
Smoke Episode 4 Preview: Release Date, Time & Where To Watch
Smoke is a gritty crime drama set in the rain-soaked forests of the Pacific Northwest. Taron Egerton plays Dave Gudsen, an arson investigator with a haunted past and a flair for storytelling. He's working on a novel, but it's the fires that won't leave him alone.
Alongside him though is Michelle Calderone (Jurnee Smollett) who plays a sharp, no-nonsense detective and ex-Marine who doesn't tolerate ego or excuses.
Together, they're pulled into a string of escalating fires that point to not just one—but two serial arsonists. As the pair dig deeper, personal baggage starts to surface.
If you've been following this one, you may be curious to find out when the next episode is releasing. Well, wonder no more!
Here is everything you need to know about Smoke Episode 4, including its release date, time and where you can watch this.
Where Can I Watch Smoke?
Smoke is available to stream on Apple TV+. This is an exclusive original series, meaning this is the only place you're going to be able to watch this show. However, now that Apple is available as an extension on Amazon Prime Video, you can also get a subscription to Apple TV+ that way too!
Smoke Episode 4 Release Date
Smoke episode 4 will release on Friday 11th July at approximately 12am (ET/PT) / 5am (GMT). Of course, it's really dependent on how quickly Apple upload new episodes. Expect this to be pretty close to the release time though.
Smoke Episode 4 is also available with subtitles from release, with the chapters scheduled to clock in at around 42 minutes long.
How Many Episodes Will Smoke Have?
Season 1 of Smoke is scheduled for 9 episodes, so we've got 5 more episodes to go after this one. Expect the story to continue developing, with plenty of drama still to come!
Is There A Trailer For Smoke?
There is indeed! You can find a trailer for Smoke Season 1 below:
What do you hope to see as the series progresses? What's been your favourite moment of Smoke so far? Let us know in the comments below!
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The Guardian
an hour ago
- The Guardian
Mother Play review – Sigrid Thornton is terrific as a gin-soaked, monstrous matriarch
Poisonous and heavily self-medicating mothers are a standard in the theatre, from Mary Tyrone in Long Day's Journey into Night to Violet Weston in August: Osage County. Self-absorbed, vain and hypercritical, they tend to stalk their stages like injured lionesses, their own offspring the convenient targets of their abuse and cynicism. US playwright Paula Vogel adds Phyllis Herman (Sigrid Thornton) to this list, as monstrous and brittle as any of them. While Mother Play (the subtitle is A Play in Five Evictions) flirts with the toxicity and histrionics of those antecedents, it feels closer in spirit to Tennessee Williams' 'memory play' The Glass Menagerie. Where Williams created the character of Tom as an authorial surrogate, Vogel gives us Martha (Yael Stone), who is likewise desperate to escape her mother's clutches while trying to understand what makes her tick. There's a deep melancholy working under the play, a sense of all that's been lost to the ravages of time and forgetting. Like Williams, Vogel is mining a lot of her own biography here – her mother was also named Phyllis, and worked as a secretary for the Postal Service after the breakdown of her marriage – and she traces the outline of a family in slow decline with poignancy and skill. The rot sets in during the first eviction, as Martha and her elder brother Carl (Ash Flanders) move boxes and furniture around while Phyllis drinks herself into a state of grotesque self-pity. The kids are only 12 and 14, and yet already they seem like the parents to a stubborn and petulant child. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning As the play progresses and the narrative moves inexorably through the decades – it opens in the early 60s and ends in the present day – this parental imbalance only worsens. Gin-soaked and combative, Phyllis alternately berates, guilts and clings to her children like resented support structures; one moment she is rejecting them for being gay, the next grasping for their approval. She's fiendish and cruel, but Vogel also lets us see the damage done to her, the ways in which she is shaped by the casual cruelties of others. It isn't so much a cycle of abuse as a long sputtering out, levelled by great reserves of forgiveness and stoicism from the kids. Thornton is terrific, constantly alive to the character's gaping flaws without once losing the central pathos that keeps us engaged and sympathetic. She has a harsh, steely quality under the gaucheness and impropriety that softens as the play progresses, eventually reaching a kind of weary dignity and poise. Stone finds great depth and complexity in Martha, pained by her mother's sadism but determined to see beyond it. Flanders is solid in the lesser part of Carl, and together the cast paint a convincing and intricate family dynamic. Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion Director Lee Lewis gets many things right, which makes the ones she gets wrong seem more egregious, somehow. Those performances are beautifully calibrated and expertly pitched, but Vogel's startling tonal shifts and narrative longueurs seem to trip Lewis up; too often the production falters, pitching into silliness and camp. One scene in a gay bar – where Phyllis starts dancing a conga line with her adult children – feels desperate, and the less said about a giant cockroach that waves at the audience the better. This reticence seeps into Christina Smith's design, which is surprisingly banal and unwieldy – although not her costumes, which are little treasure troves of period wit and personality. The family's five different abodes are simultaneously underdone and overly complicated, necessitating some clunky transitions. Niklas Pajanti's inventive lighting helps, pitching from glamorous to desolate as the family's fortunes change. Kelly Ryall's compositions are similarly mercurial, jaunty one minute and plaintive the next. Vogel is a fascinating and idiosyncratic playwright, and if this production of Mother Play doesn't quite coalesce, it still achieves moments of beauty and quiet awe. That temporal scope allows the actors to track the emotional beats of their characters' lives like pins on a map, and if political and social events tend to disappear into the background, their effect on the family's interpersonal relationships is forcefully underlined. The moral battle between liberalism and conservatism, those ideological polarities currently tearing the US apart, are depicted here as fissures of the self and the family unit, a long time coming. Memory plays are by definition fragmentary and elliptical, so perhaps the staccato rhythms and jolting tonal shifts are necessary. The cliche of the monstrous feminine, where the mother becomes the repository of all the family's sickness and perversion, is subtly but surely unpacked and debunked. What we're left with is a mother and a daughter tremulously reaching for care, compassion and connection. In this way, it feels vital and contemporary. Mother Play, by the Melbourne Theatre Company, is on at the Sumner theatre until 2 August


Daily Mail
an hour ago
- Daily Mail
Rose McGowan leads celebrity tributes for Julian McMahon as Charmed cast grieves their Australian co-star: 'A force of brilliance'
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Daily Mail
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- Daily Mail
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