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‘The Gilded Age' Courts Record 3.8 Million Viewers With Gladys Wedding Episode

‘The Gilded Age' Courts Record 3.8 Million Viewers With Gladys Wedding Episode

Yahoo21 hours ago
'The Gilded Age' courted a record audience Season 3's pivotal wedding episode.
The HBO drama series from Julian Fellowes and Sonja Warfield earned series high-viewership of 3.8 million in the U.S. with Season 3, Episode 4, which featured the reluctant nuptials of fan-favorite character Gladys Russell (Taissa Farmiga) to Hector Vere, 5th Duke of Buckingham (Ben Lamb).
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This marks the show's most-watched episode to date after three days, according to internal data. HBO added that Season 3 is currently tracking 20% ahead of last season's viewership.
As 'The Gilded Age' audience grows, the network touted the series having reached its highest-ever weekly viewership on HBO Max, based on weekly viewing accounts. HBO also noted a near-60% increase in social chatter about the show week over week. The episode, titled 'Marriage Is a Gamble,' generated approximately 230% more social conversation than Episode 4 of last season.
Episode 4 followed as Bertha Russell's (Carrie Coon) plan to marry her daughter off to the duke came to fruition, while causing potentially irreparable damage to the Russell household. It also introduced Merrit Wever as Monica, Bertha's sister.
Beyond the wedding bell blues, the eventful installment also saw Jack (Ben Ahlers) and Larry Russell (Harry Richardson) sell their clock patent for $600,000 (equivalent to almost $20 million), though Jack kept the news of his newfound wealth from his fellow workers in the Van Rhijn household.
Gladys eventually married the duke, and the pair set off for their new home in England. The action will pick up with Episode 5 Sunday.
'The Gilded Age' airs Sundays on HBO and HBO Max.
The post 'The Gilded Age' Courts Record 3.8 Million Viewers With Gladys Wedding Episode appeared first on TheWrap.
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What to Stream: Madonna, 'Happy Gilmore 2,' Judge Judy and Jenna Ortega and Paul Rudd team up
What to Stream: Madonna, 'Happy Gilmore 2,' Judge Judy and Jenna Ortega and Paul Rudd team up

San Francisco Chronicle​

time24 minutes ago

  • San Francisco Chronicle​

What to Stream: Madonna, 'Happy Gilmore 2,' Judge Judy and Jenna Ortega and Paul Rudd team up

Adam Sandler's hockey player-turned-golfer Happy Gilmore returning for a second movie and Madonna's long-rumored album 'Veronica Electronica' are some of the new television, films, music and games headed to a device near you. Also among the streaming offerings worth your time, as selected by The Associated Press' entertainment journalists: Jenna Ortega and Paul Rudd playing father and daughter in the horror-comedy 'Death of a Unicorn,' gamers get a pirate adventure with Wuchang: Fallen Feathers and Judge Judy rules on true crime in her new series for Prime Video, 'Justice on Trial.' New movies to stream from July 21-27 — It's been almost 30 years since we first met Adam Sandler's hockey player-turned-golfer Happy Gilmore, but Sandler finally got the gang back together for a sequel. 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Is The Bear Committing 'Category Fraud'? Either Way, Ayo Edebiri Deserves Her Historic Emmy Noms
Is The Bear Committing 'Category Fraud'? Either Way, Ayo Edebiri Deserves Her Historic Emmy Noms

Refinery29

timean hour ago

  • Refinery29

Is The Bear Committing 'Category Fraud'? Either Way, Ayo Edebiri Deserves Her Historic Emmy Noms

For many TV watchers The Bear and controversial Emmy nominations go hand in hand. For the last few years, every time the show scores Emmys nominations — like this year's 13 nods — the same statement inevitably gets cranked out of the discourse machine: ' The Bear is not a comedy. ' The show has consistently earned nominations and won in comedic Emmy categories, sparking outcry from viewers and critics who ask, 'How can a show about anxiety, trauma, and family breakdowns be a comedy?' But this leads to another question: In an era where genres are constantly being blurred and reimagined, do categories even matter? And further, does this whole debate overshadow artists' achievements? This year, one of The Bear's breakout stars Ayo Edebiri has made Emmys history. She's the first woman ever to be nominated for both acting and directing in a comedy series and she's the youngest Black woman to have earned three acting nominations. She's up for 'Outstanding Leading Actress in a Comedy Series' and 'Outstanding Directing For A Comedy Series' for her directing work on the episode 'Napkins'. While calling The Bear a 'comedy' might be questionable, there's no doubt that Edebiri's phenomenal work, both in front of and behind the camera, deserves recognition — and award wins. That tension between the category and the content has made The Bear a lightning rod for awards discourse and, to be fair, the 'Emmys fraud' debate isn't entirely without merit. There's a long history of shows making strategic decisions to improve their chances of success. At the Emmys, shows can submit themselves to any category they choose, so they tend to pick the one they believe they are more likely to win. Lead actors submit themselves to the supporting actor category or more dramatic shows submit themselves to the comedy categories, bending the rules to secure an award. For example, in 2014, Joe Morton — who played protagonist Oliva's father in Scandal — was submitted for the 'Outstanding Guest Star' award category despite appearing in most episodes that season. It also doesn't help that the Television Academy (who runs the Emmys) used to state for years that comedies were defined as having a run time of 30 minutes. Therefore, a show like The Bear, exploring panic attacks, grief spirals, and high-stakes emotional reckoning alongside lighter comedic moments ended up being classified as a comedy by default because most of the episodes' runtimes fit the comedic categories by definition. They changed these rules in 2021. Comedic acting has historically been undervalued, so when a show like The Bear dominates the comedy category, it raises valid concerns about whether dramas-in-disguise are crowding out more traditional, and equally deserving comedic work. The reality is TV genres straddle a medley of storytelling styles, which is great for viewers who appreciate innovation — award shows need to keep up. Bearing all this in mind, it's difficult not to feel happy for Edebiri — what matters most is her work being recognized. Her work in front of and behind the camera has been exceptional. Season 3 of The Bear often felt sluggish and struggled to find its feet, but flashback episode "Napkins" (Edebiri's directorial debut and written by Catherine Schetina) stood out as a beautiful, tender insight into chef Tina (played by Liza Colón-Zayas) and how she became who is in the kitchen. We see the working-class woman of color, mother, and wife struggle after being suddenly thrust back into the modern LinkedIn-ified world of work, pitted against graduates and younger workers vying for the same jobs, facing endless faux-polite rejections and the immense pressure to continue providing for her family in a job market that doesn't value her. A coincidental but deeply meaningful encounter with Mikey at The Beef helps Tina reinvent herself in the workplace. The Bear tends to veer between unbearably hectic and tranquil; Edebiri shows her directorial chops by directing an episode imbued with that quiet stillness. We see the camera focus on aspects of Tina's everyday routine, and watch as the stability of her life begins crumbling. Whilst this part of Tina's story is sad, she's not a pitiful figure. Edebiri gives the character a sense of fight, determination and dignity despite the anguish. Edebiri has continued to build on her skills in 2025's Season 4, directing and starring in the episode 'Worms' — a tender portrait of Blackness, family, and community whilst also a highly introspective character study. Sydney (Edebiri) is facing a long stretched out dilemma: should she stay at The Bear or leave to join Chef Adam Shapiro's new venture? As Shapiro begins to feel like an awkward mismatch rather than a viable new business partner, it's also the first time we see the show delve more explicitly into racial themes. In the episode, Shapiro doesn't understand that Sydney's hair appointment is likely to take all day, he over-explains why he's blasting an East Coast rap song, and is then surprised when she chooses to put Beethoven on instead. He expects her to "bring in Afro Caribbean influences" to the restaurant, despite the fact we've never really seen her cook that style of cuisine (Sydney is also Nigerian). Later, he asks her if she's seen the Chris Rock documentary Good Hair. He has the air of a 2020 self-described "white ally" who reduces Sydney to her racial identity, putting her in a box and diminishing her humanity. (Predictably, his good nature quickly disappears when he doesn't get what he wants from her later in the series.) ' While calling The Bear a 'comedy' might be questionable, there's no doubt that Edebiri's phenomenal work, both in front of and behind the camera, deserves recognition. ' 'Worms' also reflects the deeply familiar shared experience of Black women getting their hair done: Sydney gossiping hairstylist/cousin Chantel (played by Danielle Deadwyler who is hilarious in the episode), getting her hair braided at home rather than in a salon, the stylist code-switching on the phone then back to her authentic self with Sydney, Chantel scolding her young daughter TJ for talking back. It's a very believable portrayal of a near-universal experience for Black women. The exploration of Sydney's dilemma through her conversation with the much younger TJ is an interesting twist. There's hardly any food in the house, so they go on an impromptu shopping trip, and leisurely make a home-cooked meal; the timer on the oven is stuck at 12:00. Unlike the demands of the professional kitchen, time is suspended and Sydney has the time to contemplate her choices through the simplicity of a child-like metaphor: choosing which house to go to for a sleepover. Getting a glimpse into Sydney's familial relationships creates a contrast with Carmy (Jeremy Allen White), who can't even remember he's now an uncle. 'Worms' demonstrates deftly the tension of choosing between someone who seems "right" on paper (Shapiro) and people who — despite their flaws — feel like home (Syd's coworkers at The Bear). Edebiri's ability to convey that tension in her meandering dialogue, wide eyes, pauses, and sometimes unconvincing justifications for why she's still at The Bear is outstanding. Comedy or drama, The Bear's writing, storytelling and directing is warm, grounded, realistic and brings us back to the heart of the show: food. The Bear is often far more interested in the personal and the micro, than the political and macro, but to me it has always quietly reflected a truth about multi-racial America, particularly for working-class people. People from different backgrounds work, socialize and care about each other. The Bear restaurant is often referred to as a family— albeit a chaotic one— and that extends to something very true about people in America more broadly, contrary to the story that more Conservative power holders want to tell. In a wider landscape of ICE raids and other racially hostile policies, the quiet politics Edibiri skillfully and convincingly teases out feels important.

How to Watch Eddington: Everything You Need to Know About Streaming Pedro Pascal's New Movie
How to Watch Eddington: Everything You Need to Know About Streaming Pedro Pascal's New Movie

Yahoo

time2 hours ago

  • Yahoo

How to Watch Eddington: Everything You Need to Know About Streaming Pedro Pascal's New Movie

"Hearst Magazines and Yahoo may earn commission or revenue on some items through these links." It's been over five years since Covid-19 shut down the world and left us in a perpetual loop of self-isolation, mask mandates, Zoom meetings, and sourdough bread tutorials on TikTok. It was a horrible time for society as a whole, showcasing some of the best — and very, very worst — of people, in equal measure. But while that may not be a time in history anyone wants to relive in any capacity, that's precisely what Ari Aster's latest film Eddington forces you to do. Located in a fictional small town in New Mexico, the film centers around the lives of the townspeople during the thick of the pandemic. At the epicenter of it all is the budding rivalry between two of the town's most prominent leaders: Sheriff Joe Cross (Joaquin Phoenix) and Mayor Ted Garcia (Pedro Pascal), who both have very different ideas of what their town — and the people within it — need. And we all know what happens when those in positions of power can't agree and work together in the midst of a crisis — chaos ensues, division sets in, and can ultimately lead to a full-blown culture war. Uplifting, right? Sure, the film isn't gonna hit you in the feels and have you reaching for the rewatch button anytime soon. Yet, like it or not, this moment in time is an important piece of our history which could leave many of you inclined to see it. (Plus, we can all agree that Pascal is a joy to see in pretty much any capacity, right?) But how can you go about doing so? Eddington hits theaters on Friday, July 18, however, if you'd rather relive the trauma of 2020 in the comfort of your own home (a very on-brand move, given the subject matter), there may be good news on the horizon. When will Eddington be available to stream? As of now, it hasn't been revealed when or if Eddington will be made available for streaming. But don't let that discourage you by any means. It's pretty typical for that kind of intel to be revealed once a movie has been in theaters for a bit, so it's only a matter of time until some sort of confirmation is announced. Most films find their way onto at least one streaming platform eventually — typically a few months after its theatrical release. So with a little patience, there's bound to be a nice dose of Pascal in your near future. Where can I stream Eddington? Not to sound like a broken record, but once again, the specifics regarding where Eddington will be available for streaming has also yet to be announced. That said, the film is an A24 production, which means it will most likely end up on HBO Max at some point down the line. For example, A24's Hugh Grant-led film Heretic hit theaters on November 8, 2024 and made its way exclusively to HBO Max (formerly known as just Max) on March 7, 2025. If Eddington follows a similar pattern, it could make its way to the streamer in October or November of this year. It's also worth noting that Apple TV+ already has an Eddington page that says 'Coming Soon,' so make of that what you will. The town itself may be fictional, but the subject matter couldn't be more real, making it a worthwhile viewing experience, whether it be in an actual theater or at home. One can only hope, though, that this specific piece of history will never, ever repeat itself again… please? You Might Also Like Here's What NOT to Wear to a Wedding Meet the Laziest, Easiest Acne Routine You'll Ever Try Solve the daily Crossword

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