As a whole, it was a fairly run-of-the-mill awards ceremony – some tearful speeches, a sprinkling of politics, jokes about Leonardo DiCaprio’s dating life – but got the job done.
Glaser returned to host again, offering a few fun skits (a parody of the Nicole Kidman AMC ad targeting podcasts, and a mash-up for ‘KPop Demon Hunters’ and ‘Marty Supreme’ with a Fran Drescher cameo.
Yes, some of the jokes were entirely predictable, but there were some pointed jabs at CBS News (“see BS News”) and the Epstein Files.
And overall, Glaser kept the show moving (it eventually ended roughly 10 minutes late).
There were a lot of expected winners, including several trophies for ‘One Battle After Another,’ ‘Sinners’ and the latest for ‘Marty Supreme’s Timothée Chalamet.
But the surprises were more fun –– ‘Hamnet’ scooped the Motion Picture – Drama award, while ‘The Secret Agent’ nabbed Non-English Language Film and a more unexpected (if entirely deserved) Actor trophy for star Wagner Moura.
A lot of the TV awards for drama and comedy were similar to other shows such as the Emmys, with ‘The Pitt,’‘The Studio’ and ‘Adolescence’ all winning more hardware for their trophy cabinets.
Awards shows are usually a mix of humble and heartfelt, and ‘One Battle’s Teyana Taylor certainly got that in early with her tearful acceptance moment.
Outside of acceptance speeches, Judd Apatow killed it presenting Best Director, nodding to Nikki Glaser’s history babysitting his daughters and his “quiet boycott” of the awards after ‘Trainwreck’ lost to ‘The Martian’ in the comedy category a decade ago.
Wanda Sykes was also on top form as she presented the Stand-Up category, swiping at Bill Maher and particularly Ricky Gervais, whose award she accepted “on behalf of God and trans people.”
And Snoop Dogg was… Snoop Dogg, handing out the first Podcast award, which was won by Amy Poehler for ‘Good Hang.’
There was much praise for Macaulay Culkin, who was presenting Best Screenplay, and scored a standing ovation as he took the stage.
Julia Roberts hyped up her own stint on stage Presenting Best Motion Picture Comedy, while poor George Clooney had to note that he did not get the same reaction presenting drama, a fact reiterated by pal Don Cheadle, who showed up to gently rib him.
The Golden Globes will take place on December 8th.
Despite lots of changes behind the scenes and some serious PR airbrushing, the Golden Globes never quite retained their luster. Still, they’re a big stop on the awards circuit and the nominations were announced today by Marlon Wayans and Skye P. Marshall during a press conference held at the Beverly Hilton in Los Angeles.
And on the TV front, ‘The White Lotus’ and this year’s big small screen sensation, the one-shot drama ‘Adolescence’ have the most nominations for their side of the awards.
Best Performance by a Male Actor in a Supporting Role in Any Motion Picture
(L to R) Teyana Taylor as Perfidia and Sean Penn as Col. Steven J. Lockjaw in ‘One Battle After Another.’ A Warner Bros. Pictures Release. Photo Credit: Photo Courtesy Warner Bros. Pictures
Paul Thomas Anderson, ‘One Battle After Another’ Ryan Coogler, ‘Sinners’
Guillermo del Toro, ‘Frankenstein’ Jafar Panahi, ‘It Was Just an Accident’ Joachim Trier, ‘Sentimental Value’
Paul Thomas Anderson, ‘One Battle After Another’ Ronald Bronstein, Josh Safdie, ‘Marty Supreme’
Ryan Coogler, ‘Sinners’
Jafar Panahi, ‘It Was Just an Accident’ Eskil Vogt, Joachim Trier, ‘Sentimental Value’ Chloé Zhao, Maggie O’Farrell, ‘Hamnet’
Cynthia Erivo is Elphaba in ‘Wicked For Good’, directed by Jon M. Chu.
“Dream as One”, ‘Avatar: Fire and Ash’
“Golden”, ‘KPop Demon Hunters’
“I Lied to You”, ‘Sinners’
“No Place Like Home”, ‘Wicked: For Good’
“The Girl in the Bubble”, ‘Wicked: For Good’
“Train Dreams”, ‘Train Dreams’
Executive producer Sean Penn talks ‘Words of War’. Photo: Decal.
Moviefone recently had the pleasure of speaking with executive producer Sean Penn about his work on ‘Words of War’, how he got involved in the project, Anna Politkovskaya’s incredible story, why it was important to tell this story now, Maxine Peake and Jason Isaacs’ performances, director James Strong’s impressive work, Penn’s passion for freedom of the press, and what people can do to protect their own freedom of speech.
You can read our full interview below or click on the video player above to watch our interviews with Penn, as well as Maxine Peake, Jason Isaacs, director James Strong, and producer Mark Maxey.
Executive producer Sean Penn talks ‘Words of War’.
Moviefone: To begin with, can you talk about how you got involved with this project and what exactly was your role as executive producer?
Sean Penn: That’s easy. So, Mark Maxey, one of the producers initially had been in touch with Congressman Eric Swalwell, who I have a continuous conversation with. The film was complete by the time I got involved, totally complete. They were, I think looking for champions to help present it in a sense. So, both Congressman Swalwell and I got involved on that basis. I was asked to see the film and when I saw it, I was just knocked out. Before we might talk about any of the timely prescient or political aspects of it, Maxine Peake, Jason Isaacs and Ciarán Hinds, the entire cast are just so fantastic from an actor’s point of view. It was exciting on its own terms. The story itself, I did have some memory of Anna Politkovskaya, the real person, beautifully played by Maxine Peake, and it is that thing that makes me most emotional in film and in life, which is just to recognize deep courage. It is a story of the kind of courage that were it not so rare, the fate of Anna would not have been what it was, because too many voices have been drowned out by that monster, and she was one of very few who had that kind of courage.
MF: Why do you think now was the right time to tell Anna Politkovskaya’s story on screen?
SP: Because I think that one group of one political perspective, and I’m obviously generalizing in this country, is by and large unwilling to soberly recognize how urgent the situation is. Even people who will recognize it and talk about it at a dinner table as if in a kind of performance of hyperbole. But it’s not hyperbole. We are a lot deeper than we let ourselves see most of the time, deeper into a perilous time for the United States of America, and for the world. A substantial part of that has nothing to do with leaders. It has to do with citizens. Citizens who are either exercising profound cowardice in numbing their own imagination and taking the imagination of, in effect cult leaders who might otherwise be working three blocks off the Vegas strip selling used cars. Or on the other hand, and therefore instead of exercising laziness, exercising a kind of fervent worship of nonsense, and the kind of nonsense that is most dangerous. It wouldn’t be the first time in my lifetime that that occurred. It occurred and is occurring in Russia today, and on that level. The point is for us and others not to ever let it get to that level. First thing we could do is maybe listen to our neighbor and find ways to talk that will allow our own voices to be heard. That’s something I need to improve. This movie does that. ‘Words of War’ does that. I really think that people coming in from every point of view will see largely the same thing as each other, no matter what their point of view is. Then we’ll bump both sides again, if not have a deeper understanding of it, have a refreshed one and a sober one.
Executive producer Sean Penn talks ‘Words of War’. Photo: Decal.
MF: You are very passionate about fighting for freedom of speech and freedom of the press. Can you talk about how your own beliefs run parallel with the themes of this movie?
SP: Look, I would say yes, certainly I think that without free speech, which must include a lot of things we don’t like. I think reasonable people know what hate speech is, and we don’t need that. At least we don’t need that provided to us in commercial transfer. We don’t need young minds forming to be learning from morons, or from the Russians who take up a lot of that space, known and unknown to the readers. For me, it’s clear that without free speech and a freedom of the press, there is only fascism to be had. There is only committing oneself to a life without an imagination or a dream, which is what people suffer under authoritarianism.
MF: As an actor yourself, can you talk about Maxine Peake’s performance and the work that goes into playing a real person like Anna Politkovskaya?
SP: She captured courage. That must be something, you asked me what am I feeling in parallel with this thing? Well, what I would say is, I must assume that, in whatever way it manifests, as an actress, as a person with her friends, that the lady is a courageous lady. So, she understood the music of that courage, and it’s beautiful.
(L to R) Jason Isaacs and Maxine Peake in ‘Words of War’. Photo: Decal.
MF: The film also depicts how Politkovskaya’s work affected her personal life with her husband, played by Jason Isaacs. Can you talk about that and Jason Isaac’s performance?
SP: I’m very excited about, he’s been a very well-known and very well-respected actor for a long time, but with ‘The White Lotus’ alone, I’m just sort of tickled to see he’s getting his due, and that he did this film, and what he brought to this film. Yeah, he’s just a consummate actor, and great to watch. Ciarán Hinds is also great, and one of the great faces in film. It just resonates. He comes of times we miss. Very handsome guy, but not pretty. You know, a face that’s lived a lot of life, and you sense that part of it was with a sword.
MF: You are also a very accomplished director, so from that point of view, what is your opinion of director James Strong’s work on this film?
SP: I mean he did the thing that should be our aspiration every time we make a movie, he made me forgot I was watching a movie. I just was in it. I watch movies like a typical audience member. I don’t know if they’d even told me what it was about, because I was familiar with it to a degree with Anna. I had some memories of that case. It’s come up in conversations through the years, and then of course what happened in Moscow at the theater. He got behind the curtain on that in a beautiful way. But he’s a great storyteller and that’s directing.
Maxine Peake in ‘Words of War’. Photo: Decal.
MF: Finally, what would you say to audience members that leave the movie wanting to help protect freedom of speech and freedom of the press, and what conversations do you hope this film sparks?
SP: Well, right off the top of my head, and this is just this one tiny thing among so many options, but there are organizations like IWPR, the Institute for War and Peace. If you’ve got $6 every six months, that’s meaningful. More is more meaningful. So, that’s the easy one, things like that. To do research and find which NGOs that support journalists, and there are many of them, that’s a go-to. I think also when I use this expression, which is not mine, borrowed, that “What sits on our neck is not here just for decoration,” I am very aware that that’s particularly true in my case. At least, that it’s not there for decoration. But it is there for something, and we should use it. So, I think that doing some research and finding out in which way, from financial, to whatever kind of direct involvement, people can support legitimate journalism and legitimate journalists.
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What is the plot of ‘Words of War’?
Anna Politkovskaya (Maxine Peake) was a journalist and human rights activist who persisted with reporting on the conflict in Chechnya despite considerable danger to herself and tried to expose corruption within Russia under the governance of Vladimir Putin. She continued in the face of poisoning, intimidation and violence before being the victim of a contract killing in the elevator of her house on October 7, 2006.
(L to R) Jason Isaacs and Maxine Peake in ‘Words of War’. Photo: Decal.
Moviefone recently had the pleasure of speaking with Maxine Peake and Jason Isaacs about their work on ‘Words of War’, Peake’s first reaction to the screenplay and Politkovskaya’s true story, her approach to playing the character, Anna and Alexander’s relationship, Isaacs’ experience working with Peake, and what it was like for Peake to collaborate with director James Strong on set.
You can read our full interview below or click on the video player above to watch our interviews with Peake and Isaacs, as well as director James Strong, and producer Mark Maxey.
Maxine Peake in ‘Words of War’. Photo: Decal.
Moviefone: To begin with, Maxine, what was your first reaction to the screenplay and learning of Anna Politkovskaya’s true story, and how did you approach playing her in this film?
Maxine Peake: The first reaction, initially, even before the script came in, I was told the script was coming and it was about Anna Politkovskaya. That straight away felt like a no-brainer. Plus, the script is going to have to be bad for me to say no. Then I read Eric’s (Poppen) script, and I thought it was fabulous. I just loved the way it told a domestic life as well as a professional journalistic life. I thought the balance was fabulous. For me, what really struck home was what was happening at home, what was happening in her life with her husband, with her children, and that impact, because I don’t think we see that a lot. We see the intrepid journalist now but what is happening back on home soil for her? It was interesting because it’s set in Russia. We’re playing real-life people. But that for me initially was like, “How’s this going to work?” But I think it’s the right thing to do that we kept our own voices. We were playing as English. I think if we’d have done the accents, it would’ve maybe tilt it into something very different. But I think for me, that was quite an interesting dynamic of creating this character who wasn’t from where I’m from, but was in many ways who I am.
MF: Jason, can you talk about Anna and Alexander’s marriage, how he felt about her work and how that affected both of their lives?
Jason Isaacs: My version of Alexander, because he didn’t tell me these things, but there are some things that are very well-documented. Like he lost his job. He was a shining star in this political chat program, but he was also enjoying the benefits. They might’ve been violently against this newly elected president, (Vladimir) Putin, but nonetheless, he was a popular TV star, and he was not when his wife became infamous. When she really challenged the regime, that was the beginning of his career taking a real downturn. So, I played what my instincts told me must have happened. He was both loving her, respecting her, and jealous of her, and resentful of her and all those things together. It’s not that I played anything because I was opposite a magnificent actress, and I just wanted her to say or do the things I wanted her to do. Acting is never actually about the thing you are doing. It’s about what you want the other person to do. I wanted her to value me. I wanted her to stop doing it. I wanted her not to endanger the family, but maybe it was really my ego. I wanted all those things. I wanted stuff from her. I think something like this happened, but we’re not trying to recreate it as a documentary. We’re trying to tell a dramatic story. So, my version is he had a very troubled time and he had great difficulty with what happened to his wife.
Jason Isaacs in ‘Words of War’. Photo: Decal.
MF: Jason, what was your experience like working with Maxine to create that relationship on screen?
JI: She is a brilliant actress, and the fact is, you do a bunch of research, you do whatever you can. If people are alive, you talk to them. If not, you talk to people who knew them. You read it. Then you look at the script and you just follow your human instincts. Instincts that have been honed over decades and decades of creating human beings that seem in the round. Then James says, “Action.” He let us off the leash a lot to improvise, to try and create a healthy dynamic. You try and make something real, emotional, and truthful happen in the moment, and that’s what it is. He’s an award-winning director for a reason.
MF: Finally, Maxine, what was it like collaborating with director James Strong on set?
MP: It was great because he did let us off the leash, didn’t he? He let us improvise. We just had a freedom. He trusted us to, what Jason said before, do those scenes and they’ve got to feel in the moment, and you’ve got to feel real, and that people are connecting. We didn’t stray a million miles away from the script, but just being able to play that in the moment, and like Jason says, to affect each other, which is the most important thing. Not knowing what was coming next from each other. You have the skeleton of the scene, but just to have different bouncing off points. It’s like a dance. The film looks beautiful as well. You know what I mean? But yeah, it’s the trust. He had trust in us, which you don’t always get.
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What is the plot of ‘Words of War’?
Anna Politkovskaya (Maxine Peake) was a journalist and human rights activist who persisted with reporting on the conflict in Chechnya despite considerable danger to herself and tried to expose corruption within Russia under the governance of Vladimir Putin. She continued in the face of poisoning, intimidation and violence before being the victim of a contract killing in the elevator of her house on October 7, 2006.
(L to R) Jason Isaacs, Parker Posey, Patrick Schwarzenegger, Sarah Catherine Hook, and Sam Nivola in ‘The White Lotus’ Season 3. Photo: Fabio Lovino/HBO.
‘The White Lotus’ Season 3 receives 7 out of 10 stars.
Launching on HBO and streaming service Max with its first episode on February 16th, the third season of Mike White’s darkly hued comedy drama series ‘The White Lotus‘ is set at yet another location for the fictional, titular luxury resort chain, this time the lush climes of Thailand.
We’re greeted with a (mostly) new set of characters, all carrying some emotional baggage to complement their fancy suitcases. The question that must be asked, though, is the third time the charm?
(L to R) Morgana O’Reilly, Arnas Fedaravičius, Christian Friedel, Dom Hetrakul, and Lalisa Manobal in ‘The White Lotus’ Season 3. Photo: Fabio Lovino/HBO.
“Everyone who comes to Thailand, they’re either hiding from someone or looking for someone…” So says one of the characters early in the season, and so it proves true: whether that means the someone they’re after or hiding from is a faith, a stranger or themselves.
Mike White has the formula down pat for the show now, and the real issue here is that it feels like he’s just putting minor spins on ideas that have been explored before. The characters might be different, but there is the typical clash between the spoiled guests and the staff who must cater to their whims, and while it would be boring if everyone were happy and settled, the crises don’t perhaps always add up to the same level of drama as previous outings.
Script and Direction
Walton Goggins in ‘The White Lotus’ Season 3. Photo: Fabio Lovino/HBO.
White, who writes and directs every episode like an extended indie movie (albeit with the hefty budget of a prestige HBO show) brings his usual style and wit to the show, crafting another group of memorable characters.
Yet, as mentioned, they feel like versions of other seasons’ guests –– the younger ones are mostly looking for hedonistic party times, while the elders want to relax and escape their stressful lives.
And there is the standard assortment of people dealing with personal issues, from financial difficulties to a tragic secret from their past that has them simmering with vengeful anger that they’ve not shared with anyone around them, so everyone else thinks they’re just grumpy.
While the exploration of faith and religion as the big theme is new here, it’s not as fresh as it might be given how one young character explored the native traditions of Hawaii back in the first season, and again their wealthy, slightly conservative parents can’t quite understand the appeal or feeling like it’s a failure in upbringing.
Thankfully, the cast help to elevate the material.
Cast and Performances
(L to R) Carrie Coon, Michelle Monaghan and Leslie Bibb in ‘The White Lotus’ Season 3. Photo: Fabio Lovino/HBO.
Given the show’s award-winning ways, it’s not surprising that an excellent crop of actors has agreed to show up for Season 3 (and the promise of spending some time in a tropical locale, all expenses paid, doesn’t hurt either). You may find yourself, however, wishing they had fresher scripts to work from –– and there are other issues too.
Walton Goggins plays Rick Hatchett, a wealthy sort (one of those who prefers not to discuss in detail how they earned their fortune) who is traveling with younger girlfriend Chelsea (a funny and spirited type brought to life by ‘Sex Education’s Aimee Lou Wood).
Rick’s the aforementioned man on a mission, though he has not disclosed that to anyone, and Goggins plays him with appropriate snark and gruffness, and he makes for an entertaining duo with Wood.
Then we have Michelle Monaghan’s Jaclyn Lemon, a TV actress traveling with two old friends, Carrie Coon’s Laurie and Leslie Bibb’s Kate. Away for a girls’ trip on Jaclyn’s dime, you won’t be shocked when old issues rear their heads between them and the lure of an attractive young man who works at the hotel drives a wedge into a friendship that was already starting to drift apart over the years.
(L to R) Parker Posey and Jason Isaacs in ‘The White Lotus’ Season 3. Photo: Fabio Lovino/HBO.
Filling the spot of wealthy-but-troubled family there’s Jason Isaacs as Timothy Ratliff, at the resort with pill-popping wife Victoria (Parker Posey) and their brood, gym bro Saxon (Patrick Schwarzenegger), who has gone into financial business working for his dad, spiritual Piper (Sarah Catherine Hook) who has her own reasons for the trip and bookish Lochlan (Sam Nivola), who Saxon is looking to draw out of his shell.
While the performances are all solid, the biggest issue for that group is Isaacs attempting a Texan accent, which seems to wander around the States and occasionally sounds Australian. While the actor has done good work in the past, here the accent gets in his way.
Around them are the staff, including solid supporting turns from Tayme Thapthimthong as ambitious security officer Gaitok, who has a thing for resort worker and dancer Mook (Lalisa Manoban), whose stories will become knotted up with the guests.
And Natasha Rothwell makes a welcome return as Belinda from Season 1, who is given a little more depth here.
Final Thoughts
Patrick Schwarzenegger in ‘The White Lotus’ Season 3. Photo: Fabio Lovino/HBO.
‘The White Lotus’ knows what it needs to do each season and does it with style. If it perhaps feels a little less fresh these days, there is still enough mystery to keep you hooked and ready to spend time with these people –– no matter how annoying some of them might turn out to be.
HBO gave press the first six episodes of eight, so we can’t tell you whether the show solves its lingering background mystery as well as previous seasons, but it’ll keep you guessing.
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What’s the plot of ‘The White Lotus’ Season 3
The new season of the show brings a fresh group of wealthy characters (and the return of Natasha Rothwell’s spa worker Belinda Lindsey from Season 1’s Maui resort, who is hoping to pick up some tips from the staff) traveling to the lush jungles and beaches of Thailand.
Here, some of the characters are ready to explore faith and mysticism, others are looking for some much needed bonding time and at least one has a dark hidden agenda for their trip that could have a tragic fallout.
Who is in the cast of ‘The White Lotus’ Season 3
Leslie Bibb as Kate
Carrie Coon as Laurie
Walton Goggins as Rick Hatchett
Sarah Catherine Hook as Piper Ratliff
Jason Isaacs as Timothy Ratliff
Lalisa Manobal as Mook
Michelle Monaghan as Jaclyn Lemon
Sam Nivola as Lochlan Ratliff
Lek Patravadi as Sritala
Parker Posey as Victoria Ratliff
Natasha Rothwell as Belinda Lindsey
Patrick Schwarzenegger as Saxton Ratliff
Tayme Thapthimthong as Gaitok
Aimee Lou Wood as Chelsea
‘The White Lotus’ Season 3. Photo: Fabio Lovino/HBO.
Landing on Disney+ on –– when else? –– May the 4th, new animated limited series ‘Tales of the Empire’ aims to do for two notable Dark Side personalities what ‘Tales of the Jedi’ did for the likes of Ahsoka Tano and Count Dooku: fill in some of their backstory.
Yet unlike that 2022 effort, which had some connective tissues but was more of an anthology offering, this focuses on Morgan Elsbeth (as seen in the live-action ‘Ahsoka’) and ‘Attack of the Clones’/‘The Clone Wars’ Barriss Offee.
Also overseen by Dave Filoni, whose work on the animated and now the sprawling live-action ‘Star Wars TV universe has seen him promoted to Chief Creative Officer at Lucasfilm, ‘Tales of the Empire’ proves to be more of a frustrating offering than its ‘Jedi’ equivalent.
Partly that’s because of the far narrower focus of the new, six-episode show, which suffers from some spotty pacing and the feeling that a thin story is being stretched across the time, even given relatively short runtimes (episodes typically run between 11 and 15 minutes each). At the same time, some episodes come across as lightweight and less than satisfying, dedicated to one incident, yet some of their time taken up with indulgently long establishing shots.
And if you’re excited to learn that Darth Vader shows up in the series, don’t expect much from the wheeze-breathing Big Bad, who appears so briefly, he might as well have been riding by on a bicycle.
With Filoni in full charge of this one –– he’s the main executive producer/writer and director, with Athena Yvette Portillo and Carrie Beck as his fellow executive producers and Josh Rimes as co-Executive Producer –– in certainly bears his hallmarks.
The dialogue and animation style will be familiar to anyone who has watched the small screen work he created prior to ‘The Mandalorian’, including ‘Star Wars: The Clone Wars’ and ‘Star Wars Rebels.’
Here, seizing the opportunity to fill in more exposition about how the two featured characters came to be part of the wider ‘Star Wars’ galaxy, he’s both in full flow and slightly hamstringing himself with the limited series format. The storylines both feel padded and yet certain episodes also feel wanting, their particular chunk of each woman’s story not enough to justify the screen time.
Still, the result is a stylish, quality affair that offers more from the likes of Grand Admiral Thrawn and the sneering Grand Inquisitor. It also boasts some impressive lightsaber clashes and one or two effective battles, pushing the scope towards set pieces that might be a challenge even for the sophisticated current live-action series.
At the heart of the series are the vocals from Diana Lee Inosanto (who of course had the chance to bring Elsbeth to life in live-action form on ‘The Mandalorian’ and ‘Ahsoka’) and Meredith Salenger, who voiced Offee in ‘Star Wars: The Clone Wars’, and they are both, as you might expect, excellent, infusing Filoni’s more basic scripts with all the emotion and steel you might hope for.
It feels as though Inosanto gets more to do, Elsbeth’s storyline playing out more thoroughly from the ruination of her home world to her time as the Magistrate on Calodan. You can feel her anger seething from the screen, but Inosanto never makes her into a stock villain.
Salinger does well as Offee, the Jedi who ended up turning against her order and ends up becoming an Inquisitor (even if she’s not fully committed to their ruthless methods).
Around them, there are some entertaining performances, particularly Jason Isaacs going full upper crust baddie as the Grand Inquisitor, Lars Mikkelsen once more coldly logical as Thrawn and Matthew Wood wheezing his way through the earliest chunk of Elsbeth’s story as the multi-armed menace General Grievous. Most of the supporting cast, however, are just that, popping up for a scene or two and leaving you honestly wanting more. Who is up for a two-episode special following the Inquisitor home to his chambers, where he complains to his wife and kids about what a bad boss Vader is?
‘Tales of the Jedi’ was definitely a more satisfying look at ‘Star Wars’ lore than ‘Tales of the Empire’ proves to be. To be brutally honest, both stories might have worked better given room to breathe as separate limited series, though we can understand that Filoni might be a little bit busy to handle everything.
At this point, while both characters are worth exploring, there remains the slight whiff of a bridge too far in terms of backstories, and surely the five-episode story of how Salacious Crumb got his gig at Jabba’s palace can’t be too far behind.
Yet if you’re looking for more ‘Star Wars’ content on the biggest day of the year for the franchise, this is certainly worth your time ahead of the likes of ‘Caravan of Courage’.
‘Tales of the Empire’: receives 6 out of 10 stars.
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What’s the story of ‘Tales of the Empire’?
‘Tales of the Empire’ is a six-episode journey into the fearsome Galactic Empire through the eyes of two warriors on divergent paths, set during different eras.
After losing everything, young Morgan Elsbeth navigates the expanding Imperial world toward a path of vengeance, while former Jedi Barriss Offee does what she must to survive a rapidly changing galaxy.
The choices they make will define their destinies.
Who lends their voices to ‘Tales of the Empire’?
‘Tales of the Empire’s voice cast also includes Diana Lee Inosanto, Meredith Salinger, Lars Mikkelsen, Jason Isaacs, Matthew Wood, Rya Kihlstedt and Wing T. Chao.
The trailer for Disney+ series ‘Star Wars: Tales of the Empire’ has landed.
Morgan Elsbeth and former Jedi Barriss Offee are the focus.
‘Star Wars: Tales of the Empire’ will be with us on May 4th.
Back in 2022, we followed the earlier adventures of Ahsoka Tano and other warriors for the forces (or The Force) of good in the ‘Star Wars’ universe via ‘Tales of the Jedi’, created by recently minted Lucasfilm creative overlord Dave Filoni.
He’s back with a follow-up, and this time, he’s digging into darker corners of that galaxy far, far away. Because the next animated anthology series to happen along on Disney+ is ‘Star Wars: Tales of the Empire’.
As you might predict from the title, we’re now following the stories of some of the baddies within the universe George Lucas created a long time ago.
‘Tales of the Empire’ is described as is a six-episode journey into the fearsome Galactic Empire through the eyes of two warriors on divergent paths, set during different eras.
After losing everything, young Morgan Elsbeth navigates the expanding Imperial world toward a path of vengeance, while former Jedi Barriss Offee does what she must to survive a rapidly changing galaxy. The choices they make will define their destinies.
While those two are the focus, we can expect to see interactions with notable baddies including blue-hued Grand Admiral Thrawn, wheezy robo-menace General Grievous, and some masked guy who is apparently A Big Deal within the Empire… We want to say, Dave, is it? Dave Vader? Anyway, we’re sure it’ll come to us.
From the looks of it, the new series will be filling in some background for Elsbeth in particular, who cropped up in ‘Ahsoka’.
Who is Voicing the Characters of ‘Star Wars: Tales of the Empire’?
Alongside Filoni (who created, wrote and is supervising director here), the creative team includes producers Athena Yvette Portillo and Carrie Beck, plus co-executive producers Josh Rimes and Alex Spotswood.
When will ‘Star Wars” Tales of the Empire’ be on Disney+?
‘Star Wars: Tales of the Empire’ has been scheduled for the most suitable galactic date imaginable… May the 4th. Not really, surprising, is it? All six episodes will arrive at once.
(Left) Jason Isaacs as Cary Grant in ‘Archie.’ Photo: BritBox International. (Center Left) Parker Posey stars in director Ari Aster’s ‘Beau Is Afraid.’ (Center Right) Leslie Bibb as Ellie in ‘About My Father.’ Photo Credit: Dan Anderson. (Right) Michelle Monaghan in ‘The Family Plan,’ premiering December 15, 2023 on Apple TV+.
Preview:
Jason Isaacs, Parker Posey and Michelle Monaghan have boarded ‘The White Lotus’ for Season 3.
Mike White is back to write and direct the series.
Season 3 will be set in Thailand.
We’ve had to wait longer than originally thought for our next visit to a White Lotus property –– the fictional luxury resorts that form the backdrop for Mike White’s darkly comic series ‘The White Lotus’, which has, across two seasons, brought to life some grotesque characters and others who interact with them.
With White gearing up to start work on the next season, we know some of the people who will be showing up in the cast.
Who has joined ‘The White Lotus’ Season 3?
Jason Isaacs as Cary Grant in ‘Archie.’ Photo: BritBox International.
There are also the rumored names who are even less official at this point: Woody Harrelson, Walton Goggins and Patrick Schwarzenegger are among those who are mooted. We’ll see if any of those become a reality.
The new additions join Natasha Rothwell, who will reprise the role of Belinda from the first season (you might recall her as the kindly, enthusiastic spa worker who strikes up a friendship with Jennifer Coolidge’s Tanya McQuoid).
Jennifer Coolidge in HBO’s ‘The White Lotus.’ Photograph by Fabio Lovino/HBO.
There are no details about the story for this one yet, though we can reliably assume that it’ll follow a group of wealthy, privileged types and the associated hotel staff and hangers-on who orbit them.
Do we think there might be a murder or a mysterious death that is teased early on and explained towards the end? Given the format to date, it’s a fair guess.
Where will the new season of ‘The White Lotus’ take place?
(L to R) Haley Lu Richardson and Leo Woodall in ‘The White Lotus’ season 2. Photo: Fabio Lovino/HBO.
Following stays in Hawaii and then Italy, the third season’s locale has been confirmed as Thailand, where a Four Seasons property will be transformed into the White Lotus brand of hotels.
Here’s what Janet Graham Borba, executive vice president of production for HBO & Max said about the choice:
“We are pleased to partner with the Tourism Authority of Thailand to execute Mike’s creative vision and showcase all that the beautiful country of Thailand has to offer, as the next group of guests check in to the White Lotus.”
You do have to wonder if White is just picking locations from his vacation bucket list, but when the show is as entertaining as this, it’s hard to hold it against him.
When will ‘The White Lotus’ be on screens?
HBO and Max have yet to announce a date for this one, though if completed in time it could be on screens before the end of the year –– though more likely it’ll be 2025.
Aubrey Plaza in ‘The White Lotus’ season 2. Photo: Fabio Lovino/HBO.
Premiering on BritBox in North America on December 7th is the new series ‘Archie,’ which chronicles the life and career of legendary movie star Cary Grant, and stars Jason Isaacs in the title role. The series was executive produced by Grant’s ex-wife Dyan Cannon and his daughter Jennifer Grant.
Jason Isaacs and Dyan Cannon discuss ‘Archie.’
Moviefone recently had the pleasure of speaking with Jason Isaacs and Dyan Cannon about their work on ‘Archie,’ Isaacs approach to playing the iconic movie star, learning the specific way Grant moved, how Cannon and he fell in love, and why producing the series finally gave her closure.
Jason Isaacs as Cary Grant in ‘Archie.’ Photo: BritBox International.
You can read the full interview below or watch our interviews with Isaacs, Cannon, Jennifer Grant and writer Jeff Pope.
Moviefone: To begin with, the series explains how Archibald Leach became Cary Grant. Jason, what was your approach to playing Cary Grant in this series?
Jason Isaacs: It’s exactly that. I wasn’t playing Cary Grant. He was playing Cary Grant. He did it very well and the world can see them in the movies, how brilliantly he did it. From Jeff’s script and from talking to Dyan, and reading Dyan’s fabulous book, it became clear to me at least that that was a character he struggled to play for the world, which is why he spent so much time alone or with Dyan at home. He didn’t give any interviews. He didn’t want the public to see the mask slip. Our series is about who he was when the mask came off. That felt, to me, playable because Archie was a very damaged, very scarred, wounded, and wounding person. As someone once said of him, it might’ve been Alfred Hitchcock. “I’ve never known anyone who’s so charming onscreen who can be so charmless offscreen.” Not always, but often.
Laura Aikman as Dyan Cannon in ‘Archie.’ Photo: BritBox International.
MF: Dyan, do you agree with Mr. Hitchcock’s assessment? Was Cary Grant charmless offscreen?
Dyan Cannon: No, he could be charming offscreen too. Maybe he wasn’t with Hitch, but there were times when he was both. We were married. Stuff happens, but it changed the minute we were married. His troubled, devastating youth, it bothered him like a bad meal. He could never digest it and he suffered from it. Like Jason reminded us of a little while ago, unhappy people make unhappy business.
(L to R) Jason Isaacs as Cary Grant and Laura Aikman as Dyan Cannon in ‘Archie.’ Photo: BritBox International.
MF: Dyan, the series depicts your character as being resistant to Cary’s romantic efforts. Is that what really happened and why were you resistant to fall in love with him?
DC: In the beginning, I was in Rome filming. I was an actress then. I was acting a lot. My agent called saying he wanted me for a part in a film. I said, “Is he paying my way back?” They said no, I said, “Then I’m staying.” I was having such a good time in Rome. When I returned some months later, my agent, without telling me, took me to Universal Studios, where Cary’s bungalow was, introduced me to him, and we spent four hours talking. There was an immediate connection. It was so easy. He pursued me after that for eight months. He called and asked me out and my little voice said, “Don’t go.” He was older than my father, he had been married three times, I heard that he did LSD, there were so many reasons and I just thought, “No.” But he caught me in a lie one day. He called and said, “Would you like to have lunch at Universal?” I said, “I can’t, I’m looping over at MGM.” He said, “Tell me who it is. I’ll call and erase it, get it changed for you.” I pretended to wrestle some papers. I said, “I just realized I’m not doing that, so okay.” I had lunch with him and after that it was on. Even though there were so many red flags.
(L to R) Laura Aikman as Dyan Cannon and Jason Isaacs as Cary Grant in ‘Archie.’ Photo: BritBox International.
MF: Jason, did you have a lot of discussions with Dyan and Jennifer about Cary, and what did you learn that helped you with this performance?
JI: I did, I spoke to Jennifer who was very interesting, very brave and vulnerable. But the story she has, the man she knew was a loving, devoted dad and she knew him obviously in his 60s. Dyan as his wife in a marriage that went, ultimately very badly wrong and caused Dyan tremendous pain and damage, as chronicled so brilliantly in her book, all the fault lines in Cary, going right back to his childhood and with such generosity, frankly, because what he put her through was unimaginable, intolerable, but you understood with perspective when she wrote the book, why and where that rage and all that fear came from. Dyan was really an invaluable resource. I read all the biographies, I did a bunch of other stuff and watched a bunch of things, but really it was the very open and amazingly brave conversations Dyan had with me that made me feel like there was something I could play that I recognized.
Jason Isaacs as Cary Grant in ‘Archie.’ Photo: BritBox International.
MF: Cary Grant’s movements and speech patterns were very specific to him personally. Was it challenging to embody him physically?
JI: Yes, it was a nightmare. I knew what the world was expecting, I knew people were sharpening the knives. There’s an incredible costume department that all those suits are tailor-made, and the makeup and hair department did transformative things, but ultimately there was a point I was going to have to step out front and try and seem, luckily not like the Cary Grant of the movies, try and seem like how he was at home. The voice was tricky because the voice that people know from the movies is not only exactly his accent, but Jennifer also told me he was much more English off camera. I couldn’t find a recording, but he has the same intonation pattern every time he speaks in the movies. Its why mimics did him so easily and well. I needed to find a recording somewhere and there wasn’t any, he just didn’t give interviews, he didn’t want people to know who he was behind the mask. I found one illicit interview. A journalist had spoken to him and recorded it against his will, and I tracked that guy down after 40 years. He’d never played it for anyone and he very kindly allowed me to listen to it. For the first time, I heard a man, not a screen icon, talking like a normal person. That was my reference point for the voice.
(L to R) Laura Aikman as Dyan Cannon and Jason Isaacs as Cary Grant in ‘Archie.’ Photo: BritBox International.
MF: Finally, Dyan, what has this entire process of making this series been like for you personally?
DC: Relieved, excited, grateful. What wasn’t in the miniseries is that I went to such lengths, I wound up in the cuckoo bin after this marriage. It was that much of a harmful experience. Yet, we had a wonderful daughter, and some wonderful things came out of it, but quite honestly, it’s like the end of a chapter for me. It’s like I can let go of it now. I didn’t know when I wrote the book that it would be made into a miniseries because when you read a book, you form your own pictures, you do your own outlines. But when you see something and you see it in a room filled with strangers and you hear their reactions, it’s an entirely different experience. To see someone acting you, it’s weird. It’s weird, but it’s exciting. I’ve had revelations in the last few days from what Jason and Jeff have shared and by seeing it. All in all, it’s been a really good experience.
Jason Isaacs as Cary Grant in ‘Archie.’ Photo: BritBox International.
What is the plot of ‘Archie’?
The series depicts the man originally named Archibald Leach, born into poverty in Bristol in 1904, before becoming Hollywood’s Cary Grant (Jason Isaacs). Additionally, scenes set later, in the 1960s, feature Grant in Los Angeles with personal issues affecting his happiness despite international stardom and many box office hit movies.
While Tom Holland‘s certainly faced high stakes and big drama in his movie career (heck, no one remembers him at the end of ‘Spider-Man: No Way Home’) and in ‘Uncharted’ he risked life and limb to recover artifacts.
But his small screen work definitely goes down some darker paths –– witness Netflix’s ‘The Devil All the Time’ and Apple’s ‘Cherry’ –– and his next gig with the latter also has some seriously dark overtones. How dark? Try a psychological thriller digging into the faulty recollections of a man accused of a terrible crime.
Tom Holland in ‘The Crowded Room,’ premiering June 9, 2023 on Apple TV+.
What’s the story of ‘The Crowded Room’
‘The Crowded Room’ follows Danny Sullivan (Holland), a man who is arrested following his involvement in a shooting in New York City in 1979. The thriller series is then through a series of interviews with curious interrogator Rya Goodwin (Amanda Seyfried), and Danny’s life story unfolds, revealing elements of the mysterious past that shaped him, and the twists and turns that will lead him to a life-altering revelation.
Who is the mysterious man who saved Danny from bullies when he was younger? And how does his daughter Ariana (Sasha Lane) fit into it all? Why can’t Danny remember chunks of his life? Could he be innocent as Rya feels, or is he much more nefarious?
Akiva Goldsman created the 10-episode limited series, adapting Daniel Keyes’ 1981 non-fiction novel, the title of which we won’t reveal here as it nods to the truth of the tale and constitutes a giant spoiler. So don’t go googling if you’re curious because you’ll end up ruining the story for yourself.
As for Holland, next up, he’s down to star in a Fred Astaire biopic and there’s the prospect of another ‘Spider-Man’ entry, though little is known about that, and it could well end up being impacted by the writers’ strike in any regard. In a much earlier state is World War II drama ‘Beneath a Scarlet Sky’, which will see him playing a man who helps Jews escape to Switzerland.
The first three episodes of ‘The Crowded Room’ will launch on Apple TV+ on June 9th, followed by one new episode weekly through July 28th.
(L to R) Amanda Seyfried and Tom Holland in ‘The Crowded Room,’ premiering June 9, 2023 on Apple TV+.Amanda Seyfried in ‘The Crowded Room,’ premiering June 9, 2023 on Apple TV+.(L to R) Thomas Sadoski and Amanda Seyfried in ‘The Crowded Room,’ premiering June 9, 2023 on Apple TV+.Sasha Lane in ‘The Crowded Room,’ premiering June 9, 2023 on Apple TV+.(L to R) Sasha Lane and Tom Holland in ‘The Crowded Room,’ premiering June 9, 2023 on Apple TV+.(L to R) Jason Isaacs and Tom Holland in ‘The Crowded Room,’ premiering June 9, 2023 on Apple TV+.Lior Raz in ‘The Crowded Room,’ premiering June 9, 2023 on Apple TV+.(L to R) Zachary Golinger and Emmy Rossum in ‘The Crowded Room,’ premiering June 9, 2023 on Apple TV+.
