
‘Untamed' takes the gritty murder mystery to a new locale: Yosemite National Park
(L to R) Sam Neill as Paul Souter, Eric Bana as Kyle Turner.
Ricardo Hubbs/Netflix/RICARDO HUBBS/NETFLIX
Created by screenwriters Mark L. Smith ('American Primeval') and Elle Smith ('The Marsh King's Daughter'), 'Untamed' is more polished and mature than your average Netflix original, but it isn't exactly breaking new ground. Virtually every element of this miniseries is founded on a well-worn genre cliché, from the interplay between the gruff Turner and his upbeat sidekick to the structure of their investigation, uncovering sordid secrets about the deceased Jane Doe. As Turner tries to figure out what the woman was doing in Yosemite and how she came to die, he must also confront the fallout of an old, unsolved case that continues to haunt his career.
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Best known for co-writing the Oscar-winning Leonardo DiCaprio Western '
Opening with a terrifically perilous rock-climbing scene, 'Untamed' leans into its title, constantly reminding us of the dangers of the Yosemite landscape. Epic in scope, the park spans hundreds of thousands of acres, full of mountains and forests where a person could easily die or vanish without trace. Yet there's still a small-town vibe to Turner's interactions with the locals; a diverse population that includes National Parks employees, hippie squatters and a Native American community, many of whom he's known for years.
Given what you know of Kyle Turner so far, you probably won't be surprised to hear that he lives alone in a log cabin, drunk-dialing his ex-wife (
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Among the supporting cast, Lily Santiago provides a relatable counterpoint to Turner, and we meet a handful of memorable side-characters, including Wilson Bethel as a suspicious, gun-toting Yosemite local. Neill, the other big name star attached to the project, is given shockingly little to do for most of the season, to the point where you may wonder what he's doing there.
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UNTAMED
Starring: Eric Bana, Sam Neill, Lily Santiago, Rosemary DeWitt. On Netflix
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Eater
14 minutes ago
- Eater
Explore This New Bucktown Tasting Menu Restaurant With a Secret Bar
is the James Beard Award-winning regional editor for Eater's Midwest region, and in charge of coverage in Chicago, Detroit, and the Twin Cities. He's a native Chicagoan and has been with Eater since 2014. Class Act, a new tasting menu restaurant in Bucktown, attempts to remove many obstacles that prevent diners from enjoying fine dining by presenting meals in a friendly, residential-like atmosphere around a 16-seat communal table, hoping diners will mingle with other parties. There's a bar component to the space, called Nightcap, a tiny speakeasy-style spot that's open to the general public without requiring reservations. Folks can enter through a side alley. Restaurant guests will eventually be whisked to the space at the end of their meals. This is the welcome room that greets guests. Chef Nicolai Mlodinow 'Bouquet' is make with zucchini flower, parmesan mousse, flowers, and honey. Chef Nicolai Mlodinow hatched his dream in college, cooking in dorms, and brought his apartment pop-up to Chicago. The restaurant's kitchen, with its marble counter facing the entrance, looks like an apartment kitchen from afar, albeit armed with sufficient gadgetry that Mlodinow hopes will allow Class Act to compete with Chicago's top-tier restaurants, mentioning restaurants like Alinea, Oriole, and Smyth. He describes the approach as modernist cuisine that taps into international influences. Mlodinow, an avid basketball player who grew up in California, is confident and wears sneakers showing off who his favorite player was growing up — a certain LA Laker who sported 'a Mamba mentality.' Mlodinow shares a story about wearing ankle weights while cooking to develop endurance strength, comparing himself to Rock Lee, a manga character from the Naruto series. The chef hopes this attitude carries through a 13-course meal over three hours that touches upon nostalgia. The opening menu is called 'Growing Up.' The communal dining seats 16. The kitchen is meant to look residential. 'The sense of connection and belonging is everything to me,' Mlodinow says. 'Bringing people together to break bread... One of the courses, they literally tear bread together. That is why I cook.' A tartlet with butter-poached shrimp and flavored with Cajun seasoning and garam masala is emblematic of what Mlodinow wants to achieve, he says. It reminds him of a blackened salmon dish his father cooked for him growing up: 'When I look at it, when I taste it, I get all those flavors,' he says. He's quick to say he isn't swapping in fancy ingredients to tried-and-true dishes just for the sake of it. For example, the thought of recklessly substituting uncured brisket in a specific dish instead of pastrami revolts him. 'Blackened Seafood' and 'Scrimps.' 'Ice Cream Truck' is made with saffron olive oil ice cream and crystalized chocolate. There's a Nordic bent in Class Act's menu, but Mlodinow calls it subtle — the use of flowers, for example. Flowers are something the chef gravitates toward: 'They're very intentional, it's not just with how pretty it is,' Mlodinow says. 'These things actually have flavor.' Guests will enter and convene in a welcome room where they can enjoy a drink and decide on a beverage pairing; perhaps some peer pressure or old-fashioned conversation can help customers decide between nonalcoholic, standard, reserve, or cocktails. Dinner costs $230 per person, which ranks as one of the pricier tasting menus in town. The top tier includes Oriole ($325), Smyth ($420), and Alinea ($325 to $395) for standard reservations. In comparison, Feld, which opened in 2024, debuted at $195. The back bar, called Nightcap, is open to the general public. The cocktails aren't mundane. The chef's business partner, Shreena Amin, met Mlodinow while she was a guest at one of his dinners. She lives in Schaumburg and grew up traveling the world and eating at fine dining restaurants. The two took a research and development trip to Copenhagen, where they visited Michelin-starred institutions like Noma, the Alchemist, Jordnær, and Geranium in one week. For Amin, opening Class Act can give Chicagoans a taste of other cultures without a passport. 'We want to be carving out our own space that is about connection and fun and whimsy and joy and the food always has to be incredible — it takes you somewhere and tells a story,' she says. 'But what you're going to take away and remember is who you sat next to, how you laugh together, that's what makes you want to come back.' Class Act and Nightcap, 1737 N. Damen Avenue, reservations via OpenTable.


Los Angeles Times
14 minutes ago
- Los Angeles Times
Alan Bergman, Oscar-winning ‘The Way We Were' and ‘The Windmills of Your Mind' lyricist, dies at 99
Alan Bergman, the decorated lyricist who over the course of seven decades penned songs including 'The Windmills of Your Mind,' 'The Way We Were,' and 'You Don't Bring Me Flowers' with wife Marilyn Bergman, has died. He was 99. Bergman died late Thursday evening in his home in Los Angeles, family spokesperson Ken Sunshine confirmed in a statement to The Times on Friday. The songwriter 'suffered from respiratory issues' in recent months but remained steadfast in his songwriting 'till the very end.' A Brooklyn native, Bergman was best known for his collaborations with his wife, Marilyn, which spanned music, television and film. The husband and wife, after meeting through composer Lew Spence, married in 1958. Together, they penned music for a variety of high-profile acts including Frank Sinatra, Ray Charles, Quincy Jones, John Williams and Barbra Streisand, with the last eventually becoming the couple's muse. The Bergmans were three-time Oscar winners. The couple won their first Oscar in 1969 for the moody 'Windmills of Your Mind,' featured in 'The Thomas Crown Affair,' shared with French composer Michel Legrand. Their second and third Oscar wins stemmed from works with Streisand: the title song from 'The Way We Were' in 1974 (shared with Marvin Hamlisch) and in 1984 for the score of 'Yentl,' shared with Legrand. The composers and their work were consistent contenders at the Oscars, with their contributions to films 'The Happy Ending,' 'Tootsie,' 'Yes, Giorgio' and the 1995 remake of Billy Wilder's 'Sabrina' also receiving nominations from the academy. On the small screen, the Bergmans left their personal touch on numerous TV series from the 1970s to the 1990s, providing the theme music for shows including 'Good Times,' 'Alice,' 'In the Heat of the Night' and Norman Lear's 'Maude.' In addition to Oscars, the Bergmans also won four Emmys, two Golden Globes and two Grammys, including the song of the year award for 'The Way We Were.' Alan Bergman, born Sept. 11, 1925 in Brooklyn, was a son of a salesman and knew from an early age that songwriting was his passion. He graduated from the University of North Carolina at Chapel Hill and pursued his graduate studies in music at UCLA. He briefly worked as a television director for Philadelphia station WCAU-TV but returned to Los Angeles to fully pursue songwriting, at the behest of mentor Johnny Mercer. Alan and Marilyn Bergman are members of the Songwriters Hall of Fame, which awarded the duo its Johnny Mercer Award in 1997. They also received the Grammy Trustee Award for lifetime achievement, the National Academy of Songwriters Lifetime Achievement Award, the National Music Publishers Assn. Lifetime Achievement Award and honorary doctorates from Berklee College of Music and the University of Massachusetts. In 2011, University of North Carolina at Chapel Hill honored Bergman with a distinguished alumnus award. Marilyn Bergman died in January 2022 of respiratory failure at 93. After her death, Alan continued working, most recently collaborating with jazz guitarist Pat Metheny, who will record his nine songs co-written with Bergman later this year for an upcoming album. Alan Bergman is survived by his daughter Julie Bergman and granddaughter Emily Sender. He will be laid to rest at a private graveside burial. Ruth Price's Jazz Bakery announced earlier this month it would celebrate Bergman's 100th birthday with a tribute concert at Santa Monica's Broad Stage in September. The performance will go on as planned, The Times has learned. The family ask that donations be made in Bergman's name to the ASCAP Foundation Alan and Marilyn Bergman Lyric Award and the Johnny Mercer Foundation. Times pop music critic Mikael Wood contributed to this report.


Los Angeles Times
44 minutes ago
- Los Angeles Times
A Billy Joel doc, ‘Quarterback' and more to watch this weekend
Welcome to Screen Gab, the newsletter for everyone who still needs to binge some of the Emmy contenders before TV's biggest night. The nominations for the 77th Emmy Awards were announced earlier this week and Apple TV+'s 'Severance' lead the pack with 27 nominations. If this week's breaking news headlines kept you too occupied to see how your favorite TV show fared, check out the list of nominees here. Plus, our awards czar Glenn Whipp weighed in on this year's snubs and surprises. We also had some fun and thoughtful conversations with nominees: Noah Wyle ('The Pitt'), Adam Scott ('Severance'), Seth Rogen and Evan Goldberg ('The Studio'), Jeff Hiller ('Somebody Somewhere'), Tony Gilroy ('Andor') and the 'Adolescence' team. But if you'd rather watch TV than read about it, we've got that covered too. This week's streaming recommendations include a sprawling two-part documentary on the life of musician Billy Joel that'll surely change your commute playlist before the workweek starts again, and the return of Netflix's behind-the-scenes look at the lives, both on and off the field, of NFL quarterbacks. Also in this week's Screen Gab, actor Brittany Snow drops by to talk about her new Netflix thriller, 'The Hunting Wives,' about a woman who moves to a small Texas town and gets drawn into the dangerous world of the wealthy and influential women in her orbit. Must-read stories you might have missed CBS to end 'The Late Show With Stephen Colbert' next year: The network attributed the cancellation to 'a financial decision against a challenging backdrop in late night.' Commentary: Why the Emmys still matter in a time of turmoil: The day we stop celebrating and arguing about art is the day we'll know the bastards have won, writes critic Mary McNamara. Alan Tudyk: Resident alien, android and voice actor: He scored his first starring role with 'Resident Alien,' but he's long been celebrated in genre circles, and for good reason. Hollywood's being reshaped by generative AI. What does that mean for screenwriters?: As AI creeps further into Hollywood, screenwriters like Billy Ray, Paul Schrader, Bong Joon Ho and Todd Haynes, along with a new class of tech disruptors, are navigating the uncertain future of storytelling. Recommendations from the film and TV experts at The Times 'Billy Joel: And So It Goes' (HBO Max) Over the decades, Billy Joel has created countless iconic hits that have cemented his legacy in pop music, but despite his rock star status, he's always been a man of few words, preferring to let his songs do the talking. HBO Max's new two-part docuseries, however, gives him the mic to tell the stories behind the music in his notable albums, including 'Piano Man,' 'The Stranger' and 'Storm Front,' exploring how his upbringing, marriages and addiction shaped his creative works. Part 1 of the series, premiering Friday at 8 p.m. EDT/PDT, is notable in how it reframes the narrative around his relationship with his former wife and manager Elizabeth Weber, explaining how she was instrumental in guiding his career and helping him become a superstar — and how songs like 'Big Shot' and 'Stiletto' were inspired by the rocky times in their marriage. (You'll want to tune in to Part 2 next week as well.) It's a compelling and nuanced portrait of an imperfect person who created timeless music and whose influence continues to reverberate. — Maira Garcia 'Quarterback' (Netflix) After watching weeks of 'Love Island' (Team Amaya Papaya 4eva!), I was in need of a palate cleanser. I found it in the second season of 'Quarterback,' the seven-part series that follows three big names in the NFL's most visible position. This year's roster features the Cincinnati Bengals' Joe Burrow, the Detroit Lions' Jared Goff (formerly of the Rams) and singing favorite Kirk Cousins, who appeared in the show's first season as QB of the Minnesota Vikings before moving to Atlanta — and then the bench. Football nerds will geek out on the play calling, but what makes the show such a must-watch is seeing the human side of the pros. Watching fashionista Burrow pick out what designer items he loved and also talk about iguanas and fossils made me kind of infatuated with my football enemy. As for Goff, I really want to pet his dog Quincy. Cousins is again the star. He ups his suburban every-dad vibe by getting a haircut at Great Clips (and shows the stylist his roster photo for inspiration) but the highlight is the music. We see him explain his love of Celine Dion, find out which Tom Petty song gets him fired up and watch him rehab an Achilles injury as he sings 'Put One Foot in Front of the Other' from Rankin/Bass Christmas classic 'Santa Claus Is Comin' to Town.' However, the show's obvious highlight is watching him sing Cher's 'Believe' while waiting in a drive-through. If Cousins retires from the NFL, I will be first in line to buy a ticket for his Vegas cabaret. — Vanessa Franko A weekly chat with actors, writers, directors and more about what they're working on — and what they're watching With her recent turns on TV, Brittany Snow has leaned into characters with some mystique. Earlier this year, she appeared in the second season of Netflix's 'Night Agent' as Alice, a new partner and mentor to the show's central character Peter Sutherland (Gabriel Basso) in his first mission after joining the highly classified counterintelligence program. Without spilling spoilers, let's just say viewers were left with many questions about the character. In her latest series, 'The Hunting Wives,' Snow plays Sophie, an East Coast transplant with a mysterious past who steps into an elite Texas circle where power struggles, jealousy, betrayal and murder lurk beneath the surface. Available to stream on Netflix beginning Monday, the soapy thriller is based on the book by May Cobb. Snow stopped by Guest Spot to discuss the intrigue of playing an outsider, her upcoming role as a journalist and the reality competition series she savors watching. — Yvonne Villarreal Sophie is a complex character wrestling with her past, as well as her attraction to socialite Margo (Malin Akerman), and all she represents — the freedom to do what she wants, with little concern for social mores or the law. What intrigued you about playing her? And what would Brittany Snow, unencumbered by image or expectations, be doing? I related a lot to Sophie when I read the scripts for 'Hunting Wives.' I spent my 20s being very careful, shy and afraid of people's perceptions of me. In my early 30s, I really did have an awakening of some sort which challenged my childhood beliefs of needing to be 'good' and 'perfect.' I started realizing who I wanted to be and the woman I already was. I finally felt 'in' my body, and I didn't need to necessarily fit in. Sophie is having that awakening as well, in a different way, but one I could very much relate to. Margo represents a side of Sophie that she has shut herself off from, mostly because she's scared of that side of herself and perhaps scared of taking up that much space. At first, the power of Margo is alluring to her because it makes her more aware of her own. As the series continues, you see Sophie realize who she really is, which creates the disillusionment of Margo and what Margo represents. I loved that aspect of the script and I loved playing a character who has a complete transformation by coming back to herself. I think this show is the very embodiment of what I would be doing if I were unencumbered by image or expectations. It's fun, brave and I worked hard to have the confidence to do a show like this. It's all very full-circle for me. The series brings Sophie into an elite and conservative social circle in Texas. You can sense both her discomfort and curiosity. What was it like having the character explore that world? I am always drawn to characters who are curious. It's in my nature to sit back and observe closely. Sometimes to my detriment, I do it too well. I think the interesting thing about Sophie is her immediate curiosity as opposed to an immediate judgment. It would be a different show if she was unwilling to understand the atmosphere she's been put in. Because she's trying so hard to fit in and understand, she gets in over her head. It then takes some unraveling for her to see the truth and hold firm in her opinions. I, myself, am pretty opinionated but I am also very understanding. I think this show has a great duality of seeing both sides with an open lens — a viewpoint that is fun and doesn't take itself too seriously. You recently completed filming on Hulu's series about the Murdaugh murders. You play Mandy Matney, the real-life journalist who helped unravel the family's unsolved mysteries. What kind of research did you do for the role? And what struck you most about Mandy's journey? I was so honored to play Mandy. She is a force, and I admire her greatly. I was already familiar with her podcast ['Murdaugh Murders Podcast'] and had listened to the show when it first came out. When I found out I would be playing her, I reached out to her directly and asked if we could have conversations about the murders but more importantly, about her life. We talked on the phone, hung out, had dinners, drinks and became friends. I read her book and listened to every episode of her podcast again, as well as every interview I could get my hands on. I learned so much about her, but mostly what a strong and fierce woman she is and continues to be. Her story is so much more than the Murdaugh murders, it's about overcoming so many hardships and spearheading a new way women were perceived in her field. What have you watched recently that you're recommending to everyone you know? After David Lynch's passing, I wanted to go back and rewatch all the classics. We started with 'Blue Velvet' [Pluto TV, Tubi], 'Eraserhead' [HBO Max], 'Lost Highway' [VOD], 'Mulholland Drive' [Philo] (my favorite), then read all the complicated articles after. I know you are never supposed to truly 'get' that movie, but after a couple rewatches, I do sort of feel like I 'get' it and what happens, in my own way. I love figuring out movies like that. Figuring out the puzzle and how it fits, only to me. I recommend everyone going back and doing that again with all his films. What's your go-to 'comfort watch,' the film or TV show you return to again and again? 'Top Chef' [Peacock]. I've seen every single episode multiple times and it truly relaxes me. Chefs have this elegance and clear intention in making great dishes. It makes me appreciate food more. When I watch it, sometimes I eat dinner as well and I eat in the most lovely and present way. It also weirdly makes your food taste better. I can't explain it.