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my thing was all bangers all the time. yeah? all bangers all the time // bylines at tv guide, vanity fair, harper's bazaar, indiewire, etc. // owner and operator of Boy Movies (boymovies.substack.com)
interviews
"I think when he fires her, I think he convinces himself that it's for her, but it's really for him. Whereas in this scene, he thinks it's for him but it's really for her. There's a kind of beautiful symmetry there."
"Bad girls club for life, baby."
"I didn't want to try to top the Music Dance Experience."
"I've seen certain actors, I've seen them 20 times in movies, and I think I know them a little bit, and then I meet them in person and they're really quite a different person than I thought," he mused. "It's a surprise. I felt that that's sort of the way it is with Burt. You think you know him, but he's a little bit different." He felt the same about Burt and Irving getting to feel each other out as outies: "I thought of it as one actor meeting another actor."
"When you face forward, the stage lights are staticky, you just can't see," Delainey Hayles said. "And then when I turned to him, away from the light, it was the first time that you could see somebody, but [it was] an outline. And I was concentrating so hard on his face, and it was so sad." She understood Claudia's last look to Lestat as how any child would look to a parent in a moment of distress. "The way that she looks is like all hope is lost, like, 'Dad, I need you.'"
Eric Bogosian and Luke Brandon Field, who each play Daniel Molloy on Interview with the Vampire, discuss the fifth episode of the second season.
"You can't just hide who you are under a heavy lead blanket and hope that it never rears its head… The only way forward is some kind of synthesis."
"What's interesting was when we had the video camera on Ken's close up on one side of the stage, it felt like a very typical product launch, but when we switched it to the other side, it suddenly felt incredibly fascist. I can't explain why. It just added some extra feeling to it. It was very dark, very haunting. He was brilliant, but it was almost terrifying to watch. That corporate excitement was almost terrifying."
Fittingly, my interview with John Wilson was plagued with difficulties. The inside of the Brooklyn coffee shop we planned to meet at to discuss the series finale of his eponymous How to With John Wilson was too quiet, the outdoor seating area too noisy, and the park we eventually settled in full of distractions, from the constant parade of passing dogs to the confusion brought on by a lone man on all fours in the grass a few feet away. (We eventually deduced that he seemed to be doing yoga.)
"The nature of the show is that it seems that Sam is so burdened with her kids and her mom, and she chooses them over and over."
"I think he was looking over there and saying, 'The pain for all of them is quite palpable.' That's true, regardless of who they are, in the rest of their lives."
"With female chefs, a lot of what we talked about, about trying to make your workplace equitable, trying to find humanity in an industry that can have a lot of history of cruelty and ego and abuse, and the hardships of that and of feeling like you're trying to make that change all by yourself, a lot of that really stuck true to me."
The HBO drama was Guadagnino's first foray into television, but as any fan of his films, which include Call Me by Your Name, Suspiria, and I Am Love, knows, he always prefers not to tell the audience everything. "I like people to think of how they feel," he explained while discussing crafting the show's finale.
reviews
Wherever Niall goes, there Ruben is. As one character observes, "It's like one needs a head and the other needs a body."
To go to work in our modern era is to be constantly subjected to indignities, something Robinson has made a career out of examining. The only way to get through it all is to put each indignity behind you and move on to the next day, but The Chair Company spins out into a subtle horror as it imagines what would happen if someone were chronically incapable of moving on.
The Lowdown wants the viewer to care about the truth as much as its main character does. It's fearless and gonzo, easily one of the best new shows of the year, and it's made even better for the time it arrives in, with trust in the media rapidly sinking and respect for writers at an all-time low.
And Just Like That... did not seem to care what had happened in Sex and the City — that was both the stupidest and the boldest thing about it.
The lead character in Noah Hawley's Alien prequel series is also its biggest problem.
The fervor around The Bear's fourth season took the concept of "spoiler alerts" to an untenable place.
If you're tuning in for the second season, you're expected to have done all your homework — not only watching the first season of The Rehearsal, but also Fielder's Comedy Central series Nathan for You; the Showtime dramedy The Curse, which Fielder co-starred in alongside Emma Stone and Benny Safdie; and maybe even the Fielder-produced How to With John Wilson, if you want to get a sense of just how large an impact the comedian's highly specific style has had on television.
The absence of a propulsive plot or thoughtfully written characters means that Season 3 has the uncanny quality of relying on its reputation as a good television show to help it move forward.
With higher stakes, new cast members, and a clear-eyed vision, the series is ready for its long-deserved spotlight.
If Masters of the Air has a take on war that isn't quite as fresh as its predecessors', it at least does a solid job treading familiar territory.
Ripley, Netflix's television adaptation of Patricia Highsmith's novel The Talented Mr. Ripley, starring Andrew Scott, never lives up to its stunning aesthetics.
So much has changed since Logan's 80th birthday party, and now the show's past stares down its present in the mirror, but the reflection has gone warped and wonky. The cyclical nature of humanity, one of Succession's main points alongside the corrosion of the soul caused by insatiable greed, doesn't mean that things don't change. It means that history always repeats itself, and that Succession has done a great job finding the humanity within these wretched people.
Maybe the show's observations on class and the service industry aren't as astute as they once were, but it stays shrewd with its explorations of aging and unfulfillment. If Party Down's first two seasons were about the fear that life will someday pass you by, its third act is all about how to go on living when you realize it has.
This new Interview with the Vampire stands as a monument to Rice's work that fits into our present. It's overwrought, maximalist camp, bolstered by wholly committed performances from Jacob Anderson, Eric Bogosian, Sam Reid, and the rest of the ensemble. It's the crazy, sexy, queer adaptation Rice's crazy, sexy, queer story always deserved.
Whiplash settles in as the series vacillates in tone, trying all at once to be a crime thriller, a raunchy sex comedy, a critique of the media, and a reflection on a very famous woman's inner turmoil.
essays + features + lists
AMC's Anne Rice adaptation is a monster hit. The team behind this spring's most anticipated show previews its showstopping second season.
The ending of the series finale, "With Open Eyes," is at once a thunderous surprise and a foregone conclusion, the satisfying product of a season that took its time gradually breaking down its trio of siblings into jagged pieces until there was nothing left of any of them. Coming into contact with Logan Roy, who built a haunted house and called it an empire, will kill you. Dead people can't rule over anything.
Cast changes, director shake-ups, a full creative retooling — Scream 7's journey to movie theaters has been plagued by controversy.
Featuring The Birdcage, Black Orpheus, 13 Going on 30, and more.
videos
The stars of Interview with the Vampire sink their teeth into several major moments from season 2. (Allison Picurro, interviewer and co-producer)
Interview with the Vampire's Eric Bogosian (Daniel Molloy) and Assad Zaman (Armand) break down the back-and-forth mind games at play between their characters in the Season 2 premiere of the breakout AMC hit. (Allison Picurro, interviewer and co-producer)
Ted Lasso stars Hannah Waddingham and Brett Goldstein break down their characters' best scenes from Seasons 1 and 2. (Allison Picurro, interviewer and co-producer)
