While there is occasionally a casual aside, a smoothness in him at times, a confidence, I feel that when something goes south, it doesn’t take much to remember why he’s there and what he blames this man for. It required a mindset that was not as loose as I like to play it, and it kept me aware of the tension within Queeth that allows for the absurdity to flourish.
I certainly gave variety because I enjoy doing that, and then it was up to them to edit and choose which made sense. But by no means did I need to be in an echo chamber or a glass cube. Each take was different. I loved being on set and would often go early just to watch and enjoy everyone’s work.
It was unique to my experience in comedy in particular, in playing a straight man — and in this universe the straight man is like so rigid; there is no winking, there is no nod, per se. Zane: This was a very well-thought-out and crafted universe that I stepped into.
And what’s great about his character is he’s an asshole, and curiously he’s probably the most effective hero in the mix because his moral compass is so askew. And when you see both of those interpretations, those facts may be informing MacGruber, but it’s fighting for revisionist real estate and trying to bring him back to some reckoning and acceptance. It’s a revisionist history happening in real time between two completely different sides and interpretations: the guy who went free and set everybody up and bailed, and the dude who spent 20 years in torturous prison behind enemy lines. In terms of plot, I was providing backstory, but there were a variety of corrections because what you have in this dynamic are two perspectives on the truth.
It was genuinely a challenge because I love a schtick up. I can’t help it, it’s in my DNA, and it was it took Herculean strength to not play in a more traditional context. From the villain or foil landscape as established in the first film, which is brilliant, in order to allow for such fabulous and absurd work by Will, we have to be absolutely in another movie — just dead, dead serious. It was a very wonderful challenge.
He’s so singularly unique and so bafflingly idiotic that even in the face of complete anger — I think you’ll miss him. I won’t call it respect, but it’s certainly a very unique and singular dynamic and relationship in that there is some peculiar pleasure that just can’t be denied. Queeth knows MacGruber intimately well [and] wants to seek vengeance, but MacGruber’s consistent, mind-numbing choices and turns of phrases and perspectives cannot help but be somehow adored. There is just an undeniable fascination or amazement at the seemingly bottomless well of moronic behavior.” />
Whether he is making a cameo as himself (on Amazon Prime Video’s “The Boys”) or taking on a larger-than-life character (as in everything from “Titanic” to Netflix’s “True Story”), when Billy Zane signs onto a project, you know the piece is going to be elevated. The prolific actor is now staying busy with a handful of titles across film and TV, and he most recently stepped into the role of Brigadier Commander Enos Queeth in Peacock's “MacGruber.” It is a role that has him playing an adversary to Will Forte’s titular character and one that only required “a hotel room key and a call time” for Zane to say yes to it.

"We found out that ["Diary of a Future President"] is not moving forward with a season 3 at Disney+," Peña wrote. Series creator Ilana Peña broke the news on Twitter. "Of course, we would love to continue telling this story, but I am filled with so much gratitude for the 2 seasons that we did get to make." Her full statement can be seen below.
It was previously reported that the streamer had opted not to renew the series adaptation of "Turner and Hooch" starring Josh Peck for a second season. This is the second Disney Plus show to be canceled in the past few weeks.
https://twitter.com/ilanacubana/status/1470471278280642560?s=20″ />
Told using the narration of excerpts from Elena’s diary, the series followed Elena through the ups and downs of middle school which set her on the path to becoming the president of the United States. The series told the origin story of Cuban American and future leader Elena Cañero-Reed as she enters the seventh grade.
The entire second season was then released at once on Aug. "Diary of a Future President" originally debuted on Disney Plus in January 2020, airing through March of that year. 18, 2021.
"Diary of a Future President" has been canceled after two seasons at Disney Plus.
Tess Romero starred as young Elena, with executive producer Gina Rodriguez appeared as grown up Elena. It also starred: Selenis Leyva as Elena’s mother Gabi, Charlie Bushnell as Elena’s brother Bobby, and Michael Weaver as Gabi’s boyfriend Sam. Recurring cast includes Jessica Marie Garcia as Gabi’s colleague Camila, Carmina Garay as Elena’s best friend Sasha, Sanai Victoria as Elena’s classmate Melissa, Harmeet Pandey as Elena’s friend Jessica, as well as Brandon Severs and Nathan Arenas as Bobby’s friends Liam and Danny.
Unlike most shows on Disney Plus, "Diary of a Future President" was produced by outside entity CBS Studios in association with Rodriguez's I Can and I Will Productions. The show was loosely inspired by her own childhood and adolescence. Peña created the series in addition to serving as showrunner and executive producer. Keith Heisler and Molly Breeskin are executive producers alongside Peña and Rodriguez.

The combined company is projected to generate more than $700 million in revenue in 2022 and more than $100 million in profit, per the Journal report.
The talks between Vox Media and Group Nine were first reported by the Wall Street Journal, which both companies later confirmed.
In 2019, Vox Media acquired New York Media, publisher of New York Magazine, in an all-stock deal designed to gain synergies of scale. The company's brands currently include Vox, New York Magazine, The Verge, The Cut, Eater, Vulture, Polygon, Curbed, Grub Street, SB Nation, Intelligencer and Recode.
6 on Nasdaq.” /> Separately, BuzzFeed went public last week through a SPAC merger, but has had a disappointing debut as a public company: Shares have dropped 36% since they began trading Dec.
Vox Media and Group Nine Media are in advanced discussions to merge, in an all-stock deal that would give Vox Media a 75% ownership stake in the combined company — and create one of the industry's largest pure-play digital media players.
The company is headed by Ben Lerer, founder of Thrillist and son of venture-capital investor Ken Lerer. Under the proposed merger between Vox and Group Nine, Ben Lerer would join the board of the new company. Meanwhile, Group Nine was formed as a roll-up play in 2016, with backers that included Discovery, combining digital media sites Thrillist, The Dodo, NowThis and Seeker; Group Nine subsequently bought comedy studio JASH and women-focused lifestyle brand Popsugar.
“Together we will be an even stronger, more financially sustainable company that can invest more in our products and our people.” “The business rationale behind this merger is to grow revenue, increase scale, and combine these incredibly powerful and complementary portfolios,” Bankoff wrote in the memo.
Earlier this year, Group Nine established a special purpose acquisition company (SPAC) that raised $200 million, looking to acquire other digital media companies. However, the SPAC is not part of the merger deal on the table with Vox Media.
Vox Media CEO Jim Bankoff would become chief executive of the combined entity. “Due to a leak, this news is breaking prematurely,” Bankoff wrote in a memo Monday to staff after the Journal story was published. He said he expects the deal to officially close in early 2022, adding that it is “one of the most exciting and significant announcements in our company’s history.”
"None of our existing editorial offerings or services will change as a result of this combination and we will be thoughtful about how we make decisions and treat people." A team from Vox Media and Group Nine will "begin developing a thoughtful plan to integrate functions where it makes sense to do so," Bankoff wrote in the memo.
Bankoff also said that "we have no immediate plans to go public, although we’ll always continue to evaluate opportunities that are in the best interest of all of our stakeholders, including our employees."

It will bow Dec. Backdoor, Mexico’s equivalent to Porta dos Fundos, has created a voiceover for a Spanish-language version (see poster). 15 exclusively on Paramount Plus, when 2020’s Special played YouTube. It’s animation, ViacomCBS-owned Porta dos Fundos’ first venture into the medium. The Special is unlikely to go unnoticed by more conservative groups in Brazil. This time round, however, there are some crucial differences.
Jamie Lang contributed to this article.” />
But it’s especially challenging if you’re old man’s God, you’re a teen Jesus, and you’ve got to control your good works at your new school or you could be identified as the Messiah and be carted off for a premature crucifixion. Growing up is never easy.
“The First Temptation of Christ,” Porta dos Fundos 2019 Christmas Special, featured a possibly gay Christ, sparking a petition to ban the special signed by more than two million people. A temporary ban was accompanied by a Molotov cocktail attack on Porta dos Fundos’ headquarters. (The fire was put out by security guards.)
We always try to push the envelope. That’s one of our missions,” said Porchat. “We make fun of Christians, Evangelicals and Muslims, everybody.
That’s the basic set-up of “Mean Boys,” the 2021 Christmas Special from Brazil’s Porta dos Fundos whose trailer Paramount Plus has shared in exclusivity with Variety.
The same irrepressible irreverence remains, however. Pilot, a preening school principal, invites the prettiest male students and young Roman soldiers to his office. high school movie with a jock's windcheater, sideburns and a greaser pompadour haircut –  roughs up his fellow students. So in the trailer, Lazarus produces a porn scroll which Jesus supposedly has in backpack as proof he can't be the Messiah and drags him off to the Sodom and Gomorrah red-light district, where Jesus is seen barfing copiously. Meanwhile, Barrabas – here the high school bully dressed as if he’s walked straight out of a U.S.
“Mean Boys” is co-produced by Estricnina Cartoon, a pioneering Brazilian animation series producer.
“Not that I’m trying to compare myself with Saramago,” Porchat added. But he was a teenager and would have had teenage questions and needs so we said: ‘Let’s talk about them,’” said Porta dos Fundos co-founder Fabio Porchat, creator of the Special, adding that he admired deeply “The Gospel According to Jesus Christ,” by Portugal’s Nobel Prize winning writer José Saramago, which offered a humanized version of the figure. “The Bible doesn’t talk at all about Jesus when he was young.
If nobody complains, that’s a problem too.” How would he react if nobody complains? “If everybody complains, that’s a problem.
“I’m afraid nobody will like me at my new school,” says the protagonist of “Mean Boys” at the beginning of its trailer.
movie “Mean Girls,” – best pal Lazarus comes up with the idea of Jesus trying to go against his best nature and become a mean boy at school. So, in a attempt to fit in – and a homage to cult U.S.

Geneus’s feature debut is all the more remarkable given the political turmoil and natural disasters buffeting the Creole-speaking territory. “Freda” by actor-singer-helmer Gessica Geneus is only the second film that Haiti has ever submitted to the Oscars. The crop of Latin American hopefuls includes countries that have rarely participated in the past. While set in 2018, it depicts some of the street unrest and chaos that led to the brazen assassination of its president last July.
The Cannes Un Certain Regard winner is now streaming on Netflix, which is putting all its promotional heft behind it. Her tale follows three girls as they come of age in a remote village afflicted by the drug trade and human trafficking. The film’s producers are Jim Stark (“Coffee and Cigarettes”) and Nicolas Celis, the latter a key producer of Mexico’s first-ever international feature Oscar winner, “Roma,” by Alfonso Cuarón. Leading the hopefuls is Mexico’s “Prayers for the Stolen,” the fiction debut of Tatiana Huezo, one of Variety’s 10 Directors to Watch in 2022.
The production devolves into chaos, blurring the lines between fantasy and reality. Chaplin plays a ’70s actress returning to the Caribbean to shoot a film based on the script by her late Dominican friend. The Dominican Republic’s Laura Amelia Guzman and Israel Cardenas represent their country again with “Holy Beasts,” starring their muse, Geraldine Chaplin, who also headlined their previous film that repped the Dominican Republic, “Sand Dollars,” in 2016.
The plight of the working class is expounded on in Peru’s “Powerful Chief” by Henry Vallejo and Bolivia’s “The Great Movement” by Kiro Russo.” />
Panamanian Abner Benaim’s drama “Plaza Catedral” turns on a woman grappling with the past. Venezuela’s “The Inner Glow,” by brothers Andres Eduardo Rodriguez and Luis Alejandro Rodriguez, swept the country’s prominent Venezuelan Film Festival with 11 awards last year and deals with a woman’s struggle with terminal illness and her young son’s future care.
Tilda Swinton plays a Scottish orchid farmer dealing with exploding head syndrome in Colombia. Some stories directed by men also feature compelling, albeit conflicted, female leads, led by buzzy existential Colombian entry “Memoria” by Thai auteur Apichatpong Weerasethakul, the jury prizewinner at this year’s Cannes Film Festival.
Amazon Prime streams Ecuador’s “Submersible” by Alfredo Leon, a harrowing drama set inside a narco submersible where its crew struggle to save the broken-down vessel and its precious, illicit cargo.
It’s only Court’s second film and turns on a 19th-century photographer, played by Alfredo Castro, whose obsession with a child bride gets him into deep trouble. Chile, winner of the big prize in 2018 with Sebastian Lelio’s “A Fantastic Woman,” is banking on “White on White” by Theo Court, winner of more than 20 awards including the Silver Lion for director at Venice’s Horizons sidebar as well as the Fipresci Critics Award.
The film follows Clara, an introverted 40-year-old who experiences a sexual and mystical awakening as she attempts to free herself from the repressive society that has tamped her down. Internal struggles are also rife in Costa Rica’s “Clara Sola,” the feature debut of Nathalie Álvarez Mesén.
Huezo’s 2016 documentary, “Tempestad,” represented Mexico at the 90th Academy Awards. Since 1957, when Mexico started participating in the Oscars, 10 of its entries have been nominated, culminating in “Roma’s” win in 2019.
Brazil, which has been submitting its films since 1960 and has garnered five nominations but no wins, sends trans drama by Aly Muritiba’s “Private Desert” winner of the BNL People’s Choice Award at Venice’s Giornate Degli Autori sidebar.
Latin America has submitted 15 contenders in the Academy Awards’ international feature category this time, not quite as big a haul as last year’s tally of 18.
It is inspired by C.E. Argentina’s “The Intruder,” an erotic thriller by Natalia Meta, follows a chorus singer-movie dubber who has a traumatic experience that rewires her perception of reality. Feiling’s cult novel “El Mal Menor,” and is streaming on HBO Max. Several of the films by women deal with the inner turmoil of their characters as they straddle both fantasy and reality.
Women directors make up nearly half of the entries this period, an encouraging trend of recent years. The bulk of the entries are dramas, with the exception of one comedy from Uruguay, Diego Fernandez’s “The Broken Glass Theory.”
And it’s only the fifth film from Paraguay, with Ullon’s debut feature, “Cloudy Times” being the country’s inaugural submission to the Oscars in 2016. Paraguayan docu “Nothing But the Sun” marks the second time for director Arami Ullon to represent her country. With dialogue in the languages of Spanish and Ayoreo, it tracks Mateo Sobode as he records other nomadic Ayoreo natives like himself who were forced to abandon their ancestral forest homes.

After a brief moment of connection, Belinda is soon swept up in Tanya’s hurricane of influence with the promise of a fully financed independent spa venture. Belinda’s arc largely unfolds vis a vis Jennifer Coolidge’s Tanya McQuoid, a disillusioned socialite who’s grieving the loss of her mother.
In tune with rising awareness of the world’s inequities, a slew of 2021 shows sought to unpack the nuanced dynamics of power and privilege through the lens of their leading ladies, portraying women from diverse backgrounds facing a variety of obstacles — both personal and institutional.
In this way, Alex is both privileged and not, though she eventually — through a network of support and sheer will — asserts her agency by the end of the series.
The actor, who prepped for the part by consulting the head of massage at the spa at the Four Seasons, Maui (where the series shot during the pandemic), adds that it was vital for Belinda to “not be a caricature — the idea of Black girl magic and de facto white person healer. “It’s so funny to be the moral touchpoint for people,” she says, “for fear of them at all being connected to the other cast members.” It’s this authenticity around which Rothwell shaped her character’s essence, even as she caters to a majority white and wealthy clientele.
Though these characters, as a collective, don’t provide a solid answer as to how a more equitable society can be achieved, they offer up authentic critiques and satires of power imbalances. As Belinda, the spa manager at the titular resort in “The White Lotus,” she serves as the sole character with whom viewers wouldn’t be mortified to identify, offering a stark contrast to the guests’ out-of-touch elitism. Natasha Rothwell understands the latter dynamic well. By extension, these portrayals poke and prod at audiences, inviting watchers to stew in their indignance and, at times, discomfort.
In Ji-Yoon’s new role — for the first time occupied by a woman of color — she triages the interests of the ailing department, as well as those of her students and mentee Yaz McKay (Nana Mensah), a gifted Black professor who is up for tenure. Sandra Oh’s Ji-Yoon Kim, a professor-turned-head of the English department at an Ivy-adjacent university in “The Chair,” embodies this “magic of nuance” well, according to the actor.
“I think it’s so subtextual, and I think so much of the disparity of class, wealth and privilege is this insidious, unspoken way we view each other and the decisions we make.” “So much of their power dynamic is never spoken up between them,” Rothwell says of the two characters.
Finding herself blocked by a glass cliff of institutional barriers within academia and left to clean up the messes of her white patriarchal predecessors, Oh was “surprised” at discovering how much Ji-Yoon had been “sitting on her anger.”
“She doesn’t win, but what we tried to portray — in my portrayal and the writing of it — is that here is the best of our abilities,” Oh says. “When you are as aware as possible, competent as possible, supported as much as the system really is supporting you [and] this is how far one can get, this is how difficult it still is.”
“It is a complicated role, especially when you’re one of the only persons of color dealing with concepts of privilege and you have a person of color in a servile position, wanting to make sure that her humanity wasn’t lost in service [to] the other characters,” Rothwell says.
“Alex is learning in real-time how to navigate this, and every time that she thinks that she’s going to catch a break, another door shuts in her face. “I do come from privilege, and so I was learning — in real-time — just how impossibly tricky the system is,” Qualley says of the role. There’s another hoop to jump through, and it’s frustrating as hell.”
“It’s almost impossible to navigate the system no matter who you are, but if you added on the extra layer of the implications of being a person of color in America, it might just be actually impossible.” But Qualley acknowledges how much more “complicated” Alex’s circumstances and her place in these rigged systems of poverty and welfare would be if she weren’t white.
While these women reckon with varying degrees of influence, each character offers a teaching point, if just an elementary exposé into structural inequities. Qualley sees her portrayal — and “Maid” as a whole — as the latest attempt to familiarize audiences with struggles they may not see.
Similarly, Rothwell sees the duality of power and privilege within her character: While Belinda walks through the world “masked and silenced, for all of her powerlessness, she’s still able to see that she has power and has the agency and potential to change.”
While Deborah had to break the glass ceiling in the comedy world, she now reaps the benefits of her status and class; and Ava — raw after facing an online reckoning — must come to terms with her own privilege and arrogance under the veteran comedian’s begrudging wing. And “Hacks” sees its main characters — Deborah Vance (Jean Smart) and Ava (Hannah Einbinder) — as two sides of the same coin, mirroring and juxtaposing each other’s advantages. Perhaps the most obvious example of this is “Squid Game’s” Kang Sae-byeok (Jung Ho-yeon), a North Korean defector who participates in the series’ deadly games for the mere chance to provide for her younger brother. Meanwhile, on “Succession,” Shiv Roy (Sarah Snook) yields an inordinate amount of power as one of the siblings poised to take over her father Logan’s (Brian Cox) conglomerate Waystar Royco — yet this season has proven how easily the domineering titan dilutes her strength with as little as a callous, dismissive phrase.
As a domestic service employee in “Maid,” she juggles motherhood with navigating the endless bureaucracy of the U.S. Like Belinda, Margaret Qualley’s Alex works in the service industry. welfare system, all while living under the poverty line and dealing with the fallout of an abusive relationship.
Just as Oh tried to “pepper in” this exasperation throughout her portrayal, so did Rothwell, who likened her character to “a kettle on the stove” with a “quiet storm inside of her.” For Qualley, there are moments of frustration “sprinkled out” throughout the show as Alex regains her “strength” and “self-respect.”
“I think that because there’s so much shame baked into the topics, whether it’s poverty or emotional abuse or physical violence, that people are often reluctant to talk about it,” she says. “When you say something out loud, it takes a little bit of the weight off of it. If something’s being talked about, then we’re being educated about it.”” />

As the bookends of “Hunting” and "All the Bells Say” make excruciatingly clear, the Tom Wambsgans and Greg Hirschs of the world have to fight harder, dirtier, and craftier to get off the floor and dangle sausages for the unlucky losers below. Still: Roman’s a Roy, and as such, will always have protection and higher status that others can’t claim.
SPOILER ALERT: This post contains major spoilers for the Season 3 finale of "Succession" ("All the Bells Say").
Born into a family that left his back criss-crossed with scars to this day, Logan learned early that in order to best his bullies, he himself had to become the most fearsome bully of all. Convinced there’s a mole in his midst, he gets his employees drunk and berates them with hostile questions about their loyalty. As “Succession” has shown time and time again, Logan Roy didn’t become Logan Roy without first conquering the game of Boar on the Floor. In Season 2’s “Hunting,” written by creator Jesse Armstrong and Tony Roche, and directed by Andrij Parekh, an especially paranoid Logan goes on a tear during a work retreat. Eventually, inevitably, he identifies the weaker members of the herd — hapless cousin Greg (Nicholas Braun), bland lackey Karl (David Rasche), and son-in-law Tom (Matthew Macfadyen) — and makes them “boars on the floor,” forcing them to oink for their sausage supper just because he says so. And thus, as Emily VanDerWerff has written for Vox, the stories of Logan Roy, his company, and his children become stories of how abuse can shape and twist a person into starting the cycle all over again just to get some level of control over it. Why be the scorned peasant when you can be the tyrannical king choosing who lives to serve you and who dies trying to stop you?
Instead, they doubled down, bet the house, and shocked the hell out of everyone but themselves. The entire series has led to the ultimate point of no return in “All the Bells Say” (written by Armstrong and beautifully directed by Mark Mylod), but Season 3 laid the groundwork for Greg and Tom’s betrayal with masterful precision. Bonded as brothers in Roy-adjacent arms, Tom and Greg took all the family’s abuse until they could find a way above it. Both Tom and Greg had outs — a divorce, a golden parachute — if they truly wanted to take them. But in the Roys’ grand tradition, abuse isn’t a tunnel but a cycle.
One of the season’s sharpest and hardest to watch threads saw Roman (Kieran Culkin), the Roy who may or may not have asked his family to lock him in a cage for fun as a kid, realizing how much more fun it is to be a monstrous winner than a sore loser. — Roman hardened his heart to match his father’s. When he finally, literally pushes his brother Kendall (Jeremy Strong) in front of a laughing crowd, even his ruthless sister Shiv (Sarah Snook) can hardly believe just how completely Roman’s embraced the belligerent armor that their father has wielded against them time and time again. Once forced to look up at his betters (both literally and physically), Roman’s stature grows in both the narrative and meticulous directing as he transforms into the man who so forcefully put him in his place. Having spent most of his life belittled, dismissed, and physically battered by the one person he so desperately wants to please, of course Roman would jump at the chance to flip the script given the chance. He mirrored Logan’s tone and bombastic approach, mimicking his methods to remain in his good graces. Season 3 underlined the terrible potential of a boar evolving into a bully in bold. The second Logan deigned to show him an ounce of respect — or, dare he hope, even affection? He positioned a true-blue fascist to become the Republican Party favorite, both because he didn’t care to consider the actual consequences and because he saw a way to impress Logan with his ability to separate emotion from business.
There’s no such thing as an “Everyman” on “Succession,” so Tom and Greg are about as close as it gets. Macfadyen and Braun are the tallest men in the cast, and yet the show constantly portrayed them as constantly cowering and capitulating in front of the more figuratively commanding Roys. Tom and Greg are both close enough to the Roys without being considered part of the family, and when they allow themselves to feel the weight of their ambition, they’re more formidable than even they know. Tom folds himself to fit Shiv’s needs; Greg’s stature becomes a joke in and of itself. The moments when directors let them stand up straight and truly look down on a Roy, as Macfadyen does so effectively in the diner parking lot to raise a skeptical eyebrow at Kendall, are as rare as they are purposefully jarring.
What began as a weird taunting banter became something more during “Hunting,” when Tom chose not to expose Greg and joined him on the floor for everyone else to mock and dismiss as useless nothings. Crucially, Tom and Greg also formed the show’s most steadfast alliance early on. Since then, they have been the closest this show has to true blue friends, keeping each other safe as bigger power players blustered above their heads.
It was Greg who told Tom about Shiv’s cheating in Season 1, and Tom who covered for Greg in Season 2. Here, two “plebes” recognized a kindred spirit in the other, and worked together to bring down the oblivious masters who assumed they were harmless. As Shiv refused to take Tom seriously and Kendall took Greg for granted, both did their best to get up every time they were kicked down — and every time one did, they found the other extending a helping hand. Seeing the two of them shake hands in the finale, thus cutting the other Roy kids off at the knees, recalls the episode’s early warning words from tech giant Matsson (Alexander Skarsgard. It was Tom who did his best to keep Greg out of jail when both of them seemed primed for the sacrificial slaughter, and Greg who enthusiastically joins Tom’s team minutes after Shiv shrugs him off as an afterthought.
But the line also recalls an earlier, equally brutal “Succession” scene that proves especially crucial in “All the Bells Say,” which sees the Roy kids bested by the two men they never thought had it in them. “You bust in here, guns in hand,” he says, “and now you find they’ve turned to sausages.” It’s a devastating blow made more devastating by the fact that Logan has, once again, somehow found his own gun where there should have been a black hole. The moment Logan Roy (Brian Cox) realizes his children are attempting to overthrow him, he sizes them up and snarls with disdain.
As Tom told Greg while enticing him to “make a deal with the devil,” they’re now in a solid position at “the top of the bottom.” But the Roys, Logan included, would do better to pay more attention to the boars on the floor who have more incentive than anyone to blindside careless tyrants.” /> Tom and Greg’s victory isn’t yet complete.

Because “The Morning Show” was led by actors and executive producers Reese Witherspoon and Jennifer Aniston, casting director Victoria Thomas says it was “a lot easier to aim high” for its ensemble, including Steve Carell, Billy Crudup, Mark Duplass and Julianna Margulies, who joined in Season 2. “You just try to add on, person by person, to keep the quality up and keep the interest up, and hopefully it attracts other like actors.
“He’s been someone I’ve admired since I was in high school, watching him when he was just a young man. “It’s a lucky position to be in, to be associated with a character in a show that can attract the kind of people that we’ve managed to attract once again,” says Hall, who counts himself a longtime fan of veteran actor Brown. And that’s what we do: just an instant new family.”” /> I pinch myself, being associated with something that attracts someone of his caliber, and on down the line. Everyone’s fantastic.
And then her character starts to become a star in Season 2.” “What’s so wonderful about these hour-long dramas that have the budgets and the scope is you get to see the rest of the bench fill out,” adds Duplass, who’s seen the profiles of other regulars rise after working alongside the name talent. She’s been putting in killer guest star or recurring roles forever, and then she comes in somewhere between No. “Karen Pittman is a perfect example. 5 and 10 on the cast list in the first season, and she’s so goddamn good that you just can’t not write for her.
Hall. When casting director Ross Meyerson was building out the cast for “Dexter: New Blood,” he knew he had to “make sure that every actor we cast could hold their own in a scene with Michael C. “That is no short order, as Michael brings so much to his work,” Meyerson says.
“I’m on set and I’m playing piano, and Sting’s playing what I’m playing with his guitar, and I’m just like, ‘What is my life?’” “I was overwhelmed, in a good way,” Selena Gomez says of joining comedy icons Steve Martin and Martin Short in “Only Murders in the Building,” only to learn Amy Ryan, Nathan Lane, Tina Fey, Sting and an array of additional top-f light actors would fill out the cast.
He recruited admired performers from Clancy Brown to Jamie Chung and Julia Jones, noting that before scripts were even written, agents were clamoring to place clients opposite the series’ star.
“The whole cast, they just felt like such clutch players,” she says. If there’s any downside, he says, it’s that “there’s never going to be enough for everybody to do. But it’s an embarrassment of riches when you have a bench like Vicki [Thomas] assembled.” Renée Elise Goldsberry still marvels at her first Zoom script read for “Girls5Eva,” so surprised to learn that she’d been teamed with Sara Bareilles, Busy Philipps and Paula Pell that she briefly wondered if they were temporary fill-ins recruited by producer Tina Fey to help the show find its legs.
“You think that Paula Pell and Busy Philipps are going to be great together,” she says, “but then you watch it and you’re just staggered by how good they really are.” “What’s amazing is that they all come from such different backgrounds, and yet they’re the perfect chemistry put together,” says “Girls5eva” casting director Cindy Tolan, who always hopes for the best in her casting choices but recognizes that an unpredictable alchemy comes into play.
“As evidenced by Julianna joining us, the success of the first season led to the ability to add even more great people in the second,” Thomas continues. “Actors reached out who wanted to be a part of it.” Witherspoon and Aniston’s wide-reaching, top-tier Hollywood connections were also a boon: “If there’s someone that we want to ask to do the show, and they’re a ‘friend of the family,’ it’s nice to be able to go to Reese or Jen and say, ‘Hey, could you help us out and let them know we want them to do the show?’” she says.
Not only do such series attract viewers with their impressive rosters, but the casts also feel energized knowing their A-games will be matched move for move by their co-stars. Increasingly, television series are assembling dazzling “dream teams” of well-known and accomplished actors, each capable of carrying their own solo show.
Casting director Tiffany Little Canfield says not only did “Only Murders” offer the allure of the headliners, the show’s approach to the murder-mystery genre proved compelling catnip for name talent. “Even if you’re not the killer, there’s so much fun in setting you up as a potential suspect, it makes all of the supporting roles really juicy in a way that you don’t often see,” Canfield says.
“I would always ask them questions if I thought a line was weird or if Steve thought it was funny that I did a certain thing. Gomez, returning to acting after a hiatus, admits being surrounded by such a wealth of talent and experience was both challenging and inspiring. “It does require a lot of stepping up to the plate,” she says, noting she felt supported and protected by the veterans. I have to say, as my first thing back, it was so exciting.”
“I have always likened my acting game to my tennis game or my ballroom dancing game: With a really good partner, I play up,” she continues. “That’s how I feel about this group of women in our show: They are so uniquely gifted that I am inspired in the scenes to just take big risks.”

Now as a stunt performer with a passion for wire work and training in martial arts, she says she’d actually be fine with people giving “Kung Fu” star Liang credit for her work. Nera got into the job after a decade as a professional dancer.
“Sometimes [women] got to do things, but a lot of times, you’re riding shotgun and you’re not letting the females drive the car,” Towery says.
Also, stresses Tammy Nera, who is the double for Olivia Liang ’s lead on “Kung Fu,” the trickle- down effect of Hollywood greenlighting projects with more racially diverse characters means that “it’s opening up opportunities for female stunt performers of varying ethnicities to have the opportunity to double leads and to double big characters on TV shows and movies.”
“If somebody kicks me in a real fight, my reaction is going to be different than if a superhero kicks me and now I’m going flying,” Towery, who has also worked on Fox’s “The Gifted,” says. Such nuance of character, story and world is key for all shows.
For a stunt coordinator like Moneymaker, this also means that she’ll spend “time trying to figure out the safest way I think we can do this with the [lead] actor. And then, depending on how much time I have with them and how much training I can do with them, we often make a very actor-friendly version.”
“The way that you sell a hit, and the way that you take what they call a bump — when they’d hit the ground really hard — is different. “I think the biggest thing that they had to teach us is the way that you perform in a wrestling ring,” she says of the experts who work with her on that show.
“That means her and I are slotting in and out and switching out seamlessly.” “Secretly, that would be kind of cool if everyone thinks that Olivia is doing it,” she laughs.
Moneymaker says that “one of the issues right now is that there’s so much content out there and that is creating an extremely high demand for performers. That gives an opportunity for younger people to step up and get some experience in a role that they might not have had in the past.”
Her mother, on the other hand, “didn’t have that same experience.” Both of her parents have worked in the profession, with her dad Russell Towery serving as stunt coordinator on productions including “The Walking Dead” and USA Network’s “Queen of the South.” Her brother, Dawson Towery, is a stunt performer and coordinator. Taylor Towery, a stunt performer on “Heels” who has also played a zombie no less than 10 times on “Fear the Walking Dead,” comes from a family of stunt performers.
Towery was a Level 10 in the USA Gymnastics Junior Olympics Program, the highest level, but she didn’t know much about wrestling before she worked on “Heels.”
At the time of the SAG-AFTRA merger in 2012, stunt performers who identified as women were at 19% — however, since 2012, the number of female stunt performers who are members of SAG-AFTRA is up by 93%. A spokesperson for SAG-AFTRA tells Variety that the proportion of female-identifying stunt performers in the union hasn’t grown that much in recent years.
“With ‘The Matrix’ era, we got into some kung fu and then in more recent years, there’s been a little bit more of an [interest] with MMA. So they want to see really gritty — not so spectacular — stunts. There is this realism now where they really want to see the actors doing a stunt. “There’s been a whole flow of the different fight styles,” she continues. They want to see something that looks real.”
Either way, these women have mastered how to take a punch. And throw some good ones of their own.” />
Instead of coming in and being tough and knowing how to fall and knowing how to do big gags, you actually have to perform the whole action scene. Moneymaker, who broke in with such jobs as doubling Drew Barrymore on the movie “Charlie’s Angels: Full Throttle,” says that her side of the industry has “turned into more of a performers’ game.
Nor should there be an assumption that all stunt performers are good at all stunts.
Part of this might be that audiences have gotten savvier at watching stunt work and seeing if they can tell the difference between when a lead of a show is doing something versus that person’s double.
But it also seems like what’s expected from female performers has become more inclusive.
The increased focus on female butt-kickers on TV has been a positive step for feminism and in trouncing stereotypes.
“There are a lot of female stunt doubles and stunt performers and there have been for a lot of years,” says Heidi Moneymaker, the stunt coordinator on “Hawkeye” who is also known for doubling Scarlett Johansson in several “Avengers” movies.
Series as vastly different in tone as AMC’s “The Walking Dead” zombie franchise to the martial arts-tinged “Cobra Kai” on Netflix and the CW’s “Kung Fu”to Disney Plus’ Marvel Cinematic Universe spinoffs like “Hawkeye” and Starz’s wrestling family drama “Heels” have all highlighted stunt work of female characters.
“But in the wrestling ring, it’s how am I going to throw this punch or this kick so that it sells for the audience, which is all around.” “In stunts, it’s all about how am I going to throw this punch to where it sells for the camera,” she continues.

Also, read Variety TV critic Caroline Framke's take on the two sudden power players behind Sunday night's turn of events, Tom and Cousin Greg (Nicholas Braun), here.” />
According to WarnerMedia, episodes of “Succession” Season 2 went on to average nearly 5 million viewers across all platforms. HBO said the Season 3 premiere episode, which returned on Oct. 17, is now close to 7 million viewers. When including delayed viewing, HBO reports an average of 6.1 million viewers to-date for Season 3, which it reports is up 56% from season 2 after a similar period of time.
Logan Roy did it again. his kids had fans buzzing following Sunday night’s Season 3 finale, and it paid off in initial viewing. According to HBO, the episode, "All the Bells Say," delivered 1.7 million viewers across all platforms in same-day viewing. The media baron's checkmate vs.
That's a new series high for the show, which has averaged a linear rating of around 543,000 this season. HBO had previously touted the Season 3 opener of the family-dynasty drama as its most watched, averaging over 1.4 million viewers across all platforms.
For the finale, HBO reported that total viewing increased 47% versus the Season 2 finale, 21% from the Season 3 premiere and 8% from last week’s penultimate episode, "Chiantishire."
"Succession" just landed five Golden Globe nominations, the most of any series this uear; the show also led this year's Critics Choice Awards noms with a total of eight; additionally, it was named as one of AFI’s Top 10 TV shows of the year. The series stars Brian Cox as family patriarch Logan Roy, as well as Jeremy Strong, Sarah Snook, Kieran Culkin and Alan Ruck.
Armstrong tells Variety's Kate Aurthur that the season ender switches up the show's entire premise — that it was heading toward finding Roy's successor: "It changes it. We’ll follow the truth, and the business of that. I’d be bullshitting you if I told you I knew exactly what was going to happen. Read that interview here. I think succession in one form or another is very much still on the table." "Succession" creator Jesse Armstrong recently spoke to Variety about the show's twisty Season 3 finale, including the move by Tom (Matthew Mcfadyen) to double cross his wife (Snook), and how the three kids Kendall (Strong), Shiv (Snook) and Roman (Culkin) were played by their father.