder who claims to be the billionaire heir to an Israeli diamond fortune, lavishes them with attention, flies to them on actual private jets, then swindles them for hundreds of thousands of dollars? I’m a single woman in my late 20s in New York: of course I ate it up. The documentary was also much, much better than it could have been; I appreciated that Morris didn’t have much interest in probing the psychology of its swindler, Simon Leviev. Instead, she foregrounded three women’s first-person accounts of getting conned – why they believed him, why they cared for him, what such manipulation and confusion does to someone – as well as the journalists at the Norwegian paper VG who unspooled his lies for an initial exposé in 2019.

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The Marvelous Mrs Maisel season four review – the zip and bounce are back!

After a meandering third season, Rachel Brosnahan is back on ferocious form as a ‘girl comic’ fighting to regain her career

After a treacly, uneven third season, The Marvelous Mrs Maisel (Amazon Prime) appears to have found its fangs again. “Revenge … I crave it. I am completely consumed by the need for it,” purrs Midge/Miriam (nobody seems to call her Midge any more), rediscovering her sharp edges, now back on a small stage in a dingy nightclub, with an act that is heavy on the F-word. This show is never better than when Miriam is having to fight tooth and nail for her spot in the limelight, and it is a welcome relief to see her having to do it again. “That’s life. Shit happens,” she declares, ending the routine on a surprisingly acerbic note.

I say surprising because, while the first two seasons were a lot of fun, Mrs Maisel found herself in a rut during the third, which paired huge set pieces with a meandering plot and episodes that felt far longer than they were. Season three all-but guaranteed that Miriam was going to make it big, until her seemingly certain path to stardom and home ownership hit not so much a road block as a solid brick wall, when she accidentally(ish) outed the biggest star in the world to his adoring audience. It appears that few picked up on the Judy Garland references that felt a little ahead of their time, but it was enough to get her fired from her fame-making tour, and bring her back to where it all started.

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‘The sprites clearly do not look like actual lemmings’: the inside story of an iconic video game

Dodgy graphics, mysteriously sourced computers and a bemused artist: a new Youtube documentary celebrates 30 years since the release of computing classic Lemmings

When you try to describe the much-loved video game Lemmings, it sounds like a wind-up. Your mission: herding a collection of tiny, green-haired, blue-jumpered, bipedal sprites from a trapdoor entrance to a safe exit without them dying horribly. It looked, if not bad, then wilfully basic even for 1991. But, released years before mobile phone games were a thing, it was nonetheless a fiendishly addictive game that feels like the spiritual precursor to the likes of Angry Birds. And it was manna to many, many kids like me, whose sole household computing device was a rubbish PC with a horrible four-colour CGA screen that basically couldn’t play any video game of the time … except Lemmings!

To mark 30 years since its release, Exient – current holders of the franchise – has made a YouTube documentary about it. Made remotely, Lemmings: Can You Dig It? largely consists of interviews with the people involved in the creation of the original game, plus spirited nostalgic interjections from various nerdy talking heads.

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‘At 6pm every evening the screen went blank’: the outlandish tale of the UK’s TV blackout

It’s 65 years today since television sets had to stop broadcasting to allow parents to put children to bed. How did it ever seem like a good idea?

In 1953, when Norma Young was seven, her family became the first in their Glasgow tenement to get a TV set. It was a big deal – the Youngs had had to choose between a car or a TV. They opted for a 14in Ekco TV as deep as it was wide – and Norma was opened up to the world of The Woodentops and Andy Pandy, two shows that rapidly became her favourites. But at 6pm every evening the screen went blank, and Norma’s viewing was at an end.

This wasn’t her parents regulating her TV time – it was the state. Abolished 65 years ago on Wednesday, the break in programming between 6pm and 7pm every night was a government policy, known colloquially as the toddlers’ truce.

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‘The sober fairy gave me one more chance!’ Glee’s Jane Lynch on alcoholism, ambition and the return of Mrs Maisel

The 61-year-old scene-stealer and gay icon is back! She talks about her triumph over sexism, shame and self-doubt

Not so long ago, Jane Lynch was walking her dog, happy as could be, and she paused and said out loud to herself: “God, I love being Jane Lynch.” She laughs at herself. “As if ‘she’ were something outside of me.” But things do seem pretty good: she recently finished her run of cabaret dates with her friend, the actor Kate Flannery. There’s a reboot of the underrated sitcom Party Down coming, and a fourth series of the Amazon show The Marvelous Mrs Maisel is about to start. Lynch won an Emmy for her role as Sophie Lennon, a bawdy superstar comic housewife from Queens (in reality, an upper-class Manhattanite, slumming it for financial gain and self-expression). This year, Lynch takes to Broadway, to be in Funny Girl, the fulfilment, at the age of 61, of a childhood dream. Last year, she got married for the second time. “I live in this really cute house in a little beach town,” she says. “I’ve got a beautiful dog, a fantastic wife.” She seems to marvel at it – she doesn’t sound remotely boastful, just grateful.

Things haven’t always been so good. Lynch has been through divorce and alcoholism – giving up alcohol for the second time only fairly recently, after slipping back into addiction. As a teenager, she carried deep shame about her sexuality. Well into her 30s, she felt lonely and alienated, and it wasn’t until her 40s that her career took off. Lynch might be the perfect embodiment of the idea that It Will Get Better.

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Exploiting the exploited: the problem with Pam & Tommy

The much-hyped show about the theft of Pamela Anderson and Tommy Lee’s sex tape offers a screwball meditation on consent – without the consent of one of its subjects

Pam & Tommy, the Hulu series on the story behind the most infamous sex tape of the 1990s, is disconcertingly fun. The eight-part series created by Robert Siegel, half of which has aired, is front-loaded with 90s iconography and zany gags designed to provoke online discussion. There’s the brain-scrambling transformations of actors Lily James and Sebastian Stan into mid-90s rock it-couple Pamela Anderson and Tommy Lee, and a mulleted Seth Rogen as Rand Gauthier, the stiffed carpenter who pulls off an impressive heist of the couple’s safe, played for suspense. There’s nostalgic needle drops from Nine Inch Nails to Fatboy Slim, a conversation between a high Tommy and his animatronic penis, and plenty of sex, drugs, videotapes and characters asking, with winking naivety, what the world wide web is.

It’s a confusing, often entertaining watch, one that wants to have its fun and interrogate it, too, at best a heady blend of screwball comedy, madcap romance, expensive nostalgia and serious retrospective of a public scandal in which a woman’s privacy was invaded, her intimate moments exploited and judged without her consent. But there’s one detail that, for me, turns this whole palate sour: the real Pamela Anderson did not want this story retold. While Stan has confirmed that he spoke with Lee, who has praised his portrayal, Anderson did not respond to producers’ overtures. She has not spoken publicly about the series, but sources have expressed her discontent and disappointment in multiple outlets.

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The Soup Nazi on Marjorie Taylor Green’s gazpacho police: ‘I knew I was in trouble’

Larry Thomas, the actor behind the Seinfeld character, gives his take on the viral gaffe: ‘You can’t write this shit’

The extremist congresswoman Marjorie Taylor Greene, who previously alerted the US to the dangers of space lasers, issued a new warning to the American people on Thursday: the speaker of the House, Nancy Pelosi, has unleashed “gazpacho police” to spy on Greene’s colleagues in Congress.

It is, of course, possible that a clandestine network bent on the regulation of cold soup operates deep under the Capitol cafeteria. But Greene was presumably confusing “gazpacho” with the Gestapo, the Nazi secret police.

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Lord of the bling: Peter Jackson tops Forbes highest paid entertainer list

Get Back and Lord of the Rings director made an estimated $580m last year, topping annual list that also features Bruce Springsteen, Dwayne Johnson and Kanye West

The Lord of the Rings and Get Back director, Peter Jackson, has topped the Forbes magazine rich list as the highest paid entertainer of 2021.

Jackson made US$580m (A$809m, £428m) last year, primarily through the sale of part of his visual effects business Weta Digital to Unity Software, for $1.6bn. Forbes estimates Jackson personally made about $600m in cash and $375m in stock from the deal, making him the third person in history to become a billionaire from making films, after Steven Spielberg and George Lucas.

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‘If we are honest, it wasn’t particularly good’: looking back on the first Netflix original, 10 years later

Why a little known streaming service put its faith in Lilyhammer, a decidedly average show about the Norwegian adventures of a mafia boss

When you think of Steven Van Zandt’s acting work, your mind will automatically flick to The Sopranos. A vast, swaggering monument of a show, The Sopranos quite rightly holds the reputation of playing a pivotal role in the history of television. But let us also not forget that – 10 years ago this week – Van Zandt followed The Sopranos with another show. And it was a show which was every bit as important a milestone in TV’s evolution. That’s right, let us all wish a happy anniversary to Lilyhammer.

You remember Lilyhammer. It was a Norwegian show about the messy misadventures of a mafia underboss living in the witness protection programme 100 miles north of Oslo. It ran for three seasons and Bruce Springsteen had a cameo in the final episode. If we are being completely honest, it wasn’t particularly good. But, when it debuted in 2012, it was the very first Netflix original series. And what better way to mark its 10th anniversary than rewatching it to see how Netflix has changed over the years? There isn’t any. So we did it. Here are our learnings.

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Jonathan Van Ness: ‘Systemic racism, toxic masculinity and capitalist greed drives society’

Jonathan Van Ness’s new Netflix show Getting Curious sees them investigate gender, skyscrapers and pooing bugs. But beneath the curiosity lies a deep-seated anger at inequality and discrimination

Jonathan Van Ness is best known for fabulous hairstyles, for killer styling tips, and for treading a path that keeps them firmly on life’s glam side. Their new TV show may change that. “Being pooped on by a millipede is a lot,” they exclaim. “It stained my hands for days – there’s tar or resin in their poop!”

The 34-year-old is talking via Zoom from their home in Texas about their new Netflix series, Getting Curious With Jonathan Van Ness. Based on their long-running podcast of the same name, each episode sees Van Ness – along with a coterie of experts and friends – tackle a topic, from skyscrapers to snack foods. As well, obviously, as assessing the kind of insects that go to the toilet on your hand if you pick them up in a laboratory. Or as Van Ness puts it: “Are bugs gorgeous or gross?”

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‘I’ve had letters from klansmen’: Jennifer Beals on Flashdance, The L Word and fighting to get diverse stories told

The actor, who broke through in 1983 playing a welder who dreamed of being a dancer, reflects on a life of activism, why gen Z give her hope and joining the Star Wars universe

Jennifer Beals is talking to me by Zoom from … “Do I have to say?” she asks. Not really, I tell her. “I can tell you there’s a blizzard outside and it’s really beautiful.” Her reticence, which lasts about 30 seconds, is because she is in New York, filming a yet to be announced new season of Law & Order. You could imagine her taking a friend’s secret to the grave; she is very cagey about where she lives, tending to call herself “nomadic” and describing her home as “the middle of nowhere” (in reality, somewhere near Los Angeles). Commercial discretion, though? Not so much.

It is creepy to go on about how young actors still look, as though that were a goal in itself, but Beals, 58, is so unchanged – since she first played Bette in The L Word in 2004; since Devil in a Blue Dress in 1995 – that my brain thinks it is making a mistake. She definitely, positively starred in Flashdance in 1983, her breakthrough role after a tiny part in My Bodyguard three years earlier, yet that can’t be right – it was 40 years ago! It is like walking past someone you think you knew at school, then realising that it can’t be them because this person is 21.

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Goodbye Ramsay Street? Why we’re not ready for Neighbours to end

The drama won hearts by showing the world Australian suburbia – albeit with regular light plane crashes and bouts of amnesia

When they let you through the security gate at the Neighbours studio, something magical happens. It’s not finding out the food at Harold’s is real, though it is. And it’s not realising the Erinsborough High quad is also where they filmed Prisoner, though that’s true too.

No, stepping into that Nunawading studio is a wormhole to a simpler time, where no one has a real job, drama is just drama, and the people next door have become good friends.

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How Neighbours was shunted off air by All Creatures Great and Small

Longest-running programme in Australian television history loses out to homegrown British drama

The residents of Ramsay Street have survived almost four decades of affairs, disasters and terrible haircuts – but in the end it might be the popularity of a 1930s Yorkshire vet that finally kills off Neighbours.

The long-running soap opera that launched the careers of Kylie Minogue, Guy Pearce and Margot Robbie faces the axe after Channel 5 confirmed it would stop airing the series this summer. The broadcaster no longer wants to spend millions of pounds a year on the show and is instead looking to use its programme budget to reach upmarket audiences with original British dramas – driven by the success of All Creatures Great And Small, its hit revival of the series about rural life in the Yorkshire Dales.

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Neighbours needs good friends to survive after UK network axes iconic soap

Network Ten to pause filming after Channel 5 announces it will stop airing the show in August

The Australian soap Neighbours, which launched the international careers of countless local stars including Kylie Minogue, Jason Donovan, Margot Robbie and Guy Pearce, has been axed in the UK in a move likely to sound the death knell for the iconic show.

The UK’s Channel 5 announced it would no longer air the program and unless it is picked up by another UK broadcaster the show will end its record-breaking 36-year run in August.

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‘A regressive, embarrassing disappointment’: how And Just Like That ruined Sex and the City

The final episode of the sequel did nothing to redeem it. It was bafflingly tone-deaf, cringe-makingly crass and seemingly written by people who had never heard of the original

That sound you can hear – that faint but persistent chuckle – is Kim Cattrall laughing. The actor was the only one of the original Sex and the City cast to decline to join And Just Like That …, the sequel to the much-loved, era-defining show. The rest of them stayed, and suffered. But at least they were getting paid. Viewers – if they did stay, which many of us did out of a potent blend of desperate hope that things would improve, and fascinated horror as they did not – had no such solace. The end of the 10-episode run has now been reached, with the finale refusing to redeem anything that had gone before.

It could have, should have, been great. The idea of best friends Carrie, Charlotte and Miranda returning to navigate the complexities of female life and friendship in their 50s – a rare televisual sight – was a fine one (even if Cattrall’s Samantha would be missed). New writers and characters were brought in to address the glaring whiteness and heteronormativity of the original. Michael Patrick King was in charge, as he had effectively been for much of Sex and the City.

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