Being a newlywed can be a serious adjustment, and The Conners Season 5 Episode 2 had their two recently married couples experiencing some bumps in the road to marital bliss.
You’d think that after all of the breakups and heartache that Darlene and Ben have put one another through, they’d be thrilled to finally be married.
But it turns out those rings on their fingers haven’t solved their problems.
Ben was frustrated and maybe a little depressed.
I need to be around creativity. You know, I don’t write anymore, and I work at a hardware store all day long. And your Dad went on the other day for 20 minutes about toggle bolts versus anchor bolts, and at one point, I looked over at the rat poison, and I thought, Oh, man, if only I had the guts.
Ben
Running his late father’s hardware store to make a living isn’t Ben’s dream job, and I have sympathy for how that’s wearing him down.
I might have more sympathy if he’d been more empathetic when Darlene faced similar difficulties adjusting to working at the factory.
I should probably let it go, considering Darlene has, but it still bugs me that Ben wasn’t even willing to go away for a long weekend to give Darlene the mental health break even when she pleaded with him.
All Ben wanted was a night out doing something different, and Darlene agreed until things took a turn she hadn’t expected.
Ben: Oh, come on. Loosen up. It’ll be hilariously bad, and everyone will have a good laugh. Darlene: Oh, now that I know I’m going to be humiliated, I’d love to stay. Ben: I’m sorry it’s not as exciting as checking your jitterbug for messages and falling asleep to Blue Bloods. Darlene: Oh, so I’m old now. Ben: You’re becoming your father. Darlene: No, my father never would have allowed himself to be dragged here. Ben: You said you wanted to make me happy. Darlene: Well, that was a mistake I’ll never be making again. You know what? I’m done going out altogether.
To Ben, Darlene just needed to loosen up because he was having fun. But as someone who would rather hide under my seat than be a part of that type of audience participation, I felt Darlene’s pain.
You’d think after all the time they’ve known one another, Ben would know how much Darlene would dread something like that. And even when she was overwhelmingly uncomfortable, he tried to push her into it. That felt mean.
Perhaps we’re supposed to find it comforting that marriage hasn’t changed Darlene and Ben’s fights, but I find it disheartening.
Darlene did admit that Ben had a point. She was falling into well-worn patterns that were similar to her father’s. But when Darlene realized that, she owned up to it.
Look, there’s no shame in that. You have a family. You work hard, and eventually, your couch becomes your big cushiony friend that really gets you.
Dan
What bugs me about Ben and Darlene is that when Darlene recognizes she’s in the wrong, she apologizes and tries to make things right.
Here, she said she was sorry for ruining Ben’s night and formulated a plan that could give Ben the outings he craved while not pulling Darlene so far out of her comfort zone that she’d be miserable.
But I never heard Ben apologize for pushing Darlene to do something that made her feel humiliated. That feels like a problem.
I’m sure that renovating the house and still not having their own place to live is adding to the stress of being newly married. And let’s face it, Darlene and Ben got back together after a lengthy breakup and almost immediately walked down the aisle.
It made for great TV, but they probably should have taken a beat or two before tying the knot, or even better, go for some couples therapy so they don’t continually repeat the same old, destructive patterns.
Jackie and Neville had an entirely different set of problems, and who would have guessed that they’d stem from Neville’s insecurities and not Jackie’s?
Having Neville bring home half a petting zoo was a great sight gag, especially when the goat walked up to get a better look at the TV.
Poor Neville thought he was too dull to keep Jackie interested.
Neville: All this keeps life pretty interesting, doesn’t it? Jackie: Interesting is a puppy. This is a documentary that ends with the neighbors going, Well, we saw that coming.
It’s a nice change that in this relationship, Jackie can be the strong, rational one from time to time.
I was proud of Jackie when she talked to Neville. She was kind but firm. Having all of those animals in the house wasn’t working for her, and it certainly wasn’t giving them more alone time the way Neville claimed it would.
Thankfully, Neville was honest about his fears, and their relationship took a big step forward.
Where the animals brought the humorous element to this story, Neville and Jackie brought the affection, which made it all the sweeter.
This episode focused on the two newlyweds, but it left me wondering about Louise.
I know Katey Sagal is only a recurring cast member so she won’t be in every installment, but we’re only two episodes in, and I miss her. Dan needs her back to get him up off that couch.
Plus, will Louise be okay with Harris sticking around? Have they even had that discussion yet?
And how long will it be before Darlene’s house is finished? I can’t imagine what it will be like to have everyone but Dan and Louise out of the Conner house, but I hope we get to experience it soon.
So what did you think, TV Fanatics?
Am I being too hard on Ben or was he being too hard on Darlene? Do I need to let go of their past and move on, or should I continue to call out Ben and Darlene’s patterns?
Were you happy that Jackie got to be the person who confronted the problems in their relationship and helped solve them?
And do you miss Louise as much as I do?
Hit that big, blue, SHOW COMMENTS button below to share your thoughts, then check back in for our review of The Conners Season 2.
Film and TV actors might be contractually entitled to collect half-a-day’s pay when they audition but aren’t hired, though very few ever collect. The payments have been codified in every Screen Actors Guild and SAG-AFTRA contract since 1937, but the payments are not automatic – actors have to file a claim to receive them, and few ever do.
On Wednesday, however, after Deadline made inquiries, the union said that it now will pursue claims for audition pay under specific circumstances.
“Until further notice,” the guild said in a posting on its website, “members should expect the union to pursue audition pay claims in the following circumstances, provided that the performer is not offered employment in the picture and that the requirements of the audition pay language within the schedule applicable to the role being cast are otherwise met: 1. When the producer or casting director expressly require the performer to memorize their lines in advance. 2. When the performer participates in a network or studio ‘test’ as that term is commonly understood in the entertainment industry. For context, ‘tests’ are typically used to cast series regular or feature lead roles, typically involve multiple performers who are expected to be ‘off book,’ may involve make-up, hairdress and wardrobe, and will have network or studio executives in attendance. 3. When a performer is owed pay for waiting time in excess of one hour as provided in the applicable schedule.”
Actor Shaan Sharma, who is a member of the SAG-AFTRA Hollywood board, has been one of the leaders of the effort to get the union to pursue pay for auditions and has filed his own claims for audition pay. “This is a first step,” he told Deadline, “but does not address the work we do on auditions that don’t expressly require lines to be memorized, which includes most auditions. This is something we’ve been owed since 1937.”
In its statement, SAG-AFTRA said:
“It has come to the attention of SAG-AFTRA that there is a lack of clarity regarding the requirement of payment for auditions where the performer is not subsequently offered employment on the picture. The confusion stems, in part, from the fact that the audition provisions of the Codified Basic Agreement, which apply to the casting of film and dramatic television programs, date back to 1937 and employ vocabulary that no longer tracks common usage in the entertainment industry.
“In addition, the way that roles are cast in the entertainment industry has changed radically since that language was last negotiated, thereby creating genuine ambiguities in how the audition pay language should be applied today.
“The current Codified Basic Agreement expires on June 30, 2023, and feedback from members has made it abundantly clear that changes in how roles are cast have created a number of issues that require resolution at the bargaining table.” In the interim, the union said, it “will pursue audition pay claims” in the above-listed circumstances.
“To be clear,” the union said, “SAG-AFTRA believes that the audition pay language can be read to require payment in circumstances beyond those identified (above) and SAG-AFTRA specifically reserves the right to pursue those interpretations in the future. There is the potential, however, for such broader interpretations to have negative consequences, including a reduction of access to casting opportunities that will impact some member groups more acutely than others.”
The union says that it also will “consider any unique or compelling circumstances in determining whether to file a claim, including claims that do not meet the foregoing criteria, so members who strongly believe that they are contractually owed audition pay should call their local office to review the circumstances of their audition or interview. Active claims previously filed with SAG-AFTRA will be reviewed and processed in line with the above criteria and guidance. Members who are interested in how the Codified Basic Agreement regulates the casting process are strongly encouraged to participate in the TV/Theatrical Wages and Working Conditions process that will commence in the coming months.”
With regard to auditions and tests, the current SAG-AFTRA contract says:
“A. If the performer is given employment in the picture, he shall not be entitled to compensation for auditions or tests unless required to wait more than one (1) hour between the time of the call for such purpose and the commencement thereof; if required to wait more than one (1) hour, the performer shall receive compensation for excess waiting time, at straight time, in one-half (½) hour units. “B. If the performer is not given employment in the picture, the performer shall receive one-half (½) day of pay.” “C. If the performer reads or speaks lines which he has not been given to learn outside the studio, without photography or sound recording, the same shall not constitute an audition or test, but shall constitute an ‘interview,’ and the provisions of Section 14 hereof shall apply thereto.”
Similar language is contained in the Screen Actors Guild’s 1947 contract, which said:
“(a). If the player is given employment in the picture, the player shall not be entitled to compensation unless required to wait more than 1 hour between the time of call for such purpose and commencement of such audition or in which case the player shall receive compensation for excess waiting time at straight time, in one-half hour units. “(b). If the player is not given employment in the picture, the player shall receive one-half day’s pay. If the player reads or speaks lines which he has not been given to learn outside the studio, without photography or sound recording, the same shall not constitute an audition or test but shall constitute an ‘interview,’ and the provisions of paragraph 7 above shall apply thereto.”
The reboot of Queer as Folk won’t have a second season. The Peacock series, which launched in June, has been cancelled after eight episodes.
A drama series, Queer As Folk is a reimagining of the 1999 UK series of the same name. The program was previously adapted for a five-season run on Showtime. This newest version starred Fin Argus, CG, Jesse James Keitel, Ryan O’Connell, Johnny Sibilly, Devin Way, and Cameron Hathcock. Recurring players include Kim Cattrall, Brenda Beaumont, Juliette Lewis, Ed Begley Jr., Armand Fields, Chris Renfro, Eric Graise, Sachin Bhatt, and Benito Skinner. The story follows a group of New Orleans friends, their lives, and their relationships. They find their world upended after a shooting at Babylon, a queer nightclub.
Stephen Dunn created the reboot and served as an executive producer. He broke the news of the cancellation via Instagram and wrote:
It’s a rare gift in these times, and in this country, to be able to make a show as fearless and unapologetic as ‘Queer As Folk’. This experience changed our lives forever and we’re so grateful to have found this incredible new family. But today we received the disappointing news that we’re not getting a second season. We know how much it’s meant to the fans and while we’re heartbroken we won’t get to make more episodes, we wanna thank everyone for watching and falling in love with Brodie, Mingus, Ruthie, Noah, Shar, Julian, Daddius, Bussey, Marvin, Judy and Brenda. We’re so grateful for the chance to honor our community and are so proud of this show. #QueerAsFamily
Members of the cast have shared their thoughts about the cancellation:
What do you think? Did you enjoy the reboot of Queer As Folk on Peacock? Are you disappointed that there won’t be a second season?
Check out our status sheets to track new TV series pickups, renewals, and cancellations. You can find lists of cancelled shows here.
The prosecutor who put Jeffrey Dahmer behind bars is pushing back against the narrative Netflix puts forth in its new show — namely, that cops ignored obvious clues because the case involved gay and/or Black people.
Former Milwaukee D.A. Michael McCann — who personally prosecuted Dahmer in the ’90s — tells TMZ … the notion that MPD officers turned a blind eye to Dahmer’s victims because of their race or sexual orientation is ludicrous, despite what “Monster: The Jeffrey Dahmer Story” portrays.
The true crime drama is getting a lot of buzz right now, and while McCann says he hasn’t seen it yet … he’s aware of how Netflix and co. are playing things — very anti-cop and leaning into perceived racial and homophobic bias throughout the episodes.
McCann is flatly denying that characterization, saying neither race nor sexual orientation had influenced how police investigated Dahmer. He insists if they’d known they had a serial killer in their midst, they would’ve moved in immediately to put a stop to it … regardless of the victims’ backgrounds.
He explains Dahmer’s M.O. simply didn’t allow for them to discover the truth any sooner than they did in 1991 — when one of his victims escaped and brought cops to Dahmer’s apartment.
McCann notes Dahmer didn’t leave a lot of obvious evidence lying around, and covered his tracks well.
He also thinks there’s something to the fact that Dahmer’s victims were men — saying women who went missing back then were investigated by assuming the worst. On racism and homophobia generally, he acknowledges it’s been a problem historically in law enforcement … but is still adamant that it played no role in how officers went about handling Dahmer.
Of course, not everyone will buy what McCann’s selling here … especially seeing how Glenda Cleveland — played by Niecy Nash — alerted Milwaukee PD to Dahmer’s behavior many times before he was eventually captured. Many suspect cops wrote her off because she was Black.
Most of Dahmer’s 17 victims were also Black, and the show depicts cops as being sickened by the gay lifestyle. According to McCann, though, that’s Hollywood fiction. 🤷🏽♂️
The promotional train for Dahmer may have started late, but the lack of publicity for the series has seemingly resulted in more interest.
Dahmer – Monster: The Jeffrey Dahmer Story beat Netflix records in its first week on the streaming service.
After just five days available, it secured 196.2 million hours of viewership, allowing it to hit the #1 spot in several countries.
The numbers make Dahmer the highest first week of viewership for a series debut on Netflix.
Granted, the numbers were probably helped by the fact that the series dropped on a Wednesday instead of a Friday.
We’ll have more concrete numbers when the show has been available for longer.
The series narrowly beat Inventing Anna, which netted 195.97 million hours viewed.
Squid Game, which became the streamer’s most-watched show ever, kicked off with just over 63 million hours viewed.
The series is headlined by Evan Peters (American Horror Story), in a role that reunites the star with Ryan Murphy.
“Between 1978 and 1991, Jeffrey Dahmer gruesomely took the lives of seventeen innocent victims. DAHMER – Monster: The Jeffrey Dahmer Story is a series that exposes these unconscionable crimes, centered around the underserved victims and their communities impacted by the systemic racism and institutional failures of the police that allowed one of America’s most notorious serial killers to continue his murderous spree in plain sight for over a decade,” the logline reads.
In addition to Peters, the cast includes Richard Jenkins (Lionel Dahmer), Molly Ringwald (Shari Dahmer), Michael Learned (Catherine Dahmer), and Niecy Nash (Glenda Cleveland).
The expansive list of guest stars includes Penelope Ann Miller (Joyce Dahmer), Michael Beach (Detective Murphy), Colby French (Detective Kennedy), Shaun J. Brown (Tracy Edwards), Mac Brandt (Officer Rauth), Grant Harvey (Officer Mueller), Matthew Alan (Officer Gabrish), and Scott Michael Morgan (Officer Balcerzak).
Josh Braaten (Young Lionel Dahmer), Savannah Brown (Young Joyce Dahmer), Nick A. Fisher (Young Jeffrey Dahmer), Cameron Cowperthwaite (Steven Hicks), Vince Hill-Bedford (Steven Tuomi), Blake Cooper Griffin (Charles), Matt Cordova (Detective Rauss), and Rodney Burford (Tony Hughes) also star.
While the acting has had rave reviews, the series has had its fair share of criticism since its launch.
Many have questioned whether another retelling of this harrowing tale was necessary.
What are your thoughts on the numbers?
Hit the comments below.
Paul Dailly is the Associate Editor for TV Fanatic. Follow him on Twitter.
Warner Bros. Discovery has set out Pierre Branco’s leadership team for France, Benelux and Africa. It also also emerged in the past few minutes that long-serving Warner Bros distribution exec Caroline Lang is exiting in the restructure after a quarter of a century.
Branco, General Manager of Warner Bros. Discovery for the territories, said the team would operate with a “one company” mindset after naming Tatiana Lagewaard has lead for Content and Programming in general entertainment and factual and confirming Stephane Queneudec as French Theatrical Local Production boss and Olivier Snanoudj as Theatrical Distribution for France and Benelux.
Lang, who was Warner Bros. Discovery’s Senior Vice President and Managing Director, TV Distribution, France and French-Speaking Territories is leaving after 25 years with Warner Bros. businesses, a rep confirmed to Deadline. “After the merger of WarnerMedia and Discovery, and with it the creation of a new regional structure for the company in France, Benelux and Africa, Caroline Lang has decided to seek new challenges,” they added.
The full line-up comprises:
Romain Carbonne as manager of the Insights and Research teams across the region.
Guillaume Coffin leading Affiliate Sales, Ad Sales and Content Licensing for the region.
Yves Elalouf as lead for the retail business for the region across Home Entertainment (Video, Games & Digital) and Consumer Products.
Tatiana Lagewaard taking on Content & Programming for GE and factual brands in the region, including Local Unscripted Productions for discovery+ and Discovery networks.
Stephane Queneudec continuing to lead the French Theatrical Local Production business reporting into Pierre Branco and will have a dual role, also managing the Content Licensing team reporting into Guillaume Coffin.
Gregory Schuber leading Group Marketing & PR for the region. Marketing and PR teams for GE and Factual brands and for Content Licensing in the region will therefore now report into Gregory.
Olivier Snanoudj will continue in his role as head of Theatrical Distribution for France & Benelux.
Branco added: “I am convinced that we have the content, brands, talents and passion to grow our business even further and position ourselves strongly for the future in a competitive and challenging region that is also full of opportunities,” he added.
France remains a strategically important territory for Warner Bros Discovery. While most the rest of Europe has seen the company pull back from development for streaming service HBO Max, it and Spain will continue to develop new shows, ahead of the platform’s merger with Discovery+ in 2024. That decision led to the departure of 29 execs across Europe.
On Monday, Warner Bros Discovery’s International President Gerhard Zeiler stressed the success of HBO Max Spain originals such as 30 Coins during the RTS London conference. He also talked up the importance of local content, saying: “There is one rule in our industry, which is if you want to be a successful global player you have to have relevant local stories. In order to be a top three player, you have to complement big hits with local relevant stories.”
You can own one of the most iconic props from one of the most iconic shows — Negan’s barbed wire-wrapped bat, “Lucille,” from “The Walking Dead” — giving a whole new meaning to hitting the auction block!
If you watch TWD, you know Lucille.
The bat has been at the center of some of the series’ most shocking moments … and now it’s available at Goldin Auctions. Bidding starts at $3K … but the bat will ultimately go for much more.
During the season 6 finale/season 7 premiere, one of the show’s most beloved characters was brutally killed by Lucille … at the hands of Negan, leader of the Saviors, played by Jeffrey Dean Morgan.
Several versions of the bat were made and used in production. This specific bat is a “hero version” … meaning it was meant for up close shots on television, so it’s the highest quality of the props.
Lucille is 34 inches long and has a “4” marked on the knob of the bat … to signify the bat’s length (inches past 30).
GA doesn’t only have the bat on the block. They’re also selling other iconic TWD items … including Daryl’s 1992 Honda CB 750 Nighthawk motorcycle and Rick’s (rubber) Colt Python Stunt, and his worn and bloodied Sheriff top.
The Walking Dead series — which premiered in 2010 — will air its series finale in November.
The auction wraps October 15 … eeny, meeny, miny, moe!
Peak medical drama greatness is when the E.R. descends into chaos!
It was one of many highlights of The Resident Season 6 Episode 2, as the emotional hour’s thematic approach centered on control — having it, losing it, and trying to function despite it being out of one’s hands.
And we also got the introduction of a sweet new character.
In hindsight, this hour felt like it could have made an excellent season opener. It had a bustling E.R., medical cases that not only got the audience invested but reflected on the characters we loved as well, and so many emotional notes, dynamic character interactions, and the promise of a looming threat that will impact the season.
While they are not precisely mincing words regarding Betz and who he represents, the setup for how his win will impact the city and hospital is glaring.
What’s exciting about it is how passionate Kit is about this, which means that she could be at the forefront of this arc and how it unfolds for the remainder of the season.
Kit is the best chief Chastain has ever had, and she’s helped guide the hospital through many tough transitions. Bell took on a medical board position to elevate healthcare and hold doctors and the field accountable, adding the necessary balance that it requires.
Kit potentially getting the opportunity to do the same in some capacity with medicine and politics could be incredibly exciting. They indeed are a power couple, Kit and Bell.
I’m unsure how immediate the effects of Betz’s win will have on Chastain and how that will be reflected, but I also cannot wait to see the results.
Regardless of one’s sentiments or politics, we can collectively agree on how politics have permeated every aspect of our lives. A brawl at the polling station is probably one of the most seemingly insane but real things that could cause a flood of people into the E.R. on a “Slow” day.
Unfortunately, while it shouldn’t be, healthcare is a political and social issue. The hour peppered in enough points to tease the potential plot of this arc and connect it with a few others.
For example, all of this merges with Devon’s clinical trial storyline, and the overlap between him and Kit is solid, allowing further exploration of their particular dynamic.
My heart ached for Kit for the entirety of the hour. Jane Leeves performed beautifully the whole time. Early on, she had a personal stake in Ben’s treatment and outcome, and she was projecting a lot.
However, the combination of the writing and Leeves’ performance resulted in this being a heartachingly strong hour for Kit depicting how human our Boss Voss is. She was incredibly sympathetic throughout, even when we knew she was patently wrong from the beginning.
It terrified her that if Ben wasn’t doing well because of this trial, and he could end up not walking again or worse, what did it say about Bell and his methods to combat his M.S.?
Billie: We can’t worry about things we can’t control. Kit: Those are the things that worry me the most.
She was attempting to will the best possible outcome for Ben despite the risks, softening the reality of the situation and clinging to optimism beyond recommendation because Ben needed to be okay for Bell to be okay in her mind.
Devon and Billie attempted to reel her in some and add some nuance to her pitches. But Kit was committed, and understandably so.
The man she loves more than anything is battling this debilitating disease that can wreck them at any given moment, and that’s a hard state to be in for Bell and her as a loved one and caretaker.
I adored her line about how it felt as if they were standing on a plateau that could crumble at any time. It is emotionally draining and stressful to live in such a suspended state, hoping for the best all the time and fearing the worst at any point.
Kit: M.S. is such a bastard. You think you’re on a plateau, and then it just crumbles. Devon: Things are developing all the time, Kit. Kit: I know. Randolph is doing much better, but it’s always there, like a sword hanging over our heads. I think I’m handling it or at least compartmentalizing, but apparently, I’m scared. Devon: For what it’s worth, you do a really good job of keeping that a secret. Kit: I know. Devon: There really is hope, you know.
Their lives could change in the blink of an eye, and for someone like Kit, who is used to having control over so many things, she struggled with this constant state of not having any control.
No one had to confront Kit about her actions because they understood where she was coming from and expressed genuine concern about what she was facing as a caretaker whose spouse was away.
Moreover, Kit was self-aware enough to come to grips with her actions when Ben’s surgery quickly took a turn for the worst. She was so distinctly vulnerable and honest with Devon, which was a beautiful, enlightening moment for her that peeled back some more layers of this beloved character.
She also cleared the air with Billie, both women acknowledging their behavior before heading out for drinks. It is so touching to see her support system at Chastain, and if anything, this hour hit home how much these people are genuinely family.
It wasn’t as superficial or surface-level as a big, grand event bringing them together, but more this deep appreciation for the quietest, smallest, everyday moments that support how they are family every day. It’s the little things that constantly feel the most meaningful.
The installment’s care with A.J. and Padma was another great way of capturing the genuine fondness between the characters. Sure, the storyline with Padma and A.J. is an acquired taste, and many people haven’t responded favorably to Padma.
However, during this installment, it was one of the strongest displays of what the show’s vision probably is for this unorthodox family, and Padma was a sympathetic, layered character.
A.J. and others were poking fun at her antics with her essential oils, random documentaries, and food cravings. She’s often an easy target, especially in a world filled with medical professionals, because her nomadic, hippy, frou-frou interest and whimsy are not standard.
But they’re the things that comfort her when she feels like she has no control over anything, like the safety and health of her twins.
It’s no secret that Padma’s plan to have a child felt impulsive, and she has not exactly been the poster child for responsibility and realism regarding her preparation. But the hour showed how aware of that she is.
Her being heavily pregnant and fresh off a scare that endangered her and the twins had the reality of the situation sinking in for her. She was terrified, worried about her babies dying or falling ill again, wondering if she was even fit for motherhood.
It was all perfectly normal responses of someone having their first children and on the precipice of life-changing events. In the end, if she needs to direct all her nervous energy into documentaries she badgers people about or all the other things she finds comfort in, then so be it.
Maybe stay off Twitter too, that can also cause aggression and mood swings.
Conrad
It feels like Leela has a better understanding of her sister, and she also gets to serve as a bridge between A.J. and Padma in helping them understand each other and effectively work together as partners because that’s what they’re going to be: life partners, whether it becomes romantic or not.
And Leela is not above some humbling and learning. The hour had Leela feeling like the character we used to love upon her introduction again.
She and Maya get along rather well, and you could sense that her approach to mentoring wasn’t rooted in power trips and hierarchy but a genuine desire to connect with this young intern and teach her well.
And that feels like Leela.
Maya even has some bubbliness and go-getter attitude that felt reminiscent of Leela. She genuinely seems like a sweet girl, if not a bit naive. She’s someone I hope sticks around, too.
She’s empathetic and connects well with the patients. Her ability to provide comfort and compassion to Mendez was moving. She’s certainly fit for Chastain based on her bedside manner alone.
But she’s still young and inexperienced and has a lot to learn.
Understandably, she was furious at Leela for that “peek and shriek” commentary in the O.R. I couldn’t fault her for it either, even while understanding the necessity for doctors to emotionally detach as best as they can to prevent compassion fatigue, Leela’s behavior did come across callous.
Leela: It happens sometimes, we open someone up, and we can’t fix them. It’s a peek and shriek. Maya: Peek and shriek. He’s someone’s father! I told him he was going to go to sleep and wake up better. We have to do something. How can you just give up? I don’t understand.
And I loved that A.J. didn’t hesitate to check her on it, reminding her that chief resident or not, she’s not above or done learning either. Leela took it well, too, had the necessary conversation she needed to have with Maya, and brought her in to show her how to handle bearing that news, cementing all of it as a teaching moment.
No doubt Leela will have some growing pains, but she’ll be a good mentor. Fortunately, she had and continues to have some great ones of her own.
It’s a far more compelling dynamic than her relationship drama with Devon or even her sister.
And, of course, Conrad is always the G.O.A.T. at showing sympathy and compassion, even when the person on the receiving end of it isn’t particularly likable.
Conrad: It was good being in the trenches with you. Cade: You too.
Stuart was an asshole. It was no getting around that. He was one when he started a full-blown brawl at the polling place and shouted out microaggressions. He was one when he nearly attacked Billie. Hell, he was one when he didn’t even seem to appreciate the helping hand Conrad was extending him.
And based on his sister’s comments, he has always been a bit of a jerk, but the lack of impulse control was alarming. It’s incredible how something as simple as a bad reaction to anti-smoking meds could be the root cause of something.
One can appreciate they did not go the typical route of Stuart’s actions and aggression being rooted in his time in the service. And despite the chemistry behind his impulse issues, he didn’t get let off the hook for his violent behavior.
Too often, with veteran storylines, they’ll always go back to someone suffering from P.T.S.D. and that being used to justify or excuse certain behaviors or peddle the dangerous narrative that equates P.T.S.D. to violence.
The Resident blessedly sidestepped that altogether just as they bypassed any preconceived notions that could have arisen when Mendez had a blockage he didn’t want to be examined and had such a visceral reaction to law enforcement showing up.
We never found out what happened to Stuart after his diagnosis. Fortunately, when Hundley thought the police officer intended to go after Mendez, she directed him to Stuart as the instigator.
But in reality, when you’re in a hospital, you don’t always find out the play-by-play of what happens beyond the standard of care you provide.
Sometimes, we don’t need all of that extra information. And every potentially controversial or antagonistic character doesn’t have to become some statement, so kudos for Stuart not becoming more than he was.
Conrad’s compassion and sympathy also extended to Cade.
While many of us aren’t particularly fond of or invested in this love triangle, the hour did wonders in taking more steps to flesh it out and make it more interesting.
It was one of the stronger installments showcasing Conrad and Cade’s chemistry, particularly in their final scenes. We got that smoking hot and passionate prelude to sexytimes that made a girl realize how much physical passion has been missing from the series recently to their moments of comfort in the shadow of moonlight.
Conrad: What are you seeing? Cade: Maybe it’s nothing. The other day I saw him take a pill. I don’t know what it was, I didn’t ask. But then today he had this bruise on this forehead and he said it was nothing but he seemed jittery. Conrad: Well, I don’t pretend to know him like you do, but if he is using while working than that’s a problem, to put it lightly. Cade: I know.
Cade is a complicated character, and it seems we’ve only scratched the surface of who she is and what she can be. But what was notable from the hour and keeping with the theme of control is that she could have commitment issues.
It’s not that she doesn’t genuinely seem to like Conrad, but given how she’s spent her life the past couple of years, just because she’s stationary now and can plant roots doesn’t mean she knows how to do that with ease.
Conrad has been pushing for more time with Cade and Gigi as a unit, namely breakfast, which would require her actually to spend the night, but Cade keeps finding ways out of doing that.
Cade probably wants this, but she doesn’t know how to have it, or she’s still in the mindset that her life in Atlanta, at Chastain, is temporary, like sand slipping between the fingertips, unable to grasp.
It would be an understandable mindset for her, not just because of her time on the run as an informant but also because of her childhood with Ian raising her or not raising her.
In that sense, she’s a work in progress, which makes her interesting and adds something to her character that they can continue to explore.
And that’s not the only thing she has going on, as, of course, there’s her genuine concern for her father. It’s actually a big step for someone like Cade to confide in Conrad about that, and it’s a testament to the seriousness of their relationship right now.
This means the hour did a significantly better job selling us on this relationship and making it more convincing than they previously had.
The hour also sold Cade’s conflict better here. She has this past with her father, and she doesn’t know if he’s dependent on drugs again or not.
She was too afraid to ask him about it because, deep down, she probably didn’t want to know the truth. However, his injury alarmed her, and she couldn’t ignore any warning signs as a daughter or a doctor.
And Ian’s position is unique because he’s never harmed anyone while under substances, and it sounds like he could be a functioning dependent on substances. He’s able to stop on his own, no problem.
Ian is giving off Gregory House vibes in that regard, a pill-popper whose habit may not affect his ability to do his job. But it’s still a risk that can spiral out of control at any point, and it has to get addressed.
The situation distinguishes itself from Bell’s HODAD era at least, and until a conversation happens, we still don’t know the extent of Ian’s battle he may or may not have with substances.
Cade is facing quite the conundrum. And while Conrad was there to support and comfort her through that, he’s also right about the action they will have to take. Now that it’s out in the open between them, there’s no putting a cap on that.
On the other half of the love triangle front, it’s still not the most fun to see Billie pining as she does, but to her credit, it’s as clear as day that she loves Conrad enough to want what’s best for him and what makes him happy.
She’s jealous of who Cade is to Conrad, but she’s not jealous of Cade and sabotaging the relationship. She has moments where she gets swept up in having Conrad’s undivided attention, but then she has to check herself.
And her way of doing that is to add some distance between them, which is a reasonable thing to do. Billie can’t control her feelings for Conrad, but she can control how she allows them to dictate her life, his, and his relationship with Cade.
Conrad: I don’t know how to say this. You are Nic’s best friend,so every time I see you, it’s like Nic is watching me through you or something, I don’t know. I know it sounds weird. Billie: Seriously, you have to let that go. Conrad: It makes me second-guess everything. Would Nic approve of me and Cade? Billie: Conrad, like I said, I just want you to be happy, whoever you’re with, so would Nic. Conrad: OK, thank you. I just had to get that off my chest. You know everything I’ve been through with Nic better than anyone. Billie: No worries. You’re all good.
She’s opting to step back, not making herself some priority in his life when he has Gigi and Cade now, and it’s noble.
Now and then, it’s still jarring how much they back-drafted the Billie/Nic best friend thing into the series. When Conrad told Billie that every time he looked at her, it was like Nic was watching him through her eyes and so forth; it took me out of the moment for a brief second, and the old wariness of how Billie got inserted into this series crept up.
But, yes, it has been years since Nic’s death, and we’re to presume that Billie has been by his side along the way, as Aunt Billie, helping him through some of the most challenging moments of being a single father after they both lost someone they loved.
We’re still getting told more about how close they’ve become than actually seeing it, but we A.R.E. seeing it more than we did before, which is doing wonders with fleshing out this love triangle.
Their elevator scene did crackle. When Conrad asked her if Nic would approve of Cade, he held onto her every breath and word as if anything she said at that moment would make or break him.
You could visibly see how valuable she has become in his life, and, yes, the intimacy of that scene and the conversation truly sold the notion of these two as best friends.
In that sense, Billie holds a lot of power, in her own right, in Conrad’s life, and her awareness of that and how that conflicts with her feelings is something she’s clearly trying to navigate.
Billie was right. Nic would simply want Conrad to be happy. He knows the answer to that, deep down, whether he needed some reassurance or not.
Maybe stay off Twitter too, that can also cause aggression and mood swings.
Conrad
But Conrad is an intuitive man. Even if he’s not picking up why things have changed between him and Billie, he knows they have. It makes you wonder how long she can keep her feelings under wraps from him and what will happen when he learns the truth.
Over to you, Resident Fanatics. What were your thoughts on this installment? How are you feeling about the love triangle these days? Did you love the Kit content? Hit the comments.
The talk show’s moderator didn’t mince her words after an interview with RHOSLC Meredith Marks in which she says Shah needed “support from people around her.”
“Well, maybe the old folks that she defrauded might also need some support around them as well,” Goldberg said.
Closing off the debate Goldberg added, “When it comes to older people, I am not as forgiving. I’m just not because that’s low-hanging fruit. I’m glad you realized you did something wrong and I commend you but I’m not going to be your friend for a while until I get over that.”
“Not that you were looking for me to be your friend anyway,” she continued. “But still for me, when you mess with old people and little kids…”
Sunny Hostin, who reminded viewers that she is a former prosecutor, had a completely different take acknowledging that Shah took a plea deal.
“I was always appreciative when you had someone take a plea,” she said. “They know they did something wrong, they’ve admitted to it, there’s accountability there. There’s generally a victims fund, so those victims will get paid back, probably not all of it.”
Hostin also noted that there’s a “rehabilitative” component to admitting guilt and during these times “you need your friends.”
Alyssa Farah Griffin said she is a Real Housewives fan and mentioned the other case around Erika Jaybe from The Real Housewives of Beverly Hills whose estranged husband has been accused of defrauding his clients. Griffin noted that the RHOBH stars defended Jayne despite saying “horrible things like, ‘I don’t care about victims.’”
“You have to take some responsibility,” she said, “If you’re not taking responsibility, you don’t get any sympathy.”
Watch Whoopi Goldberg and The View co-hosts talk about RHOSLC below.
The “Riverdale” actor convicted for murdering his mom could end up behind bars with the worst of the worst — something he and his attorney find gravely concerning, considering he’s a puny guy.
Ryan Grantham — who was sentenced to life in prison in Canada — is at risk of being brutalized, or worse, if he’s forced to serve his time in a maximum security facility … according to his lawyer, Chris Johnson.
Johnson tells TMZ that Grantham is small in stature and slight in build — standing a mere 5’2″ and weighing about 100 lbs. While the guy is 24, we’re told he passes for a teenager … and looks exactly like the frail characters he’s played in movies and on TV.
Johnson is concerned his client could be “physically, psychologically and sexually intimidated” if he’s locked up in a max security prison. Basically, he feels Grantham doesn’t belong there, not just because of his physicality … but because, in his mind, the setting for the punishment doesn’t fit this specific crime under these particular circumstances.
Johnson tells us his age, size and mental state during this saga should be considered by prison officials — suggesting even if the crime fits the bill for someone to be thrown in a maximum security prison … anyone with eyes can see he simply wouldn’t fare well.
TMZ.com
We’re even told the judge who presided over the murder case actually recognized the potential concerns if Grantham ended up in a max security prison, and even recommended a medium security facility.
Thing is, Johnson says the judge has no final say about where he’s sent … it’s up to correctional authorities.
Johnson says Grantham has conveyed general apprehension about prison, but his lawyer is still looking out for him and asking the Deputy Commissioner of Prisons to put his client in a medium-security prison. In the interim, we’re told Grantham is being held at a pretrial center, and will probably be there another week.
Dancing With the Stars has made Disney+ its home, and after two episodes, it’s clear the series is better following the move.
Monday’s two-hour spectacular involved a tribute to Elvis Presley.
There was immediate drama going into the episode after it emerged that Daniella Karagach tested positive for COVID-19.
As a result, Joseph Baena was paired up with Alexis Warr as a temporary measure.
How did they match up when all was said and done, and more importantly, who got the boot?
Jessie James Decker and Alan Bersten – 25 out of 40 – Safe
It’s becoming increasingly clearer that these two may be a match made in DWTS heaven.
They’re not the best of the performers, but they are close enough to the best.
Jordan Sparks and Branton Armstrong – 25 out of 40 – Safe
Their performance markedly improved on the season premiere, delivering some great moments.
Thankfully, they were deemed safe and advanced to Week 3.
Sam Champion and Cheryl Burke – 26 out of 40 – Safe
The Vienesse Waltz is one of the trickiest styles to master, and Sam and Cheryl delivered.
There wasn’t enough Sam, and I hope that future performances allow for more time.
Shangela and Gleb Savchenko – 28 out of 40 – Safe
There was a lot to love about their Quickstep. Shangela knows how to command a room, and I expect these two will make it very far into the competition.
Daniel Durant and Britt Stewart – 29 out of 40 – Safe
Daniel’s performance in the premiere with Britt was very good, but they both upped their game considerably in the second week.
They understand the challenge, and they’re delivering.
Gabby Windey and Val Chmerkovskiy – 32 out of 40 – Safe
The premiere was no blip for Gabby and Val.
Their performance was as close to perfect as you can expect for this part of the process.
They will be around for much of the season if they can keep improving.
Vinny Guadagnino and Koko Iwasaki – 27 out of 40 – Safe
There were plenty of jitters for Vinny on week one, but Koko helped nurture his performance this week into something else.
It was an improvement of epic proportions.
Charli D’Amelio and Mark Ballas – 32 out of 40 – Safe
There were many naysayers when Charli joined the cast, but the truth is, she’s probably one of the most talented performers in years.
She and Mark work very well together, and this train will not stop in the near future.
Selma Blair and Sasha Farber – 28 out of 40 – Safe
Selma is receptive to feedback and used the feedback from last week to up the ante and show presence and confidence.
That will bode well if the improvement continues.
Joseph Baena and Alexis Warr – 24 out of 40 – Safe
It was inevitable that Joseph would have some hurdles following the last-minute switcheroo, but this was a decent performance.
Heidi D’Amelio and Artem Chigvintsev – 28 out of 40 – Safe
Heidi had first-show jitters during the premiere, but those were a distant memory during this latest performance.
Trevor Donovan and Emma Slater – 30 out of 40 – Safe
The Rumba is another tricky component of DWTS, but Trevor and Emma oozed finesse as they helped one another deliver a real showstopper of a performance.
Wayne Brady and Witney Carson – 32 out of 40 – Safe
Wayne and Witney are making a strong case for winning the whole thing.
There, I said it. If this is the level at the second week, then I’m excited to see where they land.
Cheryl Ladd and Louis van Amstel – 21 out of 40 – Saved by Judges
Cheryl and Louis had a frustrating performance because it was much weaker than last week.
Hopefully, it’s just a blip, and they’ll bounce back next week.
Teresa Giudice and Pasha Pashkov – 23 out of 40 – Eliminated
Teresa and Pasha managed to improve week-to-week, but compared to the other competitors, their performances aren’t where they need to be.
It’s unfortunate to lose Teresa so soon, but at least she’s going out knowing she improved quite a bit.
What are your thoughts on the eliminations?
Paul Dailly is the Associate Editor for TV Fanatic. Follow him on Twitter.
EXCLUSIVE: The main cast of cult classic indie comedy Napoleon Dynamiteare reuniting for an animated pilot released through blockchain technology.
Jon Heder, Tina Majorino, Efren Ramirez and Jon Gries have all signed on to voice characters in Cyko KO, which is based on Rob Feldman’s Ringo Award-nominated comic book of the same name. Heder, who played a nerdy and lovable high school student title character in 2004 comedy hit Napoleon Dynamite, has been cast in the lead role as the titular Cyko KO.
The character is billed as a “fourth-wall breakin’, pinball-addicted, cereal eatin’, motorcycle-ridin’ hero.” The series will follow him, sidekick Peachy Keen and their pet Meemop, as he protects the colonies of SuperEarth from giant monsters and crazy characters “in this Saturday morning cartoon-inspired, all-ages title.”
A 12-minute pilot will launch exclusively on blockchain tech firm Replay’s Rewarded.TV web3 streaming service, using revenue from an NFT collection from Theta Labs’ ThetaDrop to fund, produce and distribute the project.
The NFTs will unlock the show and other film titles and series, with viewers of Rewarded.TV titles earning Replay’s native RPLAY tokens by watching films, series and live TV through a proprietary watch-to-earn ecosystem. CykoKO‘s NFTs will also offer additional perks, such as the chance to meet the cast of the show or cameo in the pilot.
The drop date for the Cyko KO Star Cards NFT is 12pm PT Friday (September 30).
Creator Feldman will be showrunner through his Earworm Media operation. Rocketship Entertainment, which he founded in 2019 with Tom Akel, is co-producing alongside Replay and Verified Labs, a Web3 production studio that counts Heder among its founder members.
Feldman previously worked with Theta on Cyko Headz NFT collectibles, which were also based on the digital comics and originally spawned the Theta blockchain. He also recently produced feature Night of the Animated Dead, which starred Josh Duhamel, Katee Sackhoff, and Dulé Hill and was for Warner Bros.
“The dream has always been to bring Cyko KO to the world of animation, and to do so through bleeding edge technology,” said Feldman. “Between this incredible cast reunion and our partners at Theta, Replay, and Verified Labs, we are going to create something incredibly special for the fans who have supported Cyko and his friends for the past seven years.”
“We’re thrilled to be working with Replay and Rob on this drop,” said Kyle Laffey, Head of Partnerships at Theta Network. “Theta continues to build out our video technology and these NFTs are a perfect use case of how we can enable media and entertainment to enter Web 3. It’s only a matter of time before we see more media brands take this route and experiment with entire new business models for funding and distribution. Replay’s platform and Rob’s content are a natural pairing as early pioneers in this space.”
Jon Heder (Napoleon Dynamite, Blades of Glory, Monster House) is represented by The Gersh Agency, Tina Majorino (NapoleonDynamite, Andre, When a Man Loves a Woman) by Innovative Artists and Stride Management, Efren Ramirez (Napoleon Dynamite, ER, American Dad) by A3 Artists Agency and Jon Gries (Napoleon Dynamite, Men in Black, Real Genius) by Innovative Artists.
