Latest news with #It'sAlwaysSunny's'
Yahoo
10-07-2025
- Entertainment
- Yahoo
‘The Morning Show' Season 4 Promises the Exact Drama You Crave
Television, news, and media are in crisis — and what better vessel to comment on that state of affairs than Apple's 'The Morning Show' Season 4? In a teaser for the upcoming installment of Jay Carson's drama series from showrunner Charlotte Stoudt, Alex (Jennifer Aniston) and Bradley (Reese Witherspoon) are back at their daily wars with the audience, the network, their colleagues, and each other. Picking up almost two years after its predecessor, the ten-episode fourth season starts out in spring of 2024, just a few months before a fateful U.S. Presidential election that would change the course of history. More from IndieWire 'It's Always Sunny's' Version of the 'Abbott Elementary' Crossover Delivers an Exceptional Payoff 'Too Much' Review: Lena Dunham Returns with a Brash, Big-Hearted, and Oddly Conventional Rom-Com From an Apple press release: 'In a world rife with deepfakes, conspiracy theories and corporate cover-ups — who can you trust? And how can you know what's actually real?' The teaser of Alex and Bradley walking past a reflective wall in slow motion looks deliberately artificial as a result — to make the viewer question what they can believe. The Season 4 ensemble includes new and returning cast members such as Billy Crudup, Karen Pittman, Nicole Beharie, Nestor Carbonell, Mark Duplass, Greta Lee, Marion Cotillard, Jeremy Irons, Aaron Pierre, William Jackson Harper, Boyd Holbrook, and Jon Hamm. Stoudt, Aniston, and Witherspoon serve as executive producers along with director Mimi Leder, Michael Ellenberg and Lindsey Springer, Kristin Hahn, Zander Lehmann and Micah Schraft, and Lauren Neustadter. Several of them appear in the teaser, dropping sizzling soundbites like 'I like to know who's an ally and who's a liability' (Cotillard as Celine) and 'It sounds like the drama at the network is juicier than the drama on the network (Crudup as Cory). Previous seasons of 'The Morning Show' have been recognized through various awards, including 16 Emmy Award nominations for Season 3 and multiple Emmy and Critics Choice Award wins for Crudup over the years. Aniston received a SAG Award for Outstanding Performance by a Female Actor in a Drama Series for the show's second season, which took place during the months and weeks leading up to 2020's worldwide COVID-19 lockdown. The 10-episode season will premiere weekly, starting in September and concluding in November. 'The Morning Show' Season 4 premieres September 17 on Apple TV+. Watch the teaser below. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See
Yahoo
10-07-2025
- Entertainment
- Yahoo
‘Wednesday' Season 2 Trailer: Jenna Ortega Tries to Save Her Roommate by Returning to Nevermore
What better way to start a Wednesday than with Wednesday Addams? Jenna Ortega is back as the title character for Season 2 of the viral 'Addams Family'-inspired Netflix series, 'Wednesday.' Ortega reunites with auteur Tim Burton for the latest installment, which promises a new slew of spooky mysteries…including how to save Wednesday's roommate Enid (Emma Myers). And Season 2 also welcomes A-list guest stars including Lady Gaga, Thandiwe Newton, Haley Joel Osment, Heather Matarazzo, Joanna Lumley, Frances O'Connor, and Joonas Suotamo. Steve Buscemi has joined the cast as a series regular, with Hunter Doohan, Joy Sunday, Georgie Farmer, Victor Dorobantu, Gwendoline Christie, Christina Ricci, and Catherine Zeta-Jones back as well. More from IndieWire Jason Momoa Unites a People in Apple's 'Chief of War' Trailer 'It's Always Sunny's' Version of the 'Abbott Elementary' Crossover Delivers an Exceptional Payoff 'Wednesday' is created by showrunners and EPs Alfred Gough and Miles Millar. Ortega recently told Harper's Bazaar that she is still in shock about how much of an instant hit the series was after debuting in 2022. 'I was so stunned that I didn't really process it. I still haven't,' she said. 'What's so strange about a character like Wednesday is that Wednesday is an outcast and an outsider — but she's also a pop-culture icon. So, in a strange way, I feel like I've become a pop actor — if that makes sense. And that's something I never saw for myself.' Ortega teased that Season 2 has 'more horror' genre elements than the first installment. 'It's really, really exciting because, all throughout the show, while Wednesday does need a little bit of an arc, she never really changes, and that's the wonderful thing about her,' Ortega told E! News. 'There's really, really good one-liners, and I think everything's bigger. It's a lot more action-packed. Each episode will probably feel a little bit more like a movie, which is nice.' Ortega previously told Variety's Actors on Actors that 'Wednesday' Season 2 will also emphasize more horror over any teen love triangle storylines. 'We've decided we want to lean into the horror aspect of the show a little bit more,' Ortega said at the time. 'Because it is so lighthearted, and a show like this with vampires and werewolves and superpowers, you don't want to take yourself too seriously. We're ditching any romantic love interest for Wednesday, which is really great. We're going to get bolder, more dark.' 'Wednesday' Season 2, Part 1 will premiere August 6, with Part 2 debuting September 3. Check out the trailer below. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See
Yahoo
10-07-2025
- Entertainment
- Yahoo
‘Too Much' Review: Lena Dunham Returns with a Brash, Big-Hearted, and Oddly Conventional Rom-Com
'Too Much' opens on a slew of red flags. The very first shot is of London's Tower Bridge, accompanied by Fergie's 2006 song, 'London Bridge.' Walking over said bridge is our lead, Jess (Meg Stalter), whose stylish star turn (zebra-stripe winter coat, star-laden vintage bookbag) is marred by her extraneous voiceover. That's two big warning signs in the opening seconds of Lena Dunham's first TV series since 'Camping,' and they're promptly followed up by a third: when Jess imagines herself as the different kinds of women known to thrive in the United Kingdom: Jane Austen-era heroines who are hopelessly in love; hardened police detectives 'who use [their] trauma to solve grisly crimes'; and turn-of-the-century sex workers who will go down in the history books as one of Jack the Ripper's victims. Thankfully, the majority of these storytelling crutches dwindle as 'Too Much' settles in. The soundtrack shifts toward lighter indie rock and away from brain-numbing redundancies, while the story treats those imaginary genre sketches like an accidental off-ramp left in the rearview. But the voiceover continues. Not only does it continue, it intensifies, along with the surrounding events. As they slowly swirl into a tornado of personal excess, Jess learns an important fact of perception: One person's red flags may just be flags to someone else — unheeded warnings that, in time, prove to be utterly unnecessary. You can see them and run for shelter, sure, or you can simply see where the breeze takes you. More from IndieWire Jason Momoa Unites a People in Apple's 'Chief of War' Trailer 'It's Always Sunny's' Version of the 'Abbott Elementary' Crossover Delivers an Exceptional Payoff 'Too Much' will certainly inspire a few Netflix subscribers to retreat to the stock solace of 'Emily in Paris' or 'Nobody Wants This,' but like the algorithmically calculated intro it soon subverts, Dunham's latest pulls off a tricky balancing act: giving audiences what we expect from a TV rom-com, as well as what we don't always get. The familiar aspects are surprising, if only because Dunham's semi-autobiographical series is from, you know, the creator of 'Girls' — a landmark HBO comedy hailed for bucking conventions, expectations, and whatever else you wanted to throw at it. Co-created with her husband, Luis Felber, 'Too Much' fits snugly within those confines, following a young Brooklyn producer, Jess, who moves to London and falls in love with an aspiring musician named Felix (Will Sharpe). The premiere episode sets up its love story rather quickly, from Jess' grievous break-up with Zev (Michael Zegen, well-versed with the despised ex as the former Mr. Maisel), who she dated for seven years, to her job opportunity in London, where she'll oversee a commercial directed by an acclaimed yet pretentious filmmaker (a beautifully sleazy Andrew Scott). Despite her eagerness to embrace life across the pond, Jess can't leave her baggage behind. Shortly before she flees overseas, she breaks into Zev's house in the middle of the night to demand he apologize for their grievous break-up 'in blood.' Luckily, she's all talk — Jess has never met an awkward silence she can't fill with an inappropriate comment, even when (as is often the case) she's the one who brought about the initial awkwardness — but that loquacity becomes its own problem. Jess cannot stop talking to Wendy, Zev's model-hot new girlfriend (played by the actual model, Emily Ratajkowski). She hate-watches Wendy's influencer videos about fashion or hears her voice in her head and then slinks off to a bathroom or quiet corner to yell at Wendy in the style of Gen-Z: via video. Jess' videos (which she posts to a private Instagram feed) form the basis for her aforementioned voiceover. She 'talks to Wendy' all the time — at home, at work, when she's out with her friends or in the middle of a date — and she's only getting angrier, despite a pretty good start to her time in London town, from her job to her friends to her love life. Her co-workers conveniently share her tendency to over-share, whether it's Boss (Leo Reich), an absurdly cocky assistant who brags about his 'acclaimed PDF novel'; Kim (Janicza Bravo), a narcissist and fellow New Yorker who's so in love with England she claims not to remember her time in the U.S.; and Jonno (Richard E. Grant), Jess' actual boss who throws cocaine-fueled dance parties in Notting Hill — for his employees. To say they're a like-minded group is an understatement (and their overlapping romantic issues only double down on Dunham's struggle to imagine characters outside her own bubble), but the lively group supports Jess' journey just fine (and Grant is a particular treat, along with Naomi Watts as his desperate housewife). Jess' family, whom she leaves behind in Long Island but who pop in via FaceTime and flashbacks, is also an invaluable treat. Rita Wilson (as Jess' mom, Lois), Rhea Pearlman (Grandma Dottie), and Dunham, as the recently dumped Nora, all make it clear where Jess comes from — and why she should be proud of what she now calls 'an intergenerational 'Grey Gardens' hell of single women.' Better still, on her first night abroad, Jess meets Felix. (Yes, on the first night! My god!) He's performing in a local pub, she likes his music, and idle chat leads to serious feelings. His unflappable composure pairs well with her constant flapping — when she gets extra worked up, Jess tends to wave her arms around — and they bond over their mutual attraction (Dunham addresses any doubts over their shared desirability in a single, pointedly dismissive conversation), senses of humor (they both make each other laugh in moments where only someone who really 'gets you' can), and pop culture passions. (Although her indifference toward 'Paddington' would be a dealbreaker if not for Felix's personification of Paddington-esque nicecore.) Sure, Jess has been rightly accused of 'giving crazy' and 'giving psychotic,' and yes, Felix is technically an unemployed, recovering addict with a troubling amount of ex-girlfriends (who are now 'friends'). But like any traditional tale of courtship, their love transcends reason, and Dunham's deft dialogue makes it easy to believe their connection. (She wrote or co-wrote every episode and directed all but one.) The 10-episode limited series is loudly and proudly a piece of genre, conforming to expectations to the extent I knew what would happen before the next half-hour began. But how and why, as always, are vastly more important than what, and once you settle in, it becomes clear the sound structure and familiar story are there to support a character — and creator — whose uninhibited inclinations could upend a less disciplined narrative. Jess, after all, is barely hanging on. When praised by Kim for keeping her composure amid such tumultuous life changes, Jess says, 'I'm just trying to do what I can to survive.' Her standard bubbly tone is flattened. Her oft-animated body language comes to a halt. It's a rare moment of blunt, unembellished vulnerability — the only side Jess is reluctant to show others — and it illustrates so much of what makes 'Too Much' work: Without Jess' persistent vigor, the 'com' in this rom-com would disappear. Without her unusual openness, the 'rom' might not foster much feeling. And without Stalter's talent for masking Jess' fears through recklessness — while still lining that recklessness with genuine excitement for the unknown — the series and its central character would be little more than two parts of the same mess. Instead, Jess yearns to live as she is, sans reproach, whether that bucks the status quo or embraces its comforts, and the same can be said for 'Too Much,' an immensely endearing saga that isn't afraid to lead with its big heart. Committing to the conventional and unconventional at once may irk viewers who see the former as a concession made by the latter, just as Jess' titular too-much-ness may put off judgey viewers. The pacing isn't always smooth, and a few character arcs lose their tether to the Earth, but Dunham delivers enough salient insights about self-acceptance and sharp jokes about, well, everything to elevate her third TV series above many of the medium's typical love stories. It's not the 'voice of a generation' work some may have been hoping for, but that's not who Dunham set out to be; that was Hannah Horvath, and while the 'Girls' star may have plenty of harsh words for the traditional side of her creator's new streaming rom-com, I also think she'd end up savoring more of it than she'd ever admit. 'Too Much' premieres Thursday, July 10 on Netflix. All 10 episodes will be released at once. Best of IndieWire The 25 Best Alfred Hitchcock Movies, Ranked Every IndieWire TV Review from 2020, Ranked by Grade from Best to Worst
