We use vendors that may also process your information to help provide our services. David Lynch's 1990 surrealist masterpiece, “Twin Peaks,” with its extra-dimensional tiled rooms and multitude of homicidal spirits? Steve Conrad's 2021 stop-motion animated musical crime-noir, “Ultra City Smiths,” which, to be clear, uses dolls' heads to perform a musical that's also a modern crime noir? The unexpectedly weird shows, though, their individual peculiarities can be fascinating. It's one thing to build your series around atypical people, places, and things, but it's quite another to build a typical series with typical characters in typical locations doing the typical TV stuff, only to introduce a handful of oddities that simply don't fit. If they're not weird enough, then they're a distraction, an incongruity, a hangnail on an otherwise finely manicured hand. Related Stories ‘Reminders of Him' Review: Finally, a Colleen Hoover Adaptation with Some Actual Heart ‘Project Hail Mary' Review: Ryan Gosling Goes Full ‘Martian,' and Thank the Heavens for That “Scarpetta” lands somewhere in the satisfying middle: not as weird as it could be, by any means, but weird enough to be remembered for the right reasons. Showrunner Liz Sarnoff's adaptation of Patricia Cornwell's long-running book series fits the mold of what modern genre fans expect from their detective-driven crime dramas (the live-action kind, anyway): It's a star-studded murder-mystery split across two timelines, told with persisting gravitas, and accented with socio-political themes. But it also throws enough curveballs to keep viewers from zoning out amid all that familiarity. There you are, just humming along, watching Nicole Kidman cut up corpses, and wham! Then it's back to the family drama, listening to sisters toss barbs over who's in love with who, when bam! An AI character shows up (played by a real actor, thank goodness) and… just… hangs around. OK, back to the investigation, where you're hearing a few good leads until wowza! The Aussie superstar may earn regular acclaim for her Serious work in Important awards fare — she won her Academy Award playing renowned author and historical figure, Virginia Woolf, and her Emmy as an abused wife and mother in “Big Little Lies” — but she'll also wholeheartedly embody a woman who eats Polaroid photographs, a taxidermist who tries to mount a marmalade-addicted bear, and a widow who thinks her dead husband may have been reincarnated as a 10-year-old boy. Her “Scarpetta” character, Dr. Kay Scarpetta, skews closer to Kidman's serious side, but the show around her still relishes tilting into bizarro world. When we first meet the chief medical examiner of Virginia, Kay is examining a chilling scene that's a little too familiar for her and all too familiar for crime drama enthusiasts: A woman is dead. Her body was stripped naked, tied up, and dumped in the woods. Her hands are missing, too, but what catches Kay's eye seems far less significant: a flattened penny. Cut to 28 years earlier and Kay (played in the past by Rosy McEwen) is investigating a similar crime scene where another woman has been killed, stripped, and tied up. This time, she's in her bed, but everything else calls the present-day murder to mind: Are the cases connected? And if either answer is yes, what did she get wrong back then that could come back to haunt her now? The crime show clichés are already stacking up — dead women, haunted cops, a potential serial killer — but “Scarpetta” keeps 'em coming. (Lest we forget, Cornwell's first book was published in 1990.) Suspects pop up everywhere, many portrayed by recognizable guest stars. (Shout-out to “Star Trek's” Captain Pike, aka Anson Mount, and his silly little mustache.) Not only does she have a tragic backstory related to a beloved parent, but her living, breathing loved ones have been very present during both cases. Despite her constant drinking and volatile personality, she's made a small fortune as a children's book author, which is only mentioned in passing, seemingly to explain how she can spend her days gulping down wine. Dorothy's husband, Pete (Bobby Cannavale), is less flappable, if only by a hair. He's a former detective who worked with Kay on the first series of murders and whom she recruits again for the second. Loud and uncouth but with a heart of gold, Pete's bond with “the doc,” as he calls Kay, rivals his bonds of matrimony with her sister, and you better believe that split loyalty becomes a sticking point between the siblings (especially since Kay is married to Pete's opposite: Benton, a wealthy, soft-spoken FBI Agent played by Simon Baker). While there's an inevitable lull whenever relatively unknown actors take over for two Oscar winners, The Mentalist, and Mr. Rose Byrne, it's slight enough to avoid sapping momentum. Still, what prevents “Scarpetta” from disappearing into the insatiable maw of today's multitude of TV murder-mysteries are its odd flourishes. Kay's niece, Lucy (Ariana DeBose) — who she helped raise while Dorothy was off galavanting with her previous husbands — recently lost her wife, Janet (Janet Montgomery). It's very weird, and my only complaint is it doesn't lead anywhere half as strange as the decision to include an AI wife to begin with. It's also thematically relevant, given Kay's obsession with death (starting with her tragic backstory and running through her current job), as is — somehow! Again, it's a bit disappointing that the ensuing episodes can't top the midway insanity (and the big reveal at the end isn't as satisfying as it should be), but it's all worth it just to hear Kidman give one batshit line reading I will not spoil. It's a dime-store paperback put through Hollywood's prestige machine. Each bonkers bit is a nice reminder not to take anything too seriously. “Scarpetta” premieres Wednesday, March 11 on Amazon Prime Video. All eight episodes will be released at once. We use vendors that may also process your information to help provide our services. We use vendors that may also process your information to help provide our services.

EXCLUSIVE: Ten-time Grammy winner and two-time Oscar winning songwriter Billie Eilish is in advanced talks to make her acting movie debut in an adaptation of Sylvia Plath's classic novel, The Bell Jar. Oscar winner Sarah Polley, known for movies including Women Talking and Away From Her and for writing series Alias Grace, is attached to direct the feature, which Focus Features is closing a deal to back and distribute in the U.S. Pic is being produced by Joy Gorman Wettels (Little House on the Prairie, 13 Reasons Why), Plan B Entertainment, and StudioCanal. Gorman Wettels originated the project through her company Joy Coalition, packaging the project with Eilish and Polley and partnering with Plan B and StudioCanal ahead of Focus boarding. Originally published in 1963, the semi-autobiographical work charts a young woman's descent into mental illness and the burden of societal pressures. In the U.S., the book became an instant best-seller, and has since been translated into more than forty languages. Eilish will play lead character Esther Greenwood. The material feels like a good fit for dark pop queen Eilish, known for her soulful and introspective lyrics and songs. The only significant previous film adaptation of the movie came in 1979 when Larry Peerce directed Marilyn Hassett and Julie Harris. Julia Stiles was attached to star in a version in 2007 but it ultimately didn't come to pass. Likewise, Kirsten Dunst was attached to direct a version with Dakota Fanning a decade later but that also fell by the wayside. Eilish is represented by WME and Sandbox Entertainment. Polley is represented by WME, GGA, and Circle Management. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. Sign up for our breaking news alerts We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

On Tuesday (March 10), label BELIFT LAB announced that the 24-year-old performer would be exiting the group in order to explore a career as a soloist while still signed to the company, something HEESEUNG himself confirmed in a handwritten letter to ENGENEs on Weverse. Still, listeners flooded social media with concern and queries as to why HEESEUNG couldn't simply pursue independent opportunities while remaining as a member of ENHYPEN, pointing to the way members of BTS, BLACKPINK and other K-pop groups have successfully balanced both in recent years. But when reached for comment the next day on the matter, BELIFT told Billboard in a statement, “We concluded that allowing HEESEUNG to focus fully on his career as a solo artist, rather than pursuing solo activities within the team, would be the most fulfilling approach for both ENHYPEN and HEESEUNG.” “Through those discussions, it became clear that HEESEUNG has his own distinct musical vision and we decided to respect it.” One fan posted Tuesday that their “heart is breaking into pieces” over the news, while another wrote, “just 2 days ago heeseung said that they're planning to go back to europe so what happened?” In his letter, HEESEUNG expressed gratitude for his time with the band, but explained that it's time for a new chapter. “The past six years have been filled with moments that are difficult to put into words — moments that were overwhelmingly meaningful, and incredibly precious to me,” he wrote. “As many of you know, I have continued working on personal projects, dedicating a lot of time to them with the hope that one day I could share them with you. There were so many things I wanted to show you, but at the same time, I didn't want my own ambitions to come before the team.” And the article mentioning that we as fans aren't getting ahead of ourselves? WE ARE RAISING OUR VOICES, because Heeseung has already worked on and developed his solo songs WITHIN Enhypen, so there was no reason for the company to “advise” that it would be better to separate him from the group. Don't believe nonsense coming from this company. i do not believe what belift says this article is not anwsering our quesions they talk about what we know already we deserve the truth and heeseung too heeseung belongs in enhypen this is straight up abuse this article is full of lies enhypen did not knew this not even heeseung the letter is written with ai We aint taking that fake letter give members freedom to talk Heeseung deserves to be in enhypen , y'all just cant part my beloved SEVEN His comunication on weverse was made with AI, and I have proves. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. Billboard is a part of Penske Media Corporation.

Serkis and Peter Jackson spent most of last year coaxing Winslet to appear in the film, which means uprooting to New Zealand to shoot her scenes in the film from late May through to October. It's a country she's familiar with, having shot Jackson's 1994 movie Heavenly Creatures there. When I interviewed the Titanic star last year for her debut directorial feature Goodbye June, she mentioned she would probably be out of the country for several months this year but refused to disclose the reason why. The casting has been rumored on some film blogs today. We'd been sitting on the news for a while but today can confirm the casting as legit. The Warner Bros production has been scripted by Philippa Boyens, Fran Walsh, Phoebe Gittins and Arty Papageorgiou. Jackson, Boyens, Walsh and Zane Weiner are producing. Winslet confirmed during our same Goodbye June interview that she there's a “strong likelihood” of her starring in a second season of acclaimed HBO murder mystery Mare of Easttown. Winslet said she has had what she called “proper conversations” with Mare of Easttown writer and creator Brad Ingelsby and director Craig Zobel about bringing back her dogged detective. Get our Breaking News Alerts and Keep your inbox happy. Will she insist on her son writing the screenplay? By providing your information, you agree to our Terms of Use and our Privacy Policy. We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. Sign up for our breaking news alerts We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

Cameron Mathison's remarkable health journey is one of strength and determination. In an Instagram post shared on March 9, the former Hallmark actor opened up about having Perthes, a rare degenerative bone disease, as a young boy. Mathison penned an emotive statement in the caption of his 11-photo carousel, explaining the measures he needed to take to make his bones stronger. The images shared by the “General Hospital” star show a young Mathison wearing a metal leg brace, used to support his body, seeing that his legs couldn't. The actor wore the metal brace for four years, allowing him to walk on his own as his life continued. From the age of 2.5 to 7 l wore this metal leg brace day and night. “By putting my legs out wide, and in a sense replacing them with the metal bars and brace, my femur bones were able to heal and harden over the course of about 4 years,” he continued. Mathison said that his Perthes journey taught him “compassion for those struggling [and] empathy for those being bullied.” He also said he learned how “to not be defined by or to identify with the limited versions of ourselves regardless of what our limitations or challenges are.” The 56-year-old ended his explanation with a shoutout to his brother, writing, “(The last few photos are with my brother who was my biggest champion and hero, and helped me get through that challenging time 🙏🏼❤️).” Mathison's health as a young boy isn't the only time his wellness has been challenged, either. In 2019, he was diagnosed with kidney cancer, People reported. After undergoing surgery to remove a tumor in his right kidney, Mathison was well on his way to remission and has now been six years cancer-free. He's an enormous actor and while I hate the character he plays on General Hospital, I applaud his acting chops. It's just that every time I turn around he's talking about himself. Can't he just lay low from paparazzi and self serving articles for awhile. Save my name, email, and website in this browser for the next time I comment.

We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. As Colleen Hoover‘s books have suddenly become fast fodder for all manner of big screen adaptations — the legally fraught one about domestic violence, the soapy one about marital infidelity and first love, the upcoming one in which Anne Hathaway might be a lunatic — I've endeavored to keep an open mind about material that didn't appeal to me on the page and mostly doesn't appeal to me on the screen. Hoover has written over two dozen beloved books, surely there is something here for anyone and everyone. And while, three completed films in, I cannot say that Colleen Hoover is for me (a “CoHort,” I am not), I am beginning to see glimmers of a different side of her stories. Related Stories ‘Undertone' Star Nina Kiri Wants You to See This Homespun Haunted House Horror Film Any Way You Can Film Fans in New York City Are About to Get a Massive Treat, Care of the Inaugural Art House Cinema Week Which is all a long way of saying that, while not a slam-dunk, Vanessa Caswill's “Reminders of Him” is easily the best Hoover film adaptation yet, bolstered by strong performances and an emotional center that does not primarily rely on some kind of tortured romance (though, that's there, too!). If these are the other dimensions on offer in Hoover's books, perhaps there is life in those pages. Ignore the oddly peppy start to the film, as Kenna Rowan (the always-appealing Maika Monroe, breaking out of her usual scream queen roles) cruises back into a small American West town (to say it's jarring when the cute little village is revealed to be Laramie, Wyoming is an understatement), freshly sprung from jail after serving a sentence for, well, we'll find out soon enough. The upbeat nature of this introduction's tone hides some dark, dark stuff, but Caswill maintains its verve, even as Kenna … removes a roadside memorial cross? But Kenna has a reason for doing this light desecration, as she soon notes in her voiceover narration, which weaves throughout the film. She is not talking to the audience, however, but to her dead boyfriend Scotty (Rudy Pankow, who we meet in flashbacks). Kenna doesn't have much to her name, and her most prized possession is a thick stack of notebooks she writes in whenever she gets a moment. As someone who is clearly a lonely pariah with few friends and zero family, this is often. They are letters to Scotty, and they serve to both guide us through Kenna's story and to help her make sense of the tragedy it's become. Awkward flashbacks to her time in jail attempt to further contextualize her fraught emotional state, though they're really not necessary (book readers will find plenty cut out of Hoover's original text when it comes to Kenna's prison time, most of which sounds like it threatened to make her a much less likable character).Changes have also been made to the accident itself — again, smart ones that help Kenna's case, both with the audience and the people she meets back home. Soon, Kenna has moved into a shitty apartment complex (ironically called Paradise), found a job at a local market, and even made some friends (including young Monika Myers as both neighbor and coworker, and country music star Lainey Wilson, not playing herself in the film). She's also run into one of the trio of people she least wants to see: Ledger (Tyriq Withers), Scotty's lifelong BFF who never met Kenna during the pair's romance (he was in the NFL, OK!?). Ledger owns a local bar that used to be a local bookstore that Scotty and Kenna loved, and when the pretty, shy blond strolls in, of course he takes a shine to her. And then he realizes who she is. This is as good a time as any to introduce the two other people Kenna is most afraid of: Patrick (Bradley Whitford) and Grace (Lauren Graham) Landry, Scotty's parents. Kenna was in prison because she killed Scotty during a horrible car accident that was really no one's fault, and she's back in Pretend-It's-Not-Actually-Laramie (the film was shot in Canada, and it does look beautiful) to try to prove to the Landrys she's not a total monster. Because, you see, she was pregnant when she went to jail, and Patrick and Grace have been raising her daughter Diem (Zoe Kosovic) ever since. And you know who else has also been helping raise Diem? Listen, this might all sound very melodramatic and soap opera-y and silly, but Caswill and her stars do solid work finding the genuine emotion here. Kenna is in an unthinkable, seemingly insurmountable position. Ledger, too, especially as romantic notions start to grow between the two (while I might have scribbled, “What? ?” in my notebook upon their first kiss, Monroe and Withers do eventually turn in a sweet romance). Inevitably, this will all come to a head, especially as a lovestruck Ledger attempts to weave Kenna into his life and Diem grows ever-more curious about her mom. Hoover never shies away from a big blowup or blowout, and while “Reminders of Him” offers exactly that in the form of a spectacularly badly timed visit from Patrick to Ledger's NFL-financed mansion (?? ), it's what happens after that makes the film feel like a (for now) outlier in the Hoover Adaptation Cycle. Universal Pictures will release “Reminders of Him” in theaters on Friday, March 13. By providing your information, you agree to our Terms of Use and our Privacy Policy. 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Nicole Kidman opened up about her and Keith Urban's “rough” divorce for the first time since their September 2025 split — and showed her ex what he's missing with a sultry new photoshoot. “I'm always going to be moving toward what's good,” the actress said in a Variety interview published Wednesday. The 58-year-old, who posed in her underwear for the candid cover story, continued, “Everything else I don't discuss out of respect. Urban's rep did not respond to Page Six's request for comment. Kidman's separation from Urban, 58, made headlines in September 2025 after nearly two decades of marriage. By clicking above you agree to the Terms of Use and Privacy Policy. The pair finalized their divorce in January, with the exes agreeing to waive all rights to child and spousal support. While Wednesday's interview marked Kidman's first time addressing her breakup, she hinted at struggling emotionally in a conversation last year with Ariana Grande for Interview Magazine. Kidman looked back on filming the “Practical Magic” sequel with Sandra Bullock around the time her split became public, gushing about how “safe” and “protected” she felt on set. Urban has not spoken publicly about the divorce. The newly single Grammy winner has been romantically linked to musician Maggie Baugh and country star Karley Scott Collins in recent months — and the latter clapped back at dating speculation in January.

In the words of Kylie Jenner's ex-brother-in-law Kanye West, her presence is a present. The makeup mogul fronts Vanity Fair's spring issue in a (literally) stripped-down take on equestrian attire, lighting up a cig in a satin Dolce & Gabbana bra and Hermès riding breeches — but the cover shot's downright conservative compared to some of the others from her spread. In one particularly racy pic, the 28-year-old style star struts down the hallway of an opulent manse, wearing absolutely nothing besides a gigantic Chanel bow (technically a cape, per the credits) and brooch. Advertisement Advertisement Other standout snaps from Mert Alas' shoot for the mag see Jenner reclining in bed in a ruffly Saint Laurent gown, modeling a scalloped Miu Miu bra and even channeling West's new wife, Bianca Censori, in sheer hosiery styled sans shirt. In the accompanying interview by Nate Freeman, the youngest Kardashian-Jenner discusses her acting debut in Charli XCX's A24 mockumentary “The Moment,” the origins of her Kylie Cosmetics empire — “It was probably, like, half the money I had in my bank account,” she recalls of the $250,000 she spent to get her beauty company off the ground — and her viral appearance at a 2023 Schiaparelli show in a dress adorned with a lion's head. Her relationship with fellow A-lister Timothée Chalamet also came up during the chat, with Freeman asking Jenner how it felt having the “Marty Supreme” actor declare his love for her onstage at the Critics Choice Awards. Advertisement “Is it fun?” Freeman asked. “Of course,” Jenner replied. Following their fashionable joint appearances throughout awards season — matching orange leather Chrome Hearts looks at the “Marty Supreme” premiere, all-black ensembles at the BAFTA Awards and more — we can't wait to see what the pair pull out for Sunday's Oscars.

Subscribe for full access to The Hollywood Reporter Subscribe for full access to The Hollywood Reporter I cannot stand that [Tarantino] has been given a hall pass. Quentin Tarantino's First Stage Play, 'The Popinjay Cavalier,' Set for West End Run in 2027 Rosanna Arquette Says 'Love Story' Portrayal of Daryl Hannah Is "Bullsh**" I hope the publicity you're getting from 132 different media outlets writing your name and printing your picture was worth disrespecting me and a film I remember quite clearly you were thrilled to be a part of? But after I gave you a job, and you took the money, to trash it for what I suspect is very cynical reasons, shows a decided lack of class, no less honor. There is supposed to be an esprit de corps between artistic colleagues. (An “esprit de corps,” by and by, is defined as “a feeling of pride, fellowship, and common loyalty shared by the members of a particular group.”) The Hollywood Reporter has reached out to a rep for Tarantino. Several Tarantino characters have used the N-word in his films, which has sparked criticism over the years from others such as Spike Lee. During a 2022 appearance on HBO Max's Who's Talking to Chris Wallace, Tarantino replied to a question about the violence and racial language in his films by saying, “Then see something else. While Jamie Foxx told Yahoo Entertainment in 2018 while promoting Django Unchained that the word in the film was historically accurate. Sign up for THR news straight to your inbox every day

Writer Ram V's passion for mythology has resulted in some of the most exciting comics of the past decade, from modernizing Hindu gods and monsters in The Many Deaths Of Laila Starr and Rare Flavours to revitalizing superhero concepts in The New Gods and Resurrection Man: Quantum Karma. He has a skill for finding intriguing angles to explore legendary figures, and for his new graphic series, Deicidium, V pits the gods of yore against contemporary organized religion and corporate tech. “I've been a mythology enthusiast since a very young age,” says V. “I've always had a fascination for humans and their relationships with their gods and how that has evolved over human history. I like the stories where these ideas began. It is in this conflict that Deicidium was born.” The ambitious new project reunites V with frequent collaborators Evan Cagle (The New Gods, Dawnrunner) and Anand Radhakrishnan (Resurrection Man: Quantum Karma, Blue In Green) for three new black-and-white graphic novels a year, simultaneously published by Image Comics in the U.S. and Morgen in France. The first volume, Deicidium: Omens, goes on sale October 2026, and readers can find a 14-page preview in Image Comics' offering for Free Comic Book Day on May 2. Inspired by the Heroes TV show, Shōnen manga, and “a healthy dose of urban fantasy and sci-fi,” Deicidium imagines a world where the old gods are reborn in ordinary men and women around the world, making them targets for the global corporate church infrastructure that is threatened by their return. Club has an exclusive first look at Cagle's cover and interior pages, which showcase his impeccable linework, meticulous designs, and dynamic layouts. “I'd like to say collaboration is seamless and second nature but that's not how good collaborations work,” says V. “They're built on pushing and pulling each other into new creative places. “I've been itching to work in a format different from the monthly cadence I've been working with so far,” says V. “Publishing with Morgen in French and Image in English opens up that possibility, and it is a healthy, happy, and more involved/immersive experience to make books this way. It also lets us try new interesting things with how the book reaches readers.” In a future rebuilt from the ashes of war, belief is no longer sacred—it's monetized. Humanity has entered a hard-won age of stability, governed by an unholy alliance between global corporations and newly engineered religions. That fragile balance shatters when the old gods return. Ancient deities of fire, wind, jaguars, love, war, and mischief awaken inside ordinary people, transforming neighbors and strangers into living gods. To the powers that be, they aren't miracles—they're threats. 12 orphans were chosen, bestowed with gifts and taught to be faithless, loveless instruments without reward or remorse. As old myths collide with a world built on manufactured faith, a brutal conflict ignites—one that will decide who controls humanity's future, and whether salvation comes from those placed above us…or from within us. DEICIDIUM is a global epic from the multi-award-winning collaborations of Ram V, Evan Cagle, Anand Radhakrishnan with Tom Muller, Aditya Bidikar and more. Recommended for You1Scarpetta is Nicole Kidman's shoddiest show yet2Fatal Frame II: Crimson Butterfly confidently retells one hell of a ghost story3Christopher McQuarrie's next mission is a Conan legacy sequel with Arnold Schwarzenegger 4When Pixar filmmakers venture into live-action, the Brain Trust goes bust5Quantum Leap starts setting its boundaries—and viewer expectations

The Adult Swim hit will return in May, and promises some of its strongest episodes ever. Rick and Morty is back with a new batch of episodes that Adult Swim pledges are among its best yet. The acclaimed hit comedy will return for season nine on Sunday, May 24. “I know it's my job to say that this show just keeps topping itself, but it also has the benefit of being true,” said Michael Ouweleen, president of Adult Swim. “It's kind of scary what this show unit is doing season over season — just pouring an absurd amount of talent and brilliance into these episodes. Please watch, or we'll have neglected our families for nothing.” The idea that season nine will be a return to form follows some fandom criticism that season eight was a bit lackluster by the show's high standards. Previously, showrunner and executive producer Scott Marder said in a Reddit AMA, “I would say Season 9 will convince everyone we've got a full tank of gas left in us. Sign up for THR news straight to your inbox every day Inside the business of TV with breaking news, expert analysis and showrunner interviews

Violet Grohl will release her debut album, Be Sweet to Me, on May 29 via Auroura Records/Republic Records. The musician also shared a new single, “595,” along with a music video for the track, directed by Nikki Milan Houston. Be Sweet To Me was recorded from late 2024 into early 2025 at producer Justin Raisen's Los Angeles home studio alongside musicians assembled in the spirit of the Wrecking Crew session players in the '60s and '70s. The first track that emerged was “Thum,” which Grohl released in September. In a press release, Grohl said she was inspired by alternative music from the late ‘80s and early ‘90s, including Pixies, Soundgarden, Cocteau Twins, and the Breeders. “There's something so powerful about that period of music, from the messaging to the visuals, it's authentic and raw,” she said in a statement. In January, Grohl released “What's Heaven Without You,” a track written in the aftermath of the Altadena fires in Los Angeles and the death of filmmaker David Lynch. “A few days after the chaos and devastation of the LA fires, we came together in our sadness and grief and let it pour out into this song.” Grohl, the eldest daughter of Foo Fighters frontman Dave Grohl, has been performing music for several years. In 2021, released a cover of X's “Nausea” made alongside her dad, which the duo later performed live on Jimmy Kimmel, joined by Krist Novoselic, Dave Lombardo, and Greg Kurstin. She's also performed numerous times on the road with the Foo Fighters, including joining them during their tribute concerts for late drummer Taylor Hawkins in 2022, and in 2023, she duetted with her dad on “Show Me How.” Be Sweet to Me is available to pre-order in black, blueberry jam, and ivory vinyl, as well as on CD. Jimmy Kimmel, Stephen Colbert Take Aim at Pete Hegseth's Overspending: ‘You're Ordering What?' Jack White Responds After Uproar Over Taylor Swift Songwriting Comment Kevin Spacey Confirms ‘Sexual Compulsive Behavior' Diagnosis in 'House of Cards' Trial Testimony Send us a tip using our anonymous form. Rolling Stone is a part of Penske Media Corporation.

Matthew Fox, who starred as Jack Shephard on ABC‘s hit drama “Lost” for its entire run from 2004 to 2010, spoke out to Variety about why he famously stepped away from the spotlight after the show's major success. Matthew Fox on his long acting hiatus after Lost: “I felt like it was time to engage really intensely with my family. At the premiere for the Paramount+ series “The Madison,” the 59-year-old explained, “I felt like it was time to engage really intensely with my family.” Fox shares a daughter and son, now in their 20s, with wife Margherita Ronchi, and he reflected, “I had missed some of their childhood because I was on set all the time with ‘Lost' and doing films and promoting everything. Fox said he was “really attracted” to the character, as he has “a lot of personal passions in my life that are similar to the way that Paul is living his life.” Fox recalled how he grew up in Northwestern Wyoming, in a part of the winter Valley that is very similar to the Madison River area. He added that the chance to work with Kurt Russell, who plays Preston Clyburn, was another draw. “Kurt and I had done a film together in 2014. We really enjoyed working together, and this was another opportunity to do that but in this brothers dynamic, which I was very excited to do.” Michelle Pfeiffer shared a post promoting her involvement in the project on February 23. She plays Stacy Clyburn, the wife of Kurt Russell's character. Save my name, email, and website in this browser for the next time I comment.

ola Young is sitting in front of a grand piano at the Crypto.com Arena in Los Angeles, her hands hovering over the keys. It's been five months since she was last onstage, and everyone in the room has their eyes locked on her. She waits for a second and then begins, the bruised melody of a stark, stripped-back version of her megahit, “Messy,” filling the arena. Someone quietly whispers “Wow” as she slides into the first verse, her timbre raspy, aching, and breakable. A couple of tech guys saunter onstage to help her out because this is, after all, the time to figure everything out. It's Young's rehearsal slot, just days before she performs at the Grammys, as part of a medley showcasing all of the Best New Artist nominees. Any first-time nominee would be nervous, but this moment represents something bigger for Young. The 25-year-old is an unflinching, painfully honest songwriter who doesn't shy away from struggles or insecurities in her music, so what she's been through recently is not a secret. The raw details are right there, between lyrics about sex and heartbreak and romance: “I'm a dumb little addict so I've been tryna quit the snowflake,” she trills on the upbeat pop rock of “Not Like That Anymore.” “I spent all day tryna be sober,” she sings to open “Dealer,” a sunny melody masking musings about self-destructive behavior. “'Cause it's been days, but I've been busy getting high/And my doctor said, ‘You'll get sick again, you can't mix these meds with white lines,'” she confesses on the gut-wrenching “Who F**king Cares?” If the track makes you feel like you're eavesdropping on someone's most intimate thoughts, it's because you are — it's a first take Young recorded on her iPhone. The 100 Best TV Episodes of All Time Although Young has been open about all of it — the ups and downs of sobriety, self-image, isolation, and the complexities of the schizoaffective disorder she's had since she was a teenager, plus a more recent ADHD diagnosis — the realities of her life took a brutally public turn last year. On the one hand, it was that magical breakthrough every artist seems to chase after: Her career was taking off, turbocharged into wild heights because of the success of “Messy,” a gutting but relatable ode to feeling like too much and not enough that found a viral audience on TikTok before going stratospheric. In early 2025, “Messy” hit Number 14 on the Billboard Hot 100, and eventually soared past 1 billion streams. For Young, who'd been working toward this kind of moment since she was a precocious 14-year-old busker on the streets of London, it was almost unbelievable: “It's something that I kind of dreamed about and you never really think it's gonna happen.” The world was catching up to who she is, discovering what so many of her longtime fans always saw: a strikingly sincere, exceptionally talented artist who uses her remarkable voice to broadcast deeply private feelings that many people are afraid to even utter out loud. Elton John, who became a huge fan, puts it succinctly: “There's a rare honesty in her voice that just stops you in your tracks — it's raw, soulful, and completely unfiltered,” he writes in an email to Rolling Stone. “Musicians like Lola don't come around very often, she is incredibly special.” How Fuerza Regida Became the Voice of a New American Generation “It was so mad and beautiful and exciting, but it was also, at times, very sad.” Yet the music industry can move at an unyielding clip, particularly when artists are rocketing to stardom like Young was. Young was in demand, shuttling from one corner of the world to another, with massive performances, including Glastonbury and Lollapalooza Paris, loading up a packed schedule. All the while, she had gotten help for an active addiction to cocaine and worked with a sober coach who traveled with her for a lot of 2025. But as the year progressed, things got heavier and harder. “It was a whirlwind year,” Young says of 2025. “It was mad, beautiful, and exciting, but at times, very sad.” “If I'm gonna be honest with you, the enjoyment was deteriorating,” she says. “Just small things that I had to do: an interview, a piece of promo. I just didn't know all the stuff that comes with it. But I wasn't in a good place, and there's two sides of the coin …” she trails off. “You want to say yes to everything because everything's on the table, but then you also have to balance that with your mental health, and I've been super open about my mental-health condition that I suffer from, and also about all the other stuff that's going on for me.” That summer, Young's manager, Nick Shymansky, told The New York Times that Young had relapsed and gone back to treatment. She returned to public life a few months later, releasing her third album, I'm Only F**king Myself, on Sept. 19. The LP, razored, chaotic, and edgier than her past releases, chronicled her experiences with love, isolation, and recovery, set to upbeat sounds. Once the record came out, it was back to promo; she did Fallon and a YouTube interview and a performance for the Grammy Museum Foundation. On the outside, it seemed she was in a good place, but behind the scenes, she'd been barreling toward crisis. People saw the breaking point in unforgiving real time. On Sept. 27, Young was onstage in New York, at the All Things Go festival. Young prefers not to talk about the specifics of that day, but audience video showed what happened: She was in the middle of singing her song “Conceited” when she turned to the side, as though she wanted to say something to someone standing there. She stumbled briefly, and then seconds later, her eyes closed and she went completely rigid, falling backward. Almost immediately, the digital age's most pernicious habits took over: The clip ricocheted across the internet, propagating over and over across every social media platform, a person's worst moment on constant repeat. There was noise and concern and uproar in the months that followed, but none of it reached Young. Thank you for all the love and support.” She checked into a facility and went on lockdown for two months. She had no phone or access to the outside world. She was in there while people speculated about her incessantly. She was in there when news of her two Grammy nominations arrived: Best New Artist, and Best Pop Solo Performance, for “Messy.” “And that made me feel safer.” She credits her fans and how incredibly supportive they were throughout the past several months. Still, coming out of that has been a careful process, with her health at the center of it all. Young says that, unlike previous recovery attempts, the approach is different this time: The facility she visited is holistic, centering on therapy and psychology instead of solely treating addiction. Since leaving, she's been attending AA meetings and has a sponsor. Young says her relationship to work has also changed. “One thing that's really helped me is slowing down, mentally, taking time to process,” she says. Enjoying time with friends, people that love you.” But, she's had to navigate both tough moments and criticism, especially after canceling shows and appearances. “There was a bunch of hate, but you know what? “When you're doing something, there's always going to be a couple motherfuckers talking shit. But at the same time, it was a decision, like I said, that I had to make, and it was sad that I had to do that. What else was I going to do, die? That viral clip caught up to her, too. “I have watched it, yes,” she says stoically. Obviously, I'm not going to be searching it.” She lets out a dry, pained laugh. “It's not something I'd like to search.” Her voice gets a little quieter. Like, a breaking point which allowed me to then be able to be here today, allowed me to be better for my fans, better for the future, and better for myself.” “[Going Away] was a decision i had to make. What was I going to do, die?” Nearby, her team looks on, and by the time the rehearsal is over, there's more excitement than anything else. “I've been away, I've taken some time out, and this is a beautiful comeback,” Young had told me earlier. A few days later, Young steps onto the Grammys stage again. She plays the intro to “Messy” on the piano, and this time she keeps going and hits every note. Several people watching at home tell me the performance brought them to tears. But the more memorable moment comes later in the show, when Charli XCX presents the Best Pop Solo Performance award, a stacked category that includes Justin Bieber and Lady Gaga. “I very much relate to this song,” Charli says and announces Young as the winner for “Messy.” Young's jaw drops; she bolts from her chair and rushes to the stage. “Obviously I don't; it's messy!” She thanks her team and her family; an accidental f-bomb makes the whole thing even more endearing. Then she walks away, full of joy and lighter than ever. YOUNG IS THE KIND of artist you root for. I think the voice is carved over time because it's a physicality,” says the singer and producer James Blake, who's been working with Young recently. Her tastes are wide-ranging: At one point, when we first meet on the sunny patio of the Chateau Marmont, she walks me through her recent Spotify listening history: Doechii, Victoria Monét, Death Cab for Cutie, Minnie Riperton, the Shrek 2 soundtrack. Her eyes are a piercing green, framed by doll-like lashes, and right now her hair is dyed black — a new look compared with the long brown and blond extensions she had last year. It would be one thing if she were just a powerhouse singer with stunning range, or just a sharp-witted lyricist who can blend comedic self-deprecation and crushing vulnerabilities. The writing, especially, feels innate; she's been doing it since she was a kid in Beckenham, a suburb in south London. As a kid, Young took piano lessons and taught herself guitar. “If it was a school day, I'd just come home and be like, ‘I was really inspired by that,' or ‘That really affected me,' or ‘I didn't like what they said,' or da da da. As Young entered high school, she auditioned for the BRIT School for Performing Arts and Technology in Croydon, not far from her neighborhood. (Young had been on a couple of TV shows by then, and auditioned by sending in a video of herself singing Joni Mitchell's “A Case of You.”) The list of notable BRIT alumni is long: Amy Winehouse, Adele, FKA Twigs, and Olivia Dean, whom Young overlapped while studying there (they knew of each other, but have gotten closer since). But a lot of those formative years were spent toiling in London's open-mic scene and busking on the streets. I can do this, because people are putting tenners in, and it's like, Right! Eventually, the strength of her live performances led to bigger opportunities. By then, Young had sparked the interest of lots of managers and labels, and at first, she was unsure about Shymansky: “I was like, ‘Yeah, yeah.' But beyond his résumé, there was a deep connection that made Young feel he was the right fit. “We met up in Victoria station, I don't know when this was, but he just listened. Shymansky has been with Young throughout all of the ups and downs; he was her manager when she was diagnosed with schizoaffective disorder; he's been there through vocal-cord surgery; he was there when she got signed to Island Records in 2019. (Young was jointly managed by Nick Huggett, who signed Adele, for a time before he left the team.) “I want to write music people care about. “When somebody is going through addiction, or struggling in any capacity, it's hard to know how much a person can do.… It was my work, right? He's the one who told me to stop; he's always the one that told me to slow down,” she says. He is an incredible manager, and of course, you know, when you've got an industry that is constantly wanting you to say yes, it's hard to say no. But I was also massively the driving force of saying yes.” There's no manual for pop stars dealing with addiction, but Young and her team have found that having her take her time and listen to herself helps most. “But, no, I don't think it's fair that people push blame on anybody when they don't know the full story.” Still, she gives fans who worry about her some benefit of the doubt. “I don't really blame [those] people either, you know, because they're protecting me and they care,” she says, adding, “I think it's sweet that people wanna, you know … but people on the internet, honestly, [they're] insane, some of them. They're just pulling something out of nothing and running with it a million miles per hour.” Focusing on Young's addiction feels reductive, especially when her catalog is filled with humor and intellect and skill. She bristles at the idea of becoming a spokesperson for sobriety when her own journey hasn't been easy or linear. And yet so much of her strength as an artist involves being truthful about what's happening inside her. What the fuck am I trying to hide? It's that unwavering honesty and vulnerability that's traveled so far —worldwide, in fact — reaching people who need to hear her music the most. Anecdotally, she's heard how her songs have cheered people up, guided them through breakups, reminded them that they're enough. A fan recently wrote that he was so deeply moved by her music, he taught himself English to understand her better. And then there are those who've told Young that her music saved their lives. She's in her hotel room, doing her makeup in the bathroom, and talking excitedly over Zoom while looking back at the whole night. “I was bad nervous, innit?” Leading up to the performance, the butterflies had ramped up, mostly because she learned some of her heroes — including Joni Mitchell — would be in the audience. At first, Young didn't think the performance was as good as her rehearsals, but people's reactions changed her mind. The bigger moment, of course, was when she actually won a Grammy. She'd made peace with going home without a trophy, especially when Best New Artist went to Dean. “I flew across the room,” she says, laughing. The thrill of it is palpable as she talks. “I still think about it, and I'm like, ‘Yeah, a Grammy, no one can talk to me anymore, none of those haters matter! The win comes at a particularly bright, productive time. Young has been going to the studio every day, hard at work on new music. There's no concrete plan yet, but she's been working with Blake and Mustard in L.A. “I don't really know what it is yet. But some of it feels minimal,” she says, naming influences like the late Jeff Buckley. “It's gonna be more positive, but also with … a warmth.” There's one song that's already finished, called “Room for Your Love,” and she wrote it for her two younger sisters. It's about loving and embracing yourself, but she pauses as she tries to recite the lyrics to me. Those are the messages she wants to keep leaving for fans. “I want to write music that people care about. Styling by CHRISTOPHER CAMPBELL for OPUS REPS. Makeup by JAIME DIAZ for THE ONLY AGENCY using FENTY BEAUTY. Set Dressers JUSTIN ‘CHEEZ' POWELL and DANIEL PADILLA. Art Production Assistance JULIAN SMALL CALVILLO and DEXTER DEMME. Extras CAMI MCCULLOUGH, ADELAIDE GAULT, JULIAN SMALL CALVILLO, JOEL TREVINO, ETHAN HAUG, and JULIA SLATER. Send us a tip using our anonymous form. Rolling Stone is a part of Penske Media Corporation.

Miley Cyrus could buy herself flowers, but her recent appearance on Sesame Street proves that receiving them from a friend is just as great — especially edible flowers. Donning a shimmery two-piece fringe outfit, Cyrus joined Elmo and friends for fun times on an episode of the new Volume 2 episodes of the newly reimagined Sesame Street on Netflix and PBS Kids. The same day, the series released “Just Imagine,” a fun song sung by Cyrus and Elmo about how we can be whatever want to be, as long as we have imagination. In a very sweet exchange, everyone's favorite dessert-loving monster gives Miley her flowers. “Me know that you can buy yourself flowers, right?” Cookie Monster says to Cyrus. Together, the two new friends enjoy their sweet treats before agreeing that they were “delicious.” Cyrus is, of course, no stranger to family TV. All episodes of Sesame Street, including Cyrus', are available now on Netflix and PBS Kids. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. Billboard is a part of Penske Media Corporation.

All respect to LaTour, but people are not still having sex. According to a Talker Research poll, 1 in 4 adults reported having sex barely once a month, and most said it lasted not even 20 minutes. No generation is practicing abstinence more devotedly than Gen Z, half of whom have never had even one sexual partner. Most of them, it seems, would rather just get a good night's sleep. For the artist formerly known as Sturgill Simpson, this downward trend is inextricably linked to toxic politics, and he's gone and made a whole album about fucking as a means to turn the tide and change the world. Combining country-rock with funk, hard disco, and Golden Age of Porn soundtracks, Mutiny After Midnight marches onto the streets and into the sheets. “I wanna make America fuck again,” the artist currently known as Johnny Blue Skies sings on the sinewy opening track, which is actually called “Make America Fuk Again.” “I wanna start a revolution and watch it begin.” At least on this record, sex is an ideal vehicle for change, a salve for a violently divided America where everyone is on edge. He quotes George Floyd on “Excited Delirium” and calls out ICE for their strongarm tactics and aggressive anonymity: “How the hell you gonna protect the peace, running around looking like you're going to war?” By album's end he's excoriating the Sex Pest in Chief in a wordy soapbox anthem that helps the cause not one bit by rhyming “bad cartoon” with “grabbing women by the poon.” Musically and lyrically, Mutiny plays like he's expanded 2016's “Call to Arms” to album length. One of his most popular songs is about using drugs and love (brotherly, not romantic) to kick down the doors of perception; “Turtles All the Way Down,” while certainly not carnal in nature, was definitely alert to the ways in which metaphysical quests are both guided and constrained by the meatsacks we drive through this reality. But what if you didn't have to suffer for your art? What if we could fuck our way to a better world? Country and funk have always offered a clear view of that world, whether it's Sylvester fronting a rock band and covering Neil Young before ascending to disco supremacy, or the Drive-By Truckers billing themselves as the Dance Band of the Resistance. And current pop stars like Sabrina Carpenter, Chappell Roan, and Sam Smith have released hits that are implicitly political because they are explicitly sexual. In other words, Mutiny comes at just the right time, even if the dance element has been somewhat overstated; several of these songs, such as “Excited Delirium” and “Ain't That a Bitch,” have more in common with Light in the Attic's Country Funk compilations than with anything you'd hear at an actual disco. They're swampy, Stonesy, and steamy, with some real fuck-the-pigs energy, but they don't sound quite as daring as the songs that groove hard and a little sleazy. That's when the album's audacities—its sexual philosophy, its political radicalism—become unique and exciting. For most of his career, Blue Skies has defiantly rejected the typical verse-chorus-verse approach to songwriting in favor of more intuitive and often more concise structures, and he assembled a band that can navigate even the trickiest straits with grace and flair. Miles Miller does more with a hi-hat than most drummers do with a whole kit, and he lends “Situation” in particular an energy to match—even exceed—his bandleader's horny lyrics. He leads the band into lengthy tangents, following those grooves to their natural climaxes and creating a space away from the vocals for listeners to get their own grooves on. Even “Venus,” too bookbound in Roman mythology to get down and dirty, at least sounds good, as the band pushes the song into psychedelic territory. Like all things pertaining to sex and politics, Mutiny After Midnight is more than a little ridiculous, especially when Blue Skies claims to have “that Hunter Biden energy”—surely the weirdest flex of this weird decade. On closer “Ain't That a Bitch” he describes torture in visceral terms: “Put a towel on my face and let the water start flowing… Pull out my toenails but that's OK, they're in-growing.” Maybe it has some thematic heft—the infliction of physical suffering vs. the creation of physical pleasure—but those lines and the song itself sound too cynical, especially as a final statement on an otherwise joyful and outrageous album. Blue Skies does manage to sell some of his more awkward or undercooked dirty talk, like these lines from “Situation”: “Climb up on top and don't ever stop/Let it build up, then let it drop.” Or this one from that same song: “Ever since the day that we met, wanna get you wet, wanna make you sweat.” He just has that much natural charisma to make it work. More crucially, all of those cringe lyrics are about what he can do for and to his partner/fellow citizen rather than what she can do to him. To their credit, Blue Skies and all of the Dark Clouds are alive to that inherent ridiculousness, which makes Mutiny actually sexy rather than just about sex. Instead, it sounds galvanizing: a sharp band moving in psychedelic unison. Being alert and attentive to the pleasures of others is radical, and here's where Mutiny gets gloriously kinky: “No place in the universe for individuality, truth is knowing that it's all connected,” he declares on “Everyone Is Welcome,” sounding not a little like the guy who described “reptile aliens made of light” 12 years ago. But then the song gets down to bizness: “Two is enough, but three's a whole lotta fun/Four's a fucking party and everybody cums.” Bracketed by a song about ICE disappearing US citizens and another song with a visceral description of torture, this erotic vision of national unity is more than simply titillating. 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