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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‘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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Death on the Nile review – Kenneth Branagh makes heavy weather of Christie caper

Branagh’s spirited performance as Poirot and a big-name ensemble cast can’t keep this stale and two-dimensional whodunnit afloat

Long coronavirally delayed, Kenneth Branagh’s latest Agatha Christie movie puffs effortfully into harbour. It’s the classic whodunnit about a murder on a steamer making its way down the river in Egypt with an Anglo-American boatful of waxy-faced cameos aboard. The horrible homicide means that one of the passengers will have to spring into action, and this is of course the amply moustached Hercule Poirot, played by Branagh himself. It is Poirot who interviews suspects, supervises corpse-storage in the ship’s galley freezer cabinet and delivers the final unmasking – and all without the captain insisting that the Egyptian police should possibly get involved.

Screenwriter Michael Green has adapted the 1937 novel with some new inventions: some people of colour are introduced, and Christie’s intense dislike for her wealthy-hypocrite leftwing character has been dialled down. Most startlingly, Green invents a very good prelude showing the young Poirot’s service in the trenches of the first world war, and the origin of that moustache. Nothing in the rest of this rather stale and two-dimensional tale matches the brio of that opening.

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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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‘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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Rudy Giuliani doesn’t need a monster costume to scare children | Sam Wolfson

Trump’s lawyer was revealed to be a contestant on The Masked Singer – and when Robin Thicke storms off in protest, you know you’ve got problems

It’s like something from a Guillermo del Toro film: a grotesque fantasy creature disrobes, only to reveal an even more horrifying monster underneath. But that’s what viewers will see when the US version of The Masked Singer, Fox’s incognito singing competition, returns at the end of this month.

The show, in which a panel of judges and the audience try to guess the identity of celebrity vocalists dressed in furry theme-park costumes, is taped in advance of airing. But Deadline reports that at the first episode’s climax, when the eliminated singer reveals their true identity, it was Rudy Giuliani whose head popped out of the costume. Judges Ken Jeong and Robin Thicke walked off the set in protest. Quite a good reflection of how bad a guy you have to be when rape-culture chanteur Thicke, the singer of Blurred Lines, decides you’re beyond the pale.

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Coming down: why has shock teen show Euphoria become such a drag?

In its second season, the hit HBO drama on drugged-out and love-crazed teens has finally tipped into too much style over substance

Euphoria, the slick, explicit, high-budget teen drama halfway through its second season on HBO, has from the start been a soap layered in heady seriousness. The show, adapted by Sam Levinson from an Israeli series of the same name and co-produced by Drake, took on a near encyclopedia of Today’s Teen Issues – sex shaming, drug addiction, body insecurity, web personas, revenge porn, pregnancy and abortion, emotional abuse, toxic masculinity, self-harm and depression, and more – with a bracing, revelatory frankness and thick lacquer of gloss (and full-frontal nudity).

By its first season finale in 2019, in which main character Rue (Zendaya, who won an Emmy for the role) nearly dies in a graphic drug overdose, Euphoria had drawn a legion of fans (the finale drew 1.2 million night-of viewers and became HBO’s most second-most tweeted-about series ever, behind Game of Thrones) and managed to balance shock with sensitivity. It established beloved characters – in particular the fragile, alchemical bond between Rue and Jules (Hunter Schafer), a trans character – as well as a distinctive visual palette: saturated color, shimmery beats, high-voltage fantasy, meta narration, a zeitgeist-aiming show with a small hint of irony and a large dollop of excess.

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Scam the bereaved, defraud the dead: the shocking crimes of America’s greatest psychic conman

He was the fake medium from Florida whose scandalous cons almost got him shot. So why did M Lamar Keene then blow the whistle on psychic swindlers? A new podcast finds out

What does it take for someone to impersonate a dead teenager to the grieving mother of the deceased? For M Lamar Keene, a prominent Tampa-based medium in the 1960s and 70s, it was a cinch – all it required was a cocktail of cunning, charisma and sheer audacity. In front of the congregation of his spiritualist church, Keene would enter a trance state and appear to speak as the deceased 17-year-old, Jack, and ask Jack’s mother, Lona, to donate thousands of dollars to the church. One day, Lona asked Jack about the secret name he used for her, to prove it was really him, and Keene was stumped – until he attended a gathering at her house and feigned a headache. While pretending to rest in her bedroom, he searched her belongings and found the name scribbled in a family Bible: “Appleonia”. He pulled it off.

Keene confessed to being a conman in his 1976 book, The Psychic Mafia. Jack and Lona’s was just one of many audacious cases he revealed in the exposé, which shook the world of spiritualism so much that it led to an attempt on his life. Someone took a shot at him on his lawn but missed, leaving a bullet in the side of his house. In the book, Keene described how mediums shared client information so that they could conduct “hot readings” based on solid facts. He recounted how they would steal jewellery from clients for a few months, only to pretend a dead family member’s spirit had made it reappear (which usually resulted in generous tips). Ultimately, he confirmed that mediums formed a vast network to fraudulently monetise people’s grief. So why did Keene – the so-called Prince of the Spiritualists – choose to blow the whistle on everyone?

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The return of Jackass: ‘It’s never not funny to see someone get hit in the nuts’

Paramedics at the ready! Ten years after their last bone-crunching outing, the juvenile daredevils are at it again

The first episode of Jackass is a seminal work of the 21st century. It is titled Poo Cocktail, and features in quick succession the early stunts, pranks and goofs that make up Jackass’s enduring DNA: the show’s breakout star Johnny Knoxville flies out of a cannon into a net; another of its regulars, Bam Margera, roly-polys down a hill through a group of nonplussed golfers while a cameraman giggles from inside a nearby bush; Ehren McGhehey, the most viscerally headlockable man ever committed to film, intercepts someone’s drive-thru order and throws it for a touchdown. Jason “Wee Man” Acuña, painted orange and dressed as an Oompa Loompa, skates down Venice Beach in a way that astonishes a bystander in wraparound shades.

When Jackass first launched on MTV in October 2000, I was 13 and it was the funniest thing I had ever seen. Now I’m 34 and, well, there’s a bit in the first episode of Jackass where Knoxville knocks over someone’s drinking water with a fake erection while politely asking: “Where do you get sodas around here?” and it’s still the funniest thing I’ve ever seen. Its cast of daredevil idiots took vomiting, falling off things, and brief-but-agonising pain and made it into high art.

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Kiefer Sutherland: ‘I said: I can do a really good Donald Sutherland for half the money’

Answering readers’ questions, the actor and musician talks about how he tried stealing a job off his father, his favourite item from Greggs and his Mickey Mouse tattoo

Hi, Keith … What’s your favourite English expression? ClassicMacGruber

I’m sure they meant to say Kief? Or maybe not? I get called Kief in England more than any other place. I met some young parents in about 2001 who had named their son Kiefer, but I’ve never met anyone called Kiefer that is my age. As for my favourite British expression, there’s “bit and bobs”, which is really sweet and reminds me of my grandma, and “Oi!” which is not technically British, but any time I go “Oi!” it stops the room.

Does your twin sister have as many middle names as you? emzsam

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‘The godfather of alternative comedy’: Eddie Izzard, Paul Merton and more on Spike Milligan

He was the shellshocked genius who channelled his anarchic brilliance into The Goon Show. Ian Hislop and Nick Newman explain why they’ve written a play about Spike Milligan – while comedians remember a legend

The tortured lives of comedians form a biographical genre all of their own; there’s always an audience for the tears of a clown. No wonder Nick Newman and Ian Hislop chose Spike Milligan as the subject of their new play. Milligan, who died 20 years ago next month, is the troubled comedy genius to end them all. Shellshocked in the second world war, repeatedly admitted to hospital for mental ill health, subjected to electroconvulsive therapy, and increasingly embittered as his career failed to deliver on early promise – the Spike Milligan sad-clown drama writes itself.

“But we didn’t want to do that,” says Newman. “We wanted to ask: how did he come to create these brilliant things?” Their play – a cheerful act of ancestor-worship by by Private Eye’s editor and its eminent cartoonist – is about the first three years (1951-54) of The Goon Show, as its chief writer Milligan battles the BBC to get his vision on air. “It’s: will he survive the fallout from the war?,” says Newman, “and will he crack radio?” And, “spoiler alert!,” chimes in Hislop. “Milligan wins! We just wanted to have a play where he wins.”

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Netflix’s Byron Baes cast appear to flout NSW Covid measures in Instagram videos

Covid cases in the Byron Bay area have exploded since December

Cast members of the Netflix reality series Byron Baes have posted videos to social media of people dancing to live music at a crowded Byron Bay venue in apparent contravention of New South Wales Covid measures.

Two of the show’s other stars have posted videos in the days after receiving positive Covid tests that appear to show them out in public.

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‘I stayed at the party too long’: Ozark’s Jason Bateman on Arrested Development, smiling villains and his lost decade

Forty years after his breakthrough role in Little House on the Prairie, the actor is thrilling TV audiences as a drug cartel money launderer. But he almost threw his career away

Jason Bateman appears on a Zoom screen from Los Angeles, bespectacled, calm and in uncluttered, butter-coloured environs. It’s as if Michael Bluth, the character he played in Arrested Development, had dressed up as a therapist for some hilarious purpose. To fans of the show, its entire cast will always have traces clinging to them, as if they have all been, well, arrested in that dysfunctional family. But today we’re here to talk about Ozark, a drama with a reputation that has been climbing each season (it’s now in its fourth and final) and so has, arguably, become even more defining for Bateman.

Tense and lingering, Ozark has the dizzying pace and visual sumptuousness that the modern long-running box set demands. What was haunting about it from the start were the subtle performances of Bateman and his co-star, Laura Linney; just a regular, affluent, middle-aged couple, except he was about to launder $500m for a drug cartel and she’d just watched the murder of the lawyer she was having an affair with. They were on the run, but only sort of. They hated each other, except they didn’t. What passed between them gave such propulsive energy to their characters that from the very beginning you could trust one thing: it might be improbable, but it was never going to be boring. But all that nuance was a double-edged sword. “Marty and Wendy are really intelligent characters,” Bateman says. “Sometimes that narrows your options as a writer, trying to keep things plausible. They can’t do really stupid things. The smart thing to do is to turn yourself in. Then the show’s over.”

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Dutch creator of The Voice accused of victim-blaming over abuse claims on show

John De Mol said women could learn lessons from scandal that took The Voice of Holland off air

The creator of reality TV shows including The Voice and Big Brother has been accused of victim-blaming by his company’s female employees after accusations of widespread sexual abuse of contestants on the original Dutch version of The Voice.

In a full-page advert in the Dutch newspaper Algemeen Dagblad, a group of employees at the production company Talpa Media castigated its founder, John De Mol, for suggesting that women as well as men had lessons to learn from a scandal that has gripped the country this week and prompted the broadcaster RTL to take Friday’s episode of The Voice of Holland off air.

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