Narrated by Academy Award winner Viola Davis (The Woman King), with dramatic readings by Jeffrey Wright (American Fiction), Courtney B. Vance (61st Street), and Common (Silo), this documentary is a rare look into how Du Bois became the prolific author and activist who had an immense hand in radicalizing change, particularly when it came to voter suppression, structural

racism, the criminalization of Black life, and the weaponization of the government against its own citizens. Our conversation with Coburn touched on why Du Bois was the next story she chose to tell, the notable intellectual tension he had with Booker T. Washington (Up from Slavery), his extensive body of work, activism, and so much more. Read our in-depth conversation and call to action from Coburn herself below.

On what first drew her to Du Bois as the subject of a documentary and the moment when she knew his story needed to be told, Coburn shared: “I was working on Oprah Winfrey Radio with Dr. Maya Angelou (The Heart of a Woman). And I would go to her home and record several shows each month. While I was doing that, she talked to me about Du Bois, and she seemed very disappointed that I didn’t know more about him. So, I started looking into him after she had passed. I had done the Marion Anderson: The Whole World in Her Hands documentary, and there were all of these signs. The Du Bois documentary needed a director, and Executive Producer Michael Kantor (American Masters) had just bought a place near Great Barrington, Massachusetts, where Du Bois grew up. I was seeing the different signs about Du Bois, and I felt it was my chance to not only learn more about him, but also to pay homage to him through my relationship with Dr. Angelou. So, in a way, this documentary found me.”

On how she approached his robust archives and enormous paper trail of letters, diaries, academic and journalism work, Coburn added: “This documentary was funded by a National Endowment for the Humanities (NEH) grant, and I approached the research by partnering with the right people to tell his story. David Levering Lewis (W.E.B. Du Bois: A Reader) spent 15 years of his life crafting two Pulitzer Prize-winning Du Bois autobiographies, and he annotated everything. My first step in research was reading both of those and then going to the W.E.B. Du Bois Center at University of Massachusetts Amherst. The collection was curated by fellow artist, activist, and his second wife, Shirley Graham Du Bois (Zulu Heart). Instead of taking clothes

and shoes when she left Ghana, she filled trunks with all his work. I also hired some interns to dive more into his readings. I decided that this documentary should allow viewers to learn more about Du Bois through his own words and bodies of work. So, using his art evoked his spirit and brought the loves he loved to the forefront of his story. I tried to really immerse myself in the spirit of the person and let that take me into the telling of the story.”

On how she approached Du Bois’s active intellectual conflict with Booker T. Washington and balanced their conflict and debates without flattening either man into a villain, Coburn told us: “Thank you for noticing that. I didn’t want to flatten either of them into a villain. The first thing I had to decide was to tell this intellectual conflict through Du Bois’s words, because this is his documentary. And so, it was in his voice. I also had to stop myself from attempting to tell everything, but give everyone some of his story and, through this documentary, encourage people to read his hundreds of bodies of work that are out there in his own words. But what I found in the research is that Du Bois initially liked Washington and was offered a job by him. He didn’t take it, but he was offered it. The thing about Washington was he was enslaved as a child, and that experience shaped a lot of his beliefs. Du Bois didn’t have that same upbringing, so a lot of their conflict was simply due to different lived perspectives and age. Washington was contributing to labor movements in his own way, and Du Bois was doing activism shaped by his work in sociology. So, I wanted to show that both deserved respect, and that even in his later years, when someone spoke derogatorily about Washington to Du Bois, he spoke out against that. So, while there was conflict, I wanted to honor and respect the work that both men did for our community.”

On releasing this documentary in the current political moment we’re living in — much too like the economic and political subjugation that Du Bois referenced years ago — Coburn said: “It’s such a dark time in our history, led by greed and privilege. And we as Black people must continue to stay diligent about respecting our own history, especially when it’s actively trying to be erased. So many great artists have told their communities’ stories, and we need to do the same. We can grow stronger by facing our history and talking about it, making movies about it. When we don’t confront the issues head on, that’s part of the problem too. So, I’ve loved that so many people have been enamored by this documentary on social media. Black people and white people love it. And it shouldn’t end here. Those that can march — we need to march. We need to make society better for everyone. Our voting rights are being attacked, but we can’t lose hope; we have to fight together, because we cannot do it alone. We have to remain the light in the darkness.”

On the beautiful art used throughout the documentary, Coburn teased: “I wanted to use people, because a lot of the photographs that I found were of people who were recently out of enslavement, and I wanted to bring the beauty of their faces, the darkness of their skin, the chiseled look that makes us both African and American to the forefront. I wanted you to really see them. I fell in love with my culture and my people even more while I was doing this project. A lot of this documentary showcases the works of Charly Palmer, Kevin “WAK” Williams, Charles White, and Gerald Griffin, and they were selected because they are down for the culture. Seeing their art complement the story so beautifully — so even when talking about the devastation of the Stock Market crash, you see these strong arms in black and white, and that’s one of Charles White’s pieces. And so, I wanted this art to be another way to show that these

artists are using their work to fight and ignite change alongside Du Bois’s words, which also were a source of change for the culture.”

On her hope for what this documentary does for Du Bois’s legacy, Coburn disclosed: “I want people to start a movement and not just let this be a documentary. What’s happening with the redistricting all over — we need to fight. Let’s not get depressed but instead come together to change something bigger than us. I hope audiences watch this and make it a call to action to change.”

Catch W.E.B. Du Bois: Rebel With A Cause on PBS Now!

Corvette, who is squatting and isolating from her community due to financial hardship, is a brilliant fashion designer who idolizes industry tycoon Christie Smith (Demi Moore, The Substance). Christie is a wealthy "genius" who runs the Metro Designers fashion chain, selling fashion as art with a hefty price tag to match. Corvette sneaks into Christie's office hoping to catch a glimpse of her icon but overhears something far more valuable — the creation of a six-figure suit. Christie catches her, and Corvette does what anyone would do: she lies about her name and profession. From there, The Velvet Gang hatches a plan to become employees at Metro Designers and boost merchandise from inside the house.

As new store associates, they witness the reveal of Christie's latest Metro creation — one that is identical to one of Corvette's own masterpieces. It becomes clear that all of Christie's legendary, visionary pieces come from other people, in this instance a Black woman. The idea that greed drives high-profile individuals to lie, steal, and build their wealth on the backs of underrepresented communities is not lost here. Riley puts a sharp lens on how the wealthy continue to ride the coattails of those who have originality but cannot afford to have their art displayed due to a lack of capital and opportunity.

Boosting their place of employment would be an easier lift if it weren't for their strict, rule-following manager Grayson (Will Poulter, The Bear). Grayson is obsessed with the brand and is the poster child for everything toxic about corporate culture. While he's being a stickler about protocol and uniforms, he leaves the floor unattended — and Jianhu (Poppy Liu, Hacks) swoops in and clears out the entire store. Intrigued by her swiftness, the Velvet Gang reviews the surveillance footage and tracks her down out of curiosity and a desire to make their own boosts more efficient. As it turns out, Jianhu is living in the future — she has a game-changing teleport.

What's more, she works at the Metro Designers factory in China and exposes the company's beyond inhumane treatment and working conditions, which caused not only her aunt's death but also her mother's cancer diagnosis. She and her family discover that the teleporters are a cost-saving mechanism, and her goal is to reclaim everything from the stores as leverage to demand change. Meanwhile, Pinky Ring Guy (LaKeith Stanfield, The Changeling) is a strange man of very few words but keen intention, who keeps popping up and attempting to pursue Corvette — but Sade has warned her that he's a literal soul-sucking demon that comes alive during sex. Corvette wants to stay far away, but it's hard.

Violeta (Eiza González, 3 Body Problem), another former Metro Designers employee, wants the Velvet Gang to use the teleporters and everything they've uncovered to fight the corporation on an even larger scale. But the gang is too caught up in survival mode — and Corvette is deep in depression and isolation — so they aren't all on the same page when it comes to fighting for the greater good. That changes when they discover additional toggles on the teleporter, unlocking new possibilities: the ability to deconstruct clothes back to their original materials and to heighten already tense situations.

When the girls sneak into the Metro Designers big fashion show, Pinky Ring Guy — yes, he's back again — helps them gain access to deconstruct the clothes. They find the infamous six-figure suits being worn by some of the most high-profile guests, and when those suits are removed, they're revealed to be skin suits. The Velvet Gang escapes, but tensions flare between Sade and Corvette. As a single mom, everything Sade does is in service of her children's future, so she sells the skin suits — forcing Corvette to flee authorities in both China and the U.S. while also protecting Jianhu and the factory workers. Violeta, still at the fashion show, uses the teleporter to amplify the crowd's rage and ignite strikes. As people revolt against Metro Designers worldwide, Jianhu continues deconstructing the clothes — and her mother is healed.

Corvette ultimately declines Pinky Ring Guy's romantic advances once and for all, finding instead a deeper sense of purpose within her community. The Velvet Gang decides to open a community center where they can sell ethically and reasonably made goods at fair prices.

I Love Boosters does exactly what it sets out to do: be the kind of art that moves people toward change. There were moments that went off the path for me, and a few side characters who don't add much to the overall story — but that's okay. Riley has always created unique, layered work, and there are stretches in his films where I may not fully relate to or understand every choice he makes, but he always lands the plane. Black artists deserve the freedom to showcase multi-layered, multi-dimensional bodies of work — and to unapologetically bring their creative partners along for the ride. And with this talented cast that was eagerly willing to create not-so-subtle on-screen interpretations of a very real problem that humanity is currently facing, it's no surprise that the film is well-received by those who understand it at its core.

A special shoutout to Oscar-nominated costume designer Shirley Kurata (Everything Everywhere All at Once), who went all out and provided an additional layer of visual commentary through her wardrobe choices alone. It's the textures and colors used through the lens of fashion, alongside Riley's use of exaggeration, big feelings, comedy, and high stakes, to push topics that humanity needs to confront headon. Gathering this elite cast to tell a story about community organizing, the fast fashion industry, unfair working conditions, and the global and climate implications of greed is precisely why I will always admire him as an artist. It takes bravery and creativity to speak truth to power in fun and elaborate ways — and when art is bigger than ourselves, it sparks change. I hope that's exactly what I Love Boosters does for this moment in history.

IS GOD IS breathes at the intersection of retribution, forgiveness, rage, and unapologetic Blackness in every single frame and form. The performances are equal parts compelling, profound, heartbreaking, and exceptional. And while we hate his character, the Monster, Sterling K. Brown (Paradise) is still very much serving a villain we never knew he could portray. This is not about his profound acting range but more about how, because he is one of the kindest actors in Hollywood, I could’ve never predicted he’d be so nefarious. His ability to ignite fear mixed with just enough charm and manipulation to make viewers question his vile acts for a split second makes Brown downright despicable in this role, and I truly cannot imagine another actor in it.

Kara Young (I'm a Virgo) as Racine the Rough One and Mallori Johnson (Kindred) as Anaia the Quiet One are perfectly cast as the twins who take on the gargantuan task from their mother, Ruby the God (Vivica A. Fox, Kill Bill), to kill their father, the Monster. Shoutout to Ms. Fox, because to see her in all of her on-screen glory truly felt like Harris honoring her and her vast contributions to cinema, particularly in the early days of her career. Watching the scene of Ruby the God getting her hair braided by all of those Black women — honoring her in life but also giving her such a thoughtful and respectful level of care in her final moments before she transitions — was something to behold. It also spoke volumes in its duality with the very thick air of wrath that she held for their father, but joy as a mother who finally gets to see her babies again. This moment in the film specifically felt like a mirror to Fox's career, which shaped so much of the media I grew up enjoying and the very pivotal Black films and television shows that transformed my love of the arts into a career in them. Her performance, while short, is wildly impactful to the physical and emotional journey that Racine and Anaia go on. And for just a moment in the film, Racine and Anaia have their innocence restored by their reunion with their mother, able to soften even just for a moment and gain the security, protection, and childlike ease that they've been missing for years.

While Anaia is hesitant to go forth on this path, Racine is ready and not considering the consequences that lie ahead. I spoke with Harris about the choice to imply the violence rather than overtly show it, so as not to add more Black trauma onscreen. It is that deliberate choice that implores audiences to look beyond what is right in front of them and usher in more thoughts about how we can and should protect Black women, which is one of the reasons why I love this film. Yes, there is just fury at the center, and there should be, because these two Black girls had gone unprotected for so much of their lives. It started with their father, the man who literally had a hand in bringing them into this world, scarring them quite literally and disappointing them in more ways than one. After thinking their mother had passed away, they went into the foster care system, and every single family they were placed with abused and harmed them in some way. Racine and Anaia recognized very quickly that the only people they could trust were each other. That's why this charge is so difficult — because it's the first time we see them torn about how to approach the situation and, at times, even the morality of it.

On their road trip to find the Monster, they stop at a church. They encounter Divine the Healer (Erika Alexander, The Fall and Rise of Reggie Dinkins), who is clearly still delusionally in love with the Monster. She and her son Ezekiel are awaiting his return. When Ezekiel encounters his sisters and their plan, he makes it his mission to let nothing harm his dad. The idolatry that Divine and Ezekiel exhibit when it comes to the Monster is wild to see, particularly when he abandoned them and has left them with years of false hope. So when Ezekiel attempts to kill his sisters, it’s shocking, because it is lost on him that the Monster is an awful father to him as well and an even worse man. When they make it to lawyer Chuck Hall (Mykelti Williamson, Forrest Gump), they get a clear picture of the Monster’s true wrath. Having had his tongue extracted so that he couldn’t snitch, Hall prepared for the worst by training for the day he knew the Monster would return to finish the job. Hall, trying to pay his penance for his role in the destruction of Ruby’s, Racine’s, and Anaia’s lives, provides them with the address they need to find the Monster.

On Racine and Anaia’s journey to the Monster’s home, which they’re sure will also contain the twin sons Hall warned them about — Scotch (Xavier Mills, Forever) and Riley (Justen Ross, Fight Night: The Million Dollar Heist) — they have a run-in with the Monster’s wife and the twins’ mother, Angie (Janelle Monáe, Hidden Figures). The audience has just witnessed Angie frantically gathering her items for a robust escape from the home while the Monster is away. She is fed up, and while we don’t see all of the abuse and trauma against her at the hands of the Monster, we know exactly why she’s leaving everything she knows behind. The house is beautiful; it’s clear that they are financially well off. When Anaia and Racine see this, it’s clear they’re thinking about their lives compared to their brothers’. Their brothers seem to have it all — but at what cost? When Racine and Anaia confront a fleeing Angie, they want answers and insist that she knew they were alive. Angie insists she only knows what she was told, and it is hard to know if that’s the truth or the lie she told herself to keep the guilt at bay.

There is such empathy for Angie, because you know the absolute hell she’s had to go through being married to the Monster — the hell that led her to this point of leaving her sons behind in a calculated escape — but there’s also a point of anger as a viewer when she tells the twins that their mother should’ve done more. It’s the duality in this exchange that shows Harris’s brilliance in conveying two sentiments at once that evoke a host of emotions for the audience. It’s that victim-blaming — from another victim, no less — that sends Racine into a spiral. It’s the first time she kills, and something in her shifts. Defending her mother’s honor unleashes a new form of ire in Racine, one that makes her unrecognizable to Anaia, and that is problematic.

So when they meet Scotch and Riley under the guise of being strippers — a gift from their father for their birthday — they see clear signs of the misogynistic madness that the Monster passed down to Scotch. After Anaia reveals to Racine that she’s pregnant, something Ruby had picked up on and hinted at in her meeting with her, Racine decides then and there that all the men have to die. Scotch is brash, rude, and even domineering over what appears to be a more tender-hearted Riley. When Racine gets Scotch alone, she kills him, knowing this will surely set the Monster off upon his return. But it’s the shock of seeing his brother murdered that unlocks Riley’s violent nature, and in an attempt to right this wrong done to him, he tries to kill Racine and Anaia. Anaia tries to calm him but quickly realizes there is no reasoning with him. She is forced to kill Riley, thinking Racine is dead too — but most importantly, she has to save herself and her unborn child.

Of course, in the midst of this, the Monster returns home for the day. As this concludes the road trip and the mission, Harris layers the fear even more. When the Monster doesn’t find Angie and is instead greeted with the bodies of his dead sons, he knows exactly who has come for him. It’s in this moment, when Anaia is reunited with the Monster, that he tries to charm her with the grandfather angle, knowing that his rampage and agenda will always be to continue to harm her and all of the women in his orbit. In a brilliant cinematic moment, just when Anaia needs her the most, twin telepathy kicks in and Racine rises back from unconsciousness to help her sister. She ends up losing her life, but the Monster is dead, and Anaia and the baby are safe.

In the final images, Anaia is seen holding her daughter — born unto a man who didn’t have the decency to fully see and love her for all she is, scars and all — but out of that relationship that is clearly not for her, she gets the gift of a daughter. After losing her other half in Racine, it feels like God’s gift back to her tenfold for all she lost: her childhood, her innocence, her life with her mother, her protection, her physical body, and so much more. The majority of the men in this film make a point of protecting the Monster in some sort of way, buying into this narcissistic, hyper-masculine, patriarchal nonsense.

This film works for a plethora of reasons, but its core lies in how wonderfully balanced and in tandem Racine and Anaia are. They are only able to be their full selves with each other, and the only layer of protection they have is each other. It was heartbreaking to watch Racine’s tragic yet heroic end. And while seeing her father and soulmate of a sister die so heinously was devastating, I know Anaia still felt a bit of bittersweet peace knowing the threat of the Monster looming over her is no more.

I’m so glad for all parts of this film because Harris made it just so beautifully Black and so superbly rich in its textures, tones, and colors. I watched it with so much pride as a Black woman, seeing us reflected in the totality of who we are and a small portion of some of our community’s lived experiences. Black women are expected too often to take the high road. We’re expected to live with the hurt and trauma bestowed upon us by the world — and even those closest to us — with closed mouths. This film pushes back on that narrative and shows Racine and Anaia rightfully going after the justice they deserved, having been failed consistently at the hands of and supremely disappointed by the Black men who were supposed to protect them — which holds true for a lot of Black women on and off screen. Black women have historically been the most unprotected group, and the message of this film for me was: the protection of young Black girls and ultimately Black women is vital and can and will unlock a level of healing, joy, freedom, and peace that we deserve. Racine and Anaia had to provide that for each other when everyone else failed them. And their story isn’t abnormal, because nobody has had my back, or really any other Black woman’s back, like another Black woman. And that is from top to bottom, through and through, forever and ever. So, brava Aleshea Harris, and you will always have my support for IS GOD IS.

So, while Joe knows his kids, especially Michael, are talented, his iron-fisted approach to using them to help get the family out of poverty alienates him from being the parent they confide in. This causes them to have deeper, more meaningful, and more transparent relationships with their mother. We see the beginning of Michael confiding in her about being unable to make friends because other kids didn’t see him as a child, but as an artist they were enthralled with. This leads him to read more books, create a world of his own, and develop a fascination with Peter Pan. When they are scouted by Suzanne de Passe (Laura Harrier, The Starling) and ultimately signed to Motown Records by Berry Gordy (Larenz Tate, Ray), we catch a glimpse of Berry’s heart toward Michael. He recognizes not only his talent but, more importantly, his heart, providing a safe space for him to grow in an ever-changing industry. Unfortunately, we don’t spend much time building this relationship onscreen because there’s a significant time jump.

Next, there is mention of The Jacksons having left Motown, and they’re living on a family compound in Encino. An older Michael (Jaafar Jackson, in his feature debut) is trying desperately to break out and record my favorite Michael album, Off the Wall, partnering with the legendary Quincy Jones (Kendrick Sampson, Miss Juneteenth). This causes tension between him and Joe because it means Michael wants to break away from his brothers musically and create new sounds and short films that we’ve never experienced before. Joe is hell-bent on the Jackson brand, using Michael to draw fans and attendees for the massive Victory Tour he was planning alongside Don King (Deon Cole, The Harder They Fall). Confiding in his head of security and father figure, Bill Bray (KeiLyn Durrel Jones, How to Die Alone), Michael gains the courage to remove Joe as his manager and hires John Branca (Miles Teller, Whiplash) as his entertainment lawyer, someone who believes in his vision of becoming the most talented, popular and innovative artist out.

While the stakes are high for Michael stepping out on his own, we get a deeper glimpse into his loneliness. Creating an animal rescue haven of sorts, he believes the animals are his friends and spends most of his time talking to them, playing with them or watching movies with his mom. His brothers grow and begin forming relationships of their own, while he remains fairly isolated in his thoughts and creative world. He spends time going to toy stores with Bill and visiting children’s hospitals to spend time with kids. Despite the level of control his father had over him, his heart for service and others continues to shine through. His creative genius, ability to transform sound and creation of Thriller highlight his visionary brilliance and otherworldly mind.

So, while the film is CGI-heavy, true fans of Michael will be in theaters for the performances and to hear the music they fell in love with. It’s those moments that make seeing it in IMAX worth the experience. To be in a room full of fans, singing their hearts out and sharing that collective experience while holding personal memories tied to the music is powerful. While audiences may not necessarily learn anything new, Part 1 of this biopic (and I say Part 1 because it ends on a “cliffhanger” with a London performance during the Bad era) may introduce new or younger audiences to a glimpse of Michael. But for me, Part 1 felt like a 1.5x speed version of stories I already knew, as the child of a parent who followed the Jackson family’s careers and someone who experienced Michael across decades myself.

It was a reminder of the rich legacy he and his family built, one that will forever be cemented in history. While I was alive during the Pepsi commercial burn accident, the film did open up more about just how physically and emotionally difficult recovery was for him, as well as his father pushing for the Victory Tour to keep the Jackson brand alive, prioritizing it over his child’s health. With every biopic, viewers wonder how much is fact versus fiction. This is no different, but the pacing is so fast that it leaves more to be desired. My only hope for Part 2 is that certain moments are allowed to linger. I hope we see the community Michael eventually builds outside of his family, how stepping out on his own personally led him to creating new friendships and relationships and the impact on his life.

We also know his relationship with John Branca wasn’t perfect, so will that be explored? I would have loved to see the deleted scenes and storyline with Diana Ross (Kat Graham, How It Ends) to have remained, showing just how close they were. Their families were deeply connected, and it would have been meaningful to see the depth of that decades-long relationship.

In Part 2, will we see Michael grow into a husband and father? I hope so. There are so many eras left in Michael’s story and so many versions of his growth as a human and an artist that I hope we get to witness on the big screen.

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In the beginning of the film, mad scientist Symon (Ben Schwartz, House of Lies) meets his untimely demise while working on a top-secret project. For the rest of the film, we’re not only trying to solve the mystery of who killed Symon, but also why. To get our answers, we’re taken through four very intriguing acts, conveniently titled “The Party,” “The After Party,” “The After After Party,” and “The After After After Party.”

The first soirée introduces us to loan sharks and killer colleagues Nick (Vince Vaughn, Bad Monkey) and Quick Draw Mike (James Marsden, Your Friends & Neighbors). This criminal organization is run by Sosa (Keith David, American Fiction), whose unofficially adopted son, Jimmy Boy (Jimmy Tatro, Home Economics), is being celebrated after six years in prison.

Unbeknownst to him, his homecoming is actually a gathering orchestrated by his father to find and punish the snitch who put him away.

Alice (Eiza González, 3 Body Problem) is married to Nick, but from body language alone, it’s clear that the love they once shared has soured immensely. It’s no surprise, then, when we discover that Mike and Alice are having an affair. The care and love Alice has been craving are no longer provided by Nick, while Mike has a very specific way about him that allows him to love her effortlessly. Their chemistry, paired with Mike’s romantic gestures, almost makes you forget that they are having an affair. At a certain point, you start to believe these two are endgame. Perhaps this is simply a case of Nick and Alice ignoring clear red flags and settling into a marriage before truly finding their person.

When Nick shows up to Mike’s hotel room unannounced, narrowly missing Alice’s arrival, both Mike and Alice know something is off. They assume Nick is there to kill Mike, but it turns out to be quite the opposite. Present-day Nick asks Mike to help him “clean up” a situation at his home and instructs him to chloroform whoever opens the door, no matter what he sees.

What Mike sees shocks him: it’s another version of Nick. Unsurprisingly, Present Nick isn’t thrilled to be attacked by his colleague and friend. When he escapes, Future Nick and Mike are forced to go on an adventure to track him down.

After Mike’s encounter with Future Nick, Sosa mysteriously appears at Nick’s house. Mike overhears him reveal that he is the rat, which comes as a shock to him, as he is a simple man who does his job and goes home. In fact, he never should have been a killer and had already told Future Nick earlier that night about his plans to leave the organization.

Once Sosa leaves, Future Nick reveals that he knows who framed Mike and has come back to save his life because he doesn’t want Alice to become a single mother. That’s right, not only does Future Nick know about their affair, but he also feels immense guilt for being the one who framed Mike and sent him to his death at the hands of The Barron, a deadly cannibal assassin hired by Sosa to finish the job once and for all.

Throughout the film, we get flashbacks of Symon and Alice, revealing a friendship full of secrets, including key information about the time-travel machine that Nick ultimately uses to save Mike. Forced to relive the same day, Future Nick anticipates the betrayal that Present Nick attempts to set in motion against Mike, driven by his anger over the affair.

When the group isn’t referencing Gilmore Girls, the foursome bands together to save Nick, but at what cost? Since Sosa doesn’t take betrayal lightly, going up against an entire organization of paid assassins feels like an obvious death sentence, but with a twist.

It begs the question: if you could use a time machine to save your friend, would you? And how many trips would it take to get a happy ending for everyone?

I went into Mike & Nick & Nick & Alice with no expectations and hadn’t even seen a trailer or read a logline, and that sense of discovery ultimately worked in the film’s favor. Experiencing it blind made the humor land even harder, though it’s clearly tailored for a specific audience that can appreciate its offbeat rhythm and layered references. My millennial heart was especially satisfied, catching nods that feel both intentional and indulgent, all while the film delivers a steady mix of action and absurdity.

Some of the slower action sequences didn’t work for me, but the film consistently finds its footing where it matters most: in its characters and their dynamic. I would have gladly taken more Ben Schwartz, though that’s purely my own comedy-biased wish. But what truly anchors the film is the chemistry across the cast, particularly among the three leads. James Marsden and Vince Vaughn lean all the way into the betrayal-bromance of it all, with Vaughn pulling off double duty in a way that feels distinct, playful, and surprisingly nuanced, proving that no two Nicks are created equal. The new romance, tension, and the emotional stakes all coexist in a way that keeps you invested, even when the narrative spirals into chaos.

Ultimately, Mike & Nick & Nick & Alice thrives when it embraces its own ridiculousness. It’s a film that understands exactly what it is and invites the audience to meet it there. If you’re willing to go along for the ride, it rewards you with a chaotic, referential, and oddly heartfelt experience

that asks just enough of its central question to linger: how far would you go, and how many times would you try, to rewrite the fate of someone you care about?

Catch Mike & Nick & Nick & Alice out now on Hulu!

Documentaries can evoke emotions that make you reflect on life in profound ways, and that’s exactly what The Ascent did for me. Directed by Edward Drake (True Detective), Scott Veltri (The Forgiven), and Francis Cronin (Deadlock), the documentary follows the story of Mandy Horvath. Balancing inspiration with investigative reporting, the film explores Mandy’s life after she lost both of her legs at age 21 after being struck by a train.

Coming from a complex home life, Mandy graduated with honors from high school at just sixteen, with dreams of becoming a chef. Having previously struggled with substance abuse, she made friends easily and often helped any stranger in need. All of this came to a head on July 26, 2014. Mandy’s “friend” April, whom she had only known briefly, called to say she wanted to celebrate her birthday with her for the weekend. The three of them—April, Mandy, and Mandy’s boyfriend Dan—headed to a local bar for the night.

Mandy remembers going outside to enjoy the sunset and spend some one-on-one time with Dan. She then went back into the bar and drank the beer she had left behind. The next thing she clearly remembers is petting horses before everything goes dark.

The filmmakers incorporate voiceover from statements given by the train conductor and engineer, confirming that although they pulled the emergency brake, it was too late. By the time they realized the figure on the tracks was a woman and not a mannequin, twenty train cars had already passed over her. They immediately called authorities but also noticed three people ducking from behind some of the train cars, which they found unusual.

Mandy was alive when the ambulance arrived, but she died three separate times and was revived. What followed was a long and harrowing road to recovery, marked by depression, despair, and PTSD. Through it all, Mandy turned to climbing/crawling as a way to transform one of the most uncertain and difficult experiences of her life into something positive.

What’s clear is that Mandy is a survivor, but what she has endured is heartbreaking to watch. In addition to the physical and psychological trauma of being run over by a locomotive, Mandy has a fractured relationship with her parents due to childhood abuse and witnessing similar abuse inflicted on her mother. She carries much of that with her, and while her parents were instrumental in trying to get answers after her accident, there are still layers of their relationship that remain fraught. We see this firsthand as Mandy embarks on the crawl of a lifetime.

Then there is the other side of the film: Mandy’s preparation to conquer Mount Kilimanjaro for the very first time. As she trains for the crawl, she reflects on the events of July 26th and the lingering uncertainty surrounding that night. She speaks candidly about how difficult it was to fully trust Dan’s account of his involvement and the frustration of never receiving clear answers from April. Witnesses had gone on record stating that Dan confessed during a drunken night at the bar, though he has since passed away. April also spoke with the filmmakers but remained vague, doing little to instill confidence in her innocence.

This lingering ambiguity is where the documentary subtly raises deeper questions. While it stops short of definitively labeling the incident as an accident or a crime, the gaps in the case are impossible to ignore. Mandy never received a sexual assault kit, nor was she tested for Rohypnol, also known as Roofies. Repeated requests from her family, the private investigator, and the filmmakers for access to case files were met with resistance. When access was finally granted, those files had been destroyed. Coupled with claims that Dan’s alleged confession was covered up due to his connections with law enforcement, the film presents a narrative that feels far from resolved but leans heavily into the likelihood that Mandy was likely the victim of several heinous crimes.

Yet, despite these unanswered questions, the film ultimately shifts its focus to more about who Mandy chooses to become in the aftermath. Coming from a place shaped by deep trust issues, she begins to rediscover her voice and strength in ways she never had before. Learning to lean on others again becomes part of her healing.

That journey culminates in her crawl. Mandy partners with an extraordinary team—Carel Verhoef (Expedition Leader), Sally Grierson (physiotherapist and expedition mastermind), and Julius John White, aka “Whitey” (Tanzanian Chairman of the Guides)—to make the impossible possible. Through their care and trust, strangers become family. Even as she faces cramping hands, infection, and frigid temperatures, their expertise and unwavering commitment to her safety carry her forward. Together, they reach the summit, marking not just a physical achievement, but a profound emotional and personal victory.

My hope, after watching this documentary, is that her case is reopened and taken seriously, with a real commitment to uncovering the truth and holding everyone involved accountable. But regardless of what justice may or may not come, one thing remains undeniable: Mandy’s story does not end in tragedy; it rises in triumph. She is worthy of every good thing this life, and beyond, has to offer. Her resilience, transparency, growth, and willingness to confront both her pain and her past set her apart in the most powerful way. There is something deeply moving about watching someone rebuild themselves, not just physically but emotionally and spiritually. Ultimately, this is a story about reclamation. Mandy finds her way back to herself, redefines what strength looks like, and reminds us that even in our darkest moments, healing is possible and community is essential. And one thing is certain: after watching this documentary, we could all learn a thing or two from Mandy. I was inspired by Mandy in a multitude of ways and I know you will be too.

Nerdigo correspondent Kay-B got some exclusive Project Hail Mary scoop, a new sci-fi thriller adapted from the acclaimed novel of the same name. As part of the Critics Choice Association virtual press conference and our SXSW 2026 coverage, participants included Chris Miller and Phil Lord (Directors & Producers), Sandra Hüller (“Eva Stratt”), Ryan Gosling (“Dr. Ryland Grace,” Producer), Drew Goddard (Screenwriter & Executive Producer), Andy Weir (Author & Producer), Amy Pascal (Producer), Rachel O’Connor (Producer), and Aditya Sood (Producer).

Dr. Ryland Grace is a molecular biologist who is comfortable with his life as a sixth-grade science teacher. His whole world is turned upside down when he is reluctantly recruited by Eva Stratt, head of Project Hail Mary, to attempt to save the world as they know it. When he awakens alone on the spaceship, he meets an unlikely ally in alien Rocky (James Ortiz, The Woodsman), and they work together to save the homes they both know and love.

On what captivated him about Andy’s manuscript, Gosling shared: “It just was clear that Andy had captured lightning in a bottle on this and had written something very special. You know, when I got it, it was a time when the movie theaters and film productions were shutting down. And then here was this, like, incredibly moving, optimistic sort of opportunity to look at the future as something not to fear, but just to be figured out. And it felt like a very kind of radical approach, and just felt this is one of those things.”

Gosling continued: “I think we all have films that we remember where we were when we saw them, what they meant about the time that we were in when we saw them. And this had all the potential to be that. I just needed to not mess it up. So, I needed the best team you could possibly get. And that’s why, you know, the dream team is here. And I think that’s what we did.”

On selecting Miller & Lord as the directors to capture the epic scale, scope, space, friendship, and intimacy of the manuscript, Pascal told us: “Well, first, I think Ryland Grace is about as reluctant a hero as there is. And I believe that the challenge and the opportunity were telling a story about journeying into the vast unknown while unraveling someone’s humanity and telling the story through that. The first conversation that I had with Ryan was, ‘Do you think we can get Chris and Phil?’ And the thing about the guys, Chris and Phil, is that they know how to take us onto a thrilling joy ride while making the movie always about the people. And I think that their ability to understand humanity and gravitas is completely singular.”

Pascal added: “And this movie needed to be funny and entertaining, but it also needed to be a movie that tried to make the world a better place. And there was nobody better than these two guys to lead us there. And after 20 years of making movies with Chris and Phil, knowing their boundless curiosity and their endurance and their desire to go everywhere and never stop, these three filmmakers (including Ryan) were the perfect people to make this movie together. And for me, watching this happen was a real career highlight.”

O’Connor chimed in: “Andy’s book is so much about what people can accomplish if they work together. And I think, you know, Chris and Phil as movie makers and as a partnership and a team and as best friends also, they bring what we’re doing in the story to the way they work. And so, I think that also is unique about them and made them right for this.”

On their approach to directing pivotal scenes that showcase the bond between Grace and Rocky, Miller and Lord disclosed: “I think that I don’t know, it’s true that, like, the engine of our work is our conversation. And I think that that is emblematic of—we were at JPL yesterday. Like, the product that they produce is not, like, satellites. It’s conversations amongst creative people and scientists. And that’s what a movie set is, and that’s why we have this amazing producing team. It’s producing the conversations amongst artists and performers and HODs that augment everyone’s creativity. And that’s what you see on screen is the product of all of those, like, wonderful people thinking about something together. And that’s what I love about the movie, is it’s about how two people think about something really hard, about how all these people on Earth, led by Sandra, are, like, thinking together about something, and how powerful that can be.”

They continued: “I think one of the reasons why Ryan is such a great actor is because every scene he’s in, he’s looking for connection with whoever he is. And all the scenes with Sandra were like you could feel that they were building off each other into something new. And when we had him with James Ortiz, who was the lead puppeteer and the voice of Rocky, on set, they were building off each other. He just kept trying to find connection between this, like, rock creature. And the way that he can find connection with people, whoever they are, whoever’s in the scene, he brings them in and treats them with, like, dignity and love. And it shows up on screen.”

On adapting Andy’s book, Goddard expanded: “I must be honest, when I read it the first time, I was terrified because, in every way, this movie is more ambitious than The Martian. And I think I was scared that I was going to let Andy down. I read it, and I went, oh, I don’t know how human beings are going to be able to do this. And they go, ‘Oh, well, Chris and Phil are going to direct.’ Because I love Chris and Phil so much. I’ve known them for two decades now. I’ve watched sort of this partnership change the face of cinema. I do not say that lightly. Because there’s animation before Chris and Phil, and there’s animation after Chris and Phil. And we’ve seen it in the live action.”

Goddard added: “I was terrified when I first read it because this film is even more ambitious than The Martian. I didn’t know how anyone could pull it off. Then I heard Chris and Phil were directing, and I was in. But I was also scared because this role demands so much from a lead actor—comedy, drama, vulnerability, and carrying so much of the film alone. Then Andy said, ‘It’s Ryan Gosling,’ and that changed everything. There’s not another actor on the planet who could’ve done this. By April, we’ll have been working on this for six years, and it’s been an absolute joy. And honestly, I also thought we’d never find Stratt—until Sandra. The moment I heard her name, I knew we were going to be fine. From a screenwriting point of view, this is the dream.”

On balancing being the no-nonsense boss in control with a hint of softness, Hüller said: “Oh, I think we are never just one thing. We are so many things at the same time, as you can also see in Ryan’s character, and in Rocky. So, I think the more possibilities a character has to show what they are, the better, so I don’t see any contradiction in what she’s doing. But I didn’t know that there was a karaoke scene when I signed up for this. But making this film was my Hail Mary moment. It’s something that I never thought I would do in my life.”

On collaborating with the puppeteer to make Rocky more human, Gosling teased: “He’s very high maintenance. He requires a lot. He has a glam team called the Rocketeers. They dress like ninjas. It’s a whole thing. But, and it was difficult. It certainly would’ve been easier to do this just in visual effects. But the relationship is difficult in the film between these characters. Everything is hard. Being in the same room is hard. Communicating is hard. The levels of meta-ness of which, like, the story and the filming of this, I won’t bore you with, but that is one of them that I think was part of the sort of the magic that’s in the movie, is that we were kind of experiencing what the characters were, in that we were just trying to find a way to connect and to communicate and to make this work.”

Gosling added: “And the beautiful thing is that as Rocky was finding his voice, we had this brilliant puppeteer, James Ortiz, who came into the audition completely differently than anyone else. He pushed the puppet aside and brought Rocky to life with just his hand, and we knew immediately that was him. He was only meant to puppeteer, but he started reading lines in character, which gave me someone to connect with—especially since I was often isolated in a harness. We’d do long takes fully in character, and his connection to Rocky was so deep he would guide the performance, saying what Rocky would or wouldn’t do. Rocky really found his voice through James, and that connection became real. The movie owes a lot to him—he became a key part of its magic.”

On why he wanted to create a hero who is an ordinary person but have them embark on a mission to save humanity, Weir proclaimed: “Well, because I think that, I mean, most people don’t think of themselves as extraordinary people. Most people think of themselves as just, like, I’m a normal person. And when you’re writing a book, you want people to empathize with the main character. And so, I wanted to make a main character that people could really, you know, put themselves in the main character’s shoes and say, like, yeah, I’m a normal person. I would not like finding myself in this situation. I’m not sure what I would do. This would be very awkward and uncomfortable for me. And so, I want all of you to experience that in the cinematic world, to feel awkward, uncomfortable, and scared.”

On what makes Weir’s work so well-suited for a film adaptation, Sood informed us: “I mean, he has a brain that I don’t think exists on this planet in any other form, and so it’s such an incredible treat. The only bad thing I have about Andy’s books is when I get his books, I must read them overnight, and I never get to enjoy them and really understand the depth of what he does in the way that I think other people do. But listen, you know, when I read The Martian, it felt like a once-in-a-lifetime book. And then suddenly, you know, six years later, you get this book, which is in every way, shape, and form a more incredible adventure. So, I just feel so lucky.”

On balancing the emotional and bleak moments of the film with puppetry and animation, Miller alluded: “It became a beautiful marriage of puppetry and animation, with the animation team building on the work James and his team created. Editing, led by Joel Negron, was key in navigating the editorial challenges of moving between two time periods while keeping the story flowing. We leaned into the idea that life is funny and sad at the same time—some of the biggest laughs come in the most emotional moments. I was reminded of being in the hospital when my mother died, where we were crying and then suddenly laughing. That mix of emotion is why we go to the movies.”

Lord added: “That’s the thing. Like, you’re crying because you’ve fallen in love with these characters. And you’ve fallen in love with them because you’ve seen them joke together. Those things are not separate. We’re not sitting on stage with, like, a pie chart, going, like, okay, this scene is 40 percent funny and 60 percent heartfelt. Those things, like, to us, you know, the question almost doesn’t make sense because we just try to represent, you know, the clumsiness and warmth of human relationships.”

On what he hopes the younger generation takes away from this film, Gosling revealed: “Well, I think Andy’s voice is just such an important voice right now. It’s such, again, like, a unique and beautiful way to look at the future. And, you know, he’s created this; obviously, it’s, look, you go to another galaxy, you make an alien best friend, you save the world. It’s not bad for a Friday night.”

Gosling continued: “It’s an adventure of a lifetime, but at the same time, it’s not escapist, I don’t think. It’s this reminder of what we’re capable of as human beings. And I just think that for my own family, you know, we struggle to find things that we can go and see as a family. And you kind of look for those core memory moments at the theater that I think we all had as kids. And I really wanted to try and make one of those. And I feel like, you know, just getting to live in the world of this movie with my own family, this idea of turning fear into curiosity that Andy has is such a beautiful message that you can kind of actualize, or at least try to. And I’m just so grateful to him for that, and I hope that that’s the spirit and the hope that young people take from the film.”

On the largest takeaway that humans can get about collaborating for the greater good from this film, Miller shared: “I think that’s the heart of the movie—on Earth and in space, it’s about beings coming together to solve problems. That’s what makes it feel so hopeful and optimistic. Even though it’s centered on an apocalyptic event, it’s not bleak or cold—it’s warm and human. It makes you laugh, cry, and feel everything all at once, which is really what the human condition is.”

Lord concluded: “For 10 years, Chris and I started our careers writing in television, where you’re in a room with some of the smartest, funniest people, creating something together. That’s about as beautiful an experience as you can have, and animation is the ultimate team sport. We were at FotoKem recently watching them print a 15-perf, IMAX 70-millimeter film print, and it really hit me—this isn’t possible without generations of people solving problems. It’s the product of human collaboration over time. That’s what I love about filmmaking—it’s the magic of so many artists working together. And what Andy wrote, and what we set out to make, is something that helps people imagine goodness and reminds them of what we’re capable of.”

Catch Project Hail Mary in theaters now!

Editor’s Note: This coverage reflects a condensed summary of the press conference. Some remarks have been paraphrased or edited for clarity and flow.

Watch our chat about the thematic momentum of the intergenerational storylines, how trauma travels and shapes the characters this season, the early origins of Monarch, the emotional ramifications of Keiko’s disappearance, and so much more.

Season Two of Monarch: Legacy of Monsters airs on Fridays exclusively on Apple TV!

Nerdigo correspondent Kay-B got some exclusive Season Two scoop for the hit political, post apocalyptic Hulu thriller, Paradise! As part of the Critics Choice Association virtual press conference, participants included Sterling K. Brown (“Xavier Collins,” Executive Producer), Julianne Nicholson (“Samantha ‘Sinatra’ Redmond”), Shailene Woodley (“Annie Clay”), and Thomas Doherty (“Link”).

Created by Dan Fogelman (This Is Us), Paradise Season Two picks up with Xavier determined to find his wife Dr. Teri Rogers-Collins (Enuka Okuma, Rookie Blue), and Sinatra seemingly down for the foreseeable future. Amid the challenges inside and outside the bunker (yes, we get to see the world for those outside who survived), we are introduced to newcomers Annie Clay and Link, who both have secrets that are sure to change everything we know about Paradise moving forward. Read their thoughts on how we can push society forward more positively, where they would hunker down in an apocalypse, swapping traditional gender roles, how this season shapes how the characters see the world, and so much more.

On what the show has taught them about what we could do better in the future, Brown shared: “This seems so basic, but we’re supposed to be in community. We’re supposed to be in association with one another. People aren’t meant to be splintered and fractured and separated. If we all use our collective skills in such a way that would make the world a better place, that would be great. Like I bring the one skill I am good at, and then Julianne, Shailene, and Thomas bring the skills they’re good at. Together, we can use our skills to uplift everyone as a collective. I think the show highlights that as well.”

Nicholson added: “Holding people at the top accountable and paying attention. Looking out for those in all stages of life, because what’s affecting them, you know, affects all of us.”

Woodley continued: “I think the beautiful thing about the show is how it does highlight community. And you know, there’s this idea of the world being on fire, and if you must walk into the woods, who are you going to walk into the woods with? We have a lot of division in our world now, and there’s a lot of judgment and perception about other people. I think the show is an invitation to debunk these ideas about what division means, and when push comes to shove, what does it look like to just look another human being in the eye and show up for them?”

Doherty chimed in: “It’s hard to top what everyone said, but I was watching the premiere and thinking how, when you’re in a post-apocalyptic situation, I assume that everyone does resort back to their basic instincts. With that, they can act however they want and feel it’s justified. I think the beautiful thing about this show is that people are in that very primal state of survival, but you can still make a choice. You can still make a choice to connect, to love, and to do something good and help a fellow human. In today’s world, the situation’s not quite as bad yet as in Paradise, but people are kind of justifying evil behavior, essentially. It’s that divide from a sense of community.”

On where they would hunker down in an apocalypse, Doherty told us: “Macy’s. It’s got a food court, there’s a sports section you can have fun in, and it has cookware. It’s kind of got everything.”

Woodley simply added: “Hogwarts!”

Brown told us: “Hogwarts is not bad. I like Hogwarts, because ‘The Room of Requirement’ has everything that I would need. I am not going to steal Hogwarts, though. I would probably be somewhere like a recreation center that has basketball courts, swimming pools, and gymnasiums. A place where I could use my body and play games—like ping-pong tables, shoot pool, and throw darts. A place that would keep me occupied for a very long time.”

Nicholson exclaimed: “Graceland!”

On Sinatra being this incredibly powerful, complex, and contradictory woman, Nicholson said: “Well, it’s always exciting to get to do a role unlike one that you’ve played before and to be the most powerful person in the room—and a woman. It is a great feeling to have and a great thing to put out into the world for people to see and normalize. Hopefully, we get more of that.”

On what audiences can expect from Xavier’s journey in Season Two after the events in Season One and his fallout with Sinatra—and how they have shaped the way he sees the world now—Brown revealed: “Xavier gets a chance to hear his wife’s voice in that tape that Sinatra plays for him. Thinking that she’s been dead for three years, now there’s renewed hope that she is alive. There’s renewed hope that there is life in the world. So, he leaves his children behind with the hope of reuniting his family. I think there is a sense of hopefulness that he enters the world in Season Two with, believing that Teri is there. Then he encounters all sorts of things: seeing children and meeting another human who helps him survive. We have all these ideas of what this post-apocalyptic world is going to look like. We anticipate zombies, and instead we just see people. We get a chance to see people either becoming the most selfish forms of themselves or the most selfless forms of themselves. So, I think there is a sense of encouragement and hope that he may not have had throughout Season One that he enters Season Two with.”

On how this show has changed their lives, Doherty expanded: “For me, embarking on this job, the main thing that I took away was a sense of gratitude. This is the first time I’ve really been in a space with this caliber of actors around me, and to see how they all work was one thing. But to see how they all carry themselves in the world—the humility and the kindness that they have—that really had a huge effect on me. I ultimately concluded that my success and where I am today is a result of all these amazing people that I’ve had in my life, and I can’t really take much personal credit for it. The show has been a beautiful experience in my life.”

Nicholson disclosed: “I think one thing that’s changed from even the first season to the second in terms of the climate crisis and how we treat this earth we tread upon is that in the second season, we cut out all straws, plastic bottles, and reduced the amount of meat catering was serving. You can’t be on a show about climate crisis and still be passing out single-use plastic water bottles. If we can take that into our everyday lives—and if our audience can do the same thing—every little bit counts. That felt meaningful.”

Woodley praised: “I just feel so grateful to be a part of this. I was such a fan of Season One, and to be a part of this family feels like an honor and a highlight in my career. Dan and Sterling have curated such a great space from This Is Us into Paradise with the crew. It’s a very familial and comfortable environment and probably one of the rarest sets I’ve ever been on.”

Brown proclaimed: “I appreciate all the love. Like Thomas said before, we get a chance to exercise choice in who we want to be in the world. Regardless of the circumstances you find yourself in—even if they are dire and you feel as if things are unwieldy and untenable and there are no options—you can still choose to access the highest part of yourself. To be generous and kind. You may have an amygdala response to just hoard, take, and keep, but I encourage everyone to take a deep breath in those moments when they think they have no options and recognize that you always get a chance to choose how you respond to the world.”

On how the show mirrors the current state of the world, Brown informed us: “Dan had the idea for the show ten years ago, before Silo and Fallout were out, so they all sort of hit at the same time. I believe we have a responsibility to the generations that come after us to determine what kind of planet we’re going to pass along to them. It’s in the zeitgeist—like, ‘Well, maybe we go underground.’ Maybe we do something, because something has to be done. Otherwise, it doesn’t look great. I think what’s in every writer’s imagination is: What do we do? What is it that we pass along?”

On the underlying topics and themes this season, Nicholson teased: “I think it’s a real call to be paying attention to the people in power. It’s a real call to be paying attention to technology and artificial intelligence (AI), which will reveal itself more as Season Two goes on. And paying attention to how we’re treating one another—the idea of community in our show and the world at large—as well as connection, trust, and love.”

On her process of bringing Annie to life and her relationship with Link, Woodley alluded: “I play someone who was in solitude for many years. The physical, emotional, spiritual, and psychological intimacy that she and Link choose to exchange with one another is one of the biggest offerings of vulnerability and heart that any of us could possibly go through. The fact that they didn’t really know each other lent itself to this desire to throw caution to the wind, look each other deeply in the eye, and choose to share all of what we had to share in those moments.”

Woodley continued: “I didn’t see this as necessarily a concentrated, high-stakes role. I saw Annie as just a human being doing the best she could in the situation she was in. When you’re fortunate enough to have writers like Dan Fogelman and his team, who create and curate a character that’s so thoughtfully and meaningfully crafted, I feel like my role was really to professionally listen to everything Annie was experiencing based on her environment and the situation around her. The thing I loved most about her was that her mind worked in a very analytical and linear way. I think it actually allowed her to process her experience without letting emotions inhibit the way she perceived survival and her willpower to forge forward. She’s a character I learned a lot from. I feel like I’m a more still, patient version of myself after playing Annie.”

On the show’s mythology moving forward, Brown concluded: “It’s a mind-bender going on, but the show has its own mythology. The show will continue along its own mythology, but hopefully there will be reverberations of things happening in society right now. With any good genre storytelling, you’re reflecting on the world in which you live while also giving it a degree of separation so you can see it from a distance. It doesn’t feel so personal, but you’re able to say, ‘Hey, maybe we’re not so far off from this thing that we’re watching that’s also entertaining and taking us outside of the world, but it’s also commenting on what we’re going through now.’”

Catch Season Two of Paradise on Hulu beginning February 23rd!

Editor’s Note: This coverage reflects a condensed summary of the press conference. Some remarks have been paraphrased or edited for clarity and flow.

Nerdigo had the pleasure of an exclusive 1:1—or (1:3 rather)—interview with the newest faces scrubbing into Sacred Heart Hospital. We screened the first couple of episodes of the highly anticipated Scrubs revival and can confirm that the same humor, quirkiness, and charm remain, just with a few new interns joining the fold.

After the success of the iHeart smash podcast Fake Doctors, Real Friends with Zach + Donald (shoutout to my friend Joelle, who produced this hilarious show), and with a loyal fan base built over nine seasons, now is the perfect time to bring back the beloved ABC comedy.

Created by Bill Lawrence (Shrinking), Scrubs dives right back into the lives of our favorite foursome: Dr. J.D. Dorian (Zach Braff, Garden State), Dr. Christopher Turk (Donald Faison, Emergence), Dr. Elliot Reid (Sarah Chalke, Firefly Lane), and Nurse Carla Espinosa (Judy Reyes, High Potential), with some surprising changes to their personal and professional lives.

It also introduces us to newbies Dr. Samantha Tosh (Ava Bunn, Worked to Death), Dr. Asher Green (Jacob Dudman, Fate: The Winx Saga), and Dr. Blake Lewis (David Gridley, All American), who are trying to figure out the type of doctors they want to be while learning the ropes at this teaching hospital.

Read our conversation with Bunn, Dudman, and Gridley on their character introductions, what they’re excited for fans to see, key advice from Zach Braff, and so much more.

On Dr. Samantha Tosh: Intern, social media maven, and her surprising interactions this season, Bunn shared: “I am excited for people to meet Sam Tosh as a character because she is quite the girl boss. I have a lot of fun moments with Dr. Cox (John C. McGinley, Brooklyn Nine-Nine). I’m like new prey for him—fresh meat that he can make fun of. I’m here to be his on-screen comedic punching bag in a beautiful, fun way.”

On what she’s most excited for fans to see this season, Bunn added: “I am honestly most excited for the OG fans to see the OG cast, and we’re just here to support.”

On Dr. Asher Green’s heart of gold and what he learned through his portrayal, Dudman told us: “Asher has a heart of gold, and that’s something that I hope comes across to the audience because, for me, getting to portray a character who sees the good in everyone did wonders for me as Jacob. Hopefully, they can take that away.”

On what audiences can expect from Asher as the season progresses, Dudman teased: “I’ve enjoyed some good moments throughout the season where we get to see Asher’s eagerness to help and him failing to stand up for himself. Asher’s radical behavior, driven by his emotions, gets him and the hospital into some very difficult situations. As the season continues, you’ll see that his heart’s in the right place, but he doesn’t always think things through.”

On Dr. Blake Lewis’s all-business, by-the-book approach to his internship, Gridley said: “Dr. Lewis is an alpha, maverick-type doctor who doesn’t really want to integrate with any of the other interns at first and thinks he can do everything all by himself. He’s such a fun character to play because he’s so blunt and says things that I would never say.”

On the evolution of his character’s arc this season, Gridley continued: “But one of the coolest parts of playing Blake is that he does have a good heart deep down, and you kind of get to discover why he’s built these walls up. Then you get to see him be humbled and, little by little, show more of his humanity toward his patients and lean on his fellow interns for community and support. It’s just a great arc—from pride to humbleness.”

On the hilarious full-circle moment of joining the show, Bunn disclosed: “When Zach found out he got this job the first time, my mom was finding out she was pregnant with me. So, it’s kind of serendipitous that I joined the show.”

On going from dramas to his first comedy and the joy of the experience, Dudman expanded: “Yeah, well, I’ve messed it up for myself, really, because I come from the world of UK TV drama. I never got to watch dramas in my downtime because it just felt like work. So, I would watch a lot of American sitcoms, thinking, ‘Well, I’m never going to be in one of them, so I can relax and enjoy myself.’ Now I’m going to have to watch something bizarre from another part of the world where I feel like I won’t ever exist in that world. But obviously, it’s been a joy working on this show and seeing part of the biggest industry in North America and getting to see how you guys do it over here.”

On the creative and cultural differences of the revival, Gridley revealed: “One of the cool things about it all is watching the new episodes and then comparing them to the old. They’ve really done an amazing job at capturing the same spirit. There’s just something magical about it—an escapism—where time flies by so fast, you’re laughing, and you’re just enjoying it.”

Gridley concluded: “You know Zach said something really cool that stuck with me at one of the dinners we had. He said, ‘Just remember, when you’re making this show, at any moment when there’s laughter, that’s potentially millions of people laughing at the same time.’ And I think, like the original show, this revival will do the same. It’s very cool to culturally be a part of something that’s making people laugh in such a tough time. It’s a great why.”

Catch Scrubs when it premieres on ABC on February 25th!

Timestamps
00:00 - Intro
04:12 - Channel News!
08:50 - Dan Trachtenberg on Predator: Badlands
18:40 - Pirates 6!?
24:50 - New game Mewgenics is already a hit!
32:12 - K-Pop Demon Hunters Cereal Sells Out!
37:40 - Super Bowl Trailers!

Nerdigo correspondent Kay-B got some exclusive Season Two scoop for the hit Prime Video series, Cross! As part of the Television Critics Association virtual press conference, participants included Aldis Hodge (“Alex Cross,” executive producer), Isaiah Mustafa (“John Sampson”), Alona Tal (“Kayla Craig”), Jeanine Mason (“Luz”), Samantha Walkes (“Elle Montiero”), Johnny Ray Gil (“Bobby Trey”), Matthew Lillard (“Lance Durand”), and Ben Watkins (showrunner/creator/executive producer + “Roy McElhannon”).

Set with Washington, D.C., as the backdrop, Cross Season Two picks up with the fallout and loss of trust between Cross and Elle. It finds him grappling with the reality that the family unit he was creating with Elle and his kids is shaky and likely never will be what it was. We also see Cross tasked with another high-profile client case, protecting billionaire Lance Durand from attempts on his life. The “why” of this case forces him to partner with Kayla, leaving John to deal with new personal issues that develop and a case of his own that hits too close to home. Along the journey, we’re introduced to Luz and get to see Bobby Trey in a whole new light. Read their thoughts on how the current storyline mirrors what’s happening globally today, how the bold new characters in Season Two continue to push the show to higher heights, the sins of billionaire culture, and so much more.

On Elle’s Season Two arc being different after being deceived by Ed Ramsey and her chemistry with Cross, Walkes shared: “I think there is a real vulnerability and tenderness this season. There are things that she’s asking for that leave her quite open and vulnerable to what the relationship will be. But she’s asking for things that she really wants and asserting herself, so I love that journey.”

On the originality of Season Two’s storyline, Watkins told us: “Season Two is a completely original storyline as far as the mystery goes. Obviously, we’re honoring the characters and the world that James Patterson sets up in the books, but when we started the series in general, I made a decision not to adapt any of the actual books. I want to take the world and those characters and then come up with our own original stories. So, the way we look at it is each season is its own version of a Cross series book. Season Two is Bitter Fruit, and that title is inspired by the quote, ‘Revenge is a bitter fruit whose poison sours the soul.’”

On whether Cross compares to any other long-term characters he’s portrayed years prior, Hodge said: “Every character I’ve played throughout my career has been an evolution getting me to the character that I want to play, and every decision has been intentional. So, when it came to Alex Cross, I remember only reading the first ten pages of the first script before I called my team to say, ‘This is it. I want it, and I have to meet Ben, because this is checking all the boxes that I want to hit.’ Cross is a character who I would love to be wrapped up in for years, for what he represents and how he presents. In that first script, I loved the writing because it was so intelligent, exciting, and dynamic. It was intelligent because it wrapped up the commercial aspect of entertainment around the valued aspect of giving you substance. So, for me, it was like the best of both worlds. Right now, I feel like Cross is the pinnacle of the type of characters I’ve gotten to play in my career. So, there’s no comparison.”

On the way Season Two mirrors the current state of our world, Watkins revealed: “I would love to say I’m pleasantly surprised by how timely the storyline is, but to be honest, I wish it wasn’t timely. I think the things that we talk about this season—questions about the difference between law and justice, the themes that have to do with the exploitation of minors in migrant labor—those things are really happening. We shot this over a year ago, and at that time, we knew these situations and issues were real, but we didn’t know that it was going to resonate so much with what is going on right now.”

Watkins continued: “Going into Season Two for me, something was simmering and had been for a while—this feeling that we were all getting a raw deal. It was a feeling that everyone, regardless of where they come from or their path in life, was getting the short end of the stick, but even worse, feeling like there was nothing they could do about it. I think that’s one of the reasons I really leaned into a storyline about vigilantism, because I wanted to live vicariously through someone who decides to flip the tables. That’s where Luz came from. But in doing that, I also wanted to force myself, and hopefully the audience, to ask the question about how far is too far. If you agree with why someone’s doing something, and maybe even who she’s doing it to, at what point did she go too far? Because there’s collateral damage. It was easy to pair that with our characters—the folks who are chasing this killer—because somewhere along the line they must ask themselves, ‘Am I chasing the bad guy or the good guy? And if it’s the good guy, then what does that make me?’”

Mason added: “For me, I remember while we were filming feeling almost a little guilty about how much of her really resonated with me. Of course, putting aside the awful thing she does, I understand why you would be this lit up about stuff. I’ve only gotten more convinced that she’s onto something. I’m certainly hopeful that we will get into a better place, but I’m grateful for the timing and that we have this kind of character. We have so much power to do something ourselves, and she’s someone who obviously took that idea and ran with it. I’m grateful to be portraying a character who’s doing something.”

On how Luz is in service to Cross this season, Mason expanded: “My approach asked the question, ‘How am I, Jeanine, in service to Aldis Hodge? And how is Luz in service to Cross?’ Ben and the writers laid such a beautiful foundation for us and posed those questions to Alex for us, as the audience, to watch him go, ‘Oh, shit, maybe I have more in common with her.’ When portraying her, I really wanted to encapsulate the fact that there’s a lot of anger and a lot of fear. I wanted audiences to be scared of her but also see the grief right away. I wanted you to see the wound and how much she’s carrying.”

On portraying the billionaire antagonist and whether there were any real-life examples used as inspiration, Lillard teased: “I think that your job as an actor is to believe wholeheartedly in your character’s journey. Every bad guy out there, from Darth Vader on, has a reason for what they’re doing. Lance is not a bad guy; he’s literally out there trying to solve world hunger. The clearer the direction is in what he wants, the more you can lean into it. As an actor, that’s what I love. I like making big choices based around a character that has very clear intentions and then giving it my all.”

Lillard continued: “I will say that in the tapestry of this show, it was so lovely to come to set, work, and be embraced as the actor I am and the way I approached that character. It made me feel emboldened. I felt supported, and that’s all you want as an actor, because it allows you to do your best work. In terms of billionaire inspiration, none of those people, in my opinion, are people I really wanted to dig into. The source material that Ben and the writers gave us was so rich that I didn’t really have to, or want to, lean into anyone specifically.”

On adding new characters to the season while continuing previously storylines with existing characters, Watkins alluded: “We were blessed with an amazing cast, and if we’re going to be together for a long time, we need amazing talent and chemistry who can create a family together. When filming the first season, we knew we had the right core crew, and the more we challenged them, the higher they rose. Going into Season Two, we were delighted because when you refresh your cast every season based on the storyline, folks are coming in as series regulars for that season. That is exciting because we start to ask, ‘Okay, what can we add to the mix here?’ And of course, it starts with, ‘What’s the story? Who’s the right person to play that character?’ And that’s where I really lean on the writers. As the script starts to come together and the storylines start to come together, the concept of who the characters are becomes very, very sharp. So, by the time we start the casting process with our casting director, Kim Coleman, we know exactly what we’re looking for, and it’s just a question of whether that person will walk in the door.”

Watkins continued: “For example, Jeanine comes in for a chemistry read, and she’s up against heavyweights. But as soon as she did her performance, we knew she was the person because it clicked.

And when Matthew came in, he had to actually get us to stop thinking about Matt Lillard the person—the icon, the personality—and just be the character. He came in there, and it just completely clicked and changed my mind. Then he walks out, and we’re like, ‘Oh my God, he’s Lance Durand!’ Then the only question is, how are they going to fit and bounce off of each other? Jeanine and Matt were so amazing, it almost made us wish they could be with the show for the rest of the series—the life of the series. One of the things I think has elevated our cast is that they have taken ownership of their characters and are very protective of them. As the characters grow, it has turned this into a collaboration for all of us through these amazing conversations between the writers and the cast all season long, even in between seasons, that really help fuel and build out that journey and the life of the show. When Matthew and Jeanine stepped in, it was the same thing. There was a lot of investment, and we encourage that. We would rather have that time and build-in because it can lead to something so special.”

On the show’s impact, Lillard praised: “I think what makes this show so popular worldwide is that there’s an authenticity about it. What is happening starts with Ben and Aldis. So much of media right now is transactional, but Cross resonates. You’ll sit across from your family after the episode and talk about what’s right and wrong. This show has a real chance to make an impact on the world.”

Mustafa added: “The authenticity Matt spoke of is true. Ben is an extremely authentic person. You get one hundred percent of who he is the minute you meet him, and that is refreshing. You don’t usually get that with most people you work with. So, when you do get that It allows you to be authentic because you can open up and not be afraid to dig deep.”

On the lack of trepidation stepping into the role of Cross, Hodge disclosed: “I try to stay as prepared as possible, so I had no trepidation whatsoever. I’ve been in this business a long time, searching for different vehicles and avenues to sort of execute my own personal ambitions and beliefs. So, when it came to Alex Cross, I think the responsibility that I felt was not to the character so much as it was through the character. What Alex Cross represented to me—being a Black man, a Black father, a Black detective—the relationship we get to see him have with his family, with Sampson, and his fight for love with Elle. All of these aspects of who and what I believe us to be as people, as a culture, as a collective, that’s not always readily represented out there, but it is our truth. It’s nothing new—for us, this is our normal. And we get a chance to actually expose and show people a different side of us that is our dominant normal.”

Hodge continued: “So, for me, when I think about Alex Cross, everything that he has to go through—the vulnerability, accountability, and relatability—all of these things, I see as sort of a conduit or a visage through which I can execute my belief system. I can represent what I believe to be the progressive narrative. So, with Cross, I found a grand opportunity to show who and what we are as a people. When I read the script, I understood that Ben had that very same ambition and respect for elevating and celebrating who we are through what we do. Then our cast all walk in our greatness, and we all walk in how we want to represent ourselves to the world. But we also know the world sees this show as a reflection of how they’re going to engage us. So, if we get to show the better side of that, if we get to show a more positive side of that, that’s something that I want to stand in. I never want to stand and be a part of something that is derogatory, that is going to cause other people harm. You can’t always control the narrative, but you can at least control your space and your participation in that. And if I get to choose, I’m going to choose to be a part of something great. Simple as that.”

On Kayla’s past coming to haunt her this season, Tal informed us: “I think it’s just delightful that we get to explore a little bit of her past and what brought her to this place. Furthermore, we get to explore the choices that she makes now and the prices she has to pay for those choices. I am thrilled and excited with what we’ve done, what Ben wrote, and everything that we’ve created. I hope it’s a fun ride for everyone, and when I say fun, I mean engaging for everyone.”

On Bobby’s additional engagement in Season Two, Gil shared: “I think this season our arcs are a beautiful mess. It’s a thrill to go deeper and explore more layers that show more intersectionality about our communities, and to really embrace the systemic moral ambiguity of whose lives matter. I think, you

know, Brother Ben is amazing at what he puts down on the page. A lot of places in Hollywood are scared to go to the places that we go on this show—immigration, migrants, women, and the Black community, etc. These are things that need to be explored, and from my perspective, especially with Bobby Trey, it’s just exciting to be a representation of the community and the truths that we’re dealing with on a day-to day basis.”

On Sampson and Cross’s interactions and how he creatively collaborates with Hodge, Mustafa said: “To be honest, I rely on Aldis a lot. Everything that he brings to the character informs what I need to do as an actor and what I need to do in character as Sampson. We talk about our approach and raise each other’s levels. We’re blessed when it comes to this type of teamwork.”

Hodge chimed in: “Can I piggyback on that real quick? Because yes, the show’s called Cross, but each of us individually are leads in leading positions. We occupy different vehicles for how the show needs to run, and I equally depend on Isaiah. I depend on my cast to show up. When it comes to the relationship between Sampson and Cross, it’s purely fueled by the real relationship Isaiah and I have offscreen. We hold each other down; we’re brothers in arms.”

Hodge added: “And like he was saying, when we get into scenes together and we’re duking it out, for us, the fun is knowing that first of all, we trust each other, we respect each other, and we both need each other to be equally strong. So, when we’re like, ‘Yo, we want to push this scene to this level,’ as he said, I’ll be like, ‘Yo, I’m gonna go here. What are you doing?’ He’s like, ‘I’ma go here.’ So, we have the same

reliance and dependence on one another in that we need each other to be as strong as we can be to keep each other sharp for as long as we can. I rely on him just the same as he relies on me. We’re a team; we gotta show up for each other.”

Matthew Lillard concluded: “In thirty-five years in this industry, I’ve never seen a more symbiotic cast from production down. From the showrunner to the writers on down, every single person here is reliant and dependent on each other to be great. And I think that if you look around a lot of shows, people aren’t talking in between takes. People are talking about craft and about being brilliant. I do think that if you don’t try to be incredible, you’re never going to be anything better than good. And I think when you see forty million people watching a show in the first twenty days, something’s resonating. I think it’s built on this expression of being the best of the best that you keep hearing reiterated and echoed here today.”

Catch Season 2 of Cross when the first 3 episodes drop on Prime Video on February 11^th!

Editor’s Note: This coverage reflects a condensed summary of the press conference. Some remarks have been paraphrased or edited for clarity and flow.