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Ken Jeong, Randall Park and Daniel Dae Kim lead the star-studded cast of Audible’s new comedy series “The Moons of LA” — featuring a meta twist involving a kid who’s obsessed with true-crime podcasts and uses her investigative skills to save her parents’ marriage.

“The Moons of LA” premieres Oct. 8 exclusively at Audible. The comedy audio series is co-produced by Kim’s 3AD production company, marking the latest collaboration under his first-look deal with Audible. It comes after 2024’s “Yellow Face,” Kim’s Audible Original adaptation of David Henry Hwang’s play of the same name that transferred to Broadway with Kim in the lead role.

“The Moons of LA” also stars Jae Suh Park and Alyssa Abiera, alongside a predominantly AAPI cast including Jimmy O. Yang, John Cho, Sherry Cola, Vivian Bang, Sydney Park and Liza Soberano.

The coming-of-age comedy follows Chloe Moon (played by Abiera), a precocious middle schooler obsessed with true-crime podcasts who dreams of becoming an investigative journalist. When she discovers her parents’ marriage is on the rocks, Chloe does what any aspiring detective would do: She launches an investigation. Armed with a microphone and relentless curiosity, she interviews family and friends — from gregarious halmeonis over plates of banchan to her father’s boisterous golf buddies — determined to solve the mystery of her parents’ relationship and save her family.

Written by Paul Bae (“The Black Tapes”) and directed by James Kim (“Moonface”), “The Moons of LA” is executive produced by Kim, Jeong, John Cheng, Will Malnati and Ashley Taylor. The series is co-produced by Audible, 3AD and At Will Media.

“I’m excited to continue our partnership with Audible on Paul Bae’s wonderful ‘The Moons of LA,’” Kim said in a statement provided to Variety. “We’ve been lucky enough to bring together a stellar cast to tell a story that is both unique to Korean American identity and universal in its exploration of the definition of personal success. I’m grateful to 3AD, our entire creative team and Audible for bringing it to life.”

Jeong commented: “I’m so grateful to be part of ‘The Moons of LA.’ I’m very thankful to my friend Daniel, our amazing writer Paul Bae and the incredible cast and team who brought this project to life. I’m honored to be involved, and I’m excited for people to hear it.”

Watch interviews with Jeong, Park and Yang about “The Moons of LA” and behind-the-scenes clips of them recording a scene from the show:

Chile’s 22nd Santiago Film Festival (Sanfic) features nine pics in its Chile Film Competition this year vying for cash prizes in the best film, director and actor categories. Among them, four are debut features, including “Erratics” by Thomas Woodroffe, which competed at the San Sebastian Festival’s New Directors sidebar.

The lineup also features ‘Monguen,’ the swan song of docu filmmaker Antonio Caro, who died unexpectedly a few weeks ago. “We present his film with special affection, as a way of honoring his work and keeping his perspective present within this selection,” said Sanfic artistic director, Carlos Núñez.

“This competition reflects a particularly diverse moment in Chilean cinema, with films that engage with our present through very different languages, territories and generations. There are works that cross between fiction and documentary, new voices alongside filmmakers with established careers, and a strong presence of perspectives emerging outside traditional centers of production,” he pointed out.

“We want Sanfic to be precisely that kind of space: a place where Chilean cinema can connect with its audiences while, at the same time, reaching an international stage.”

Chile’s film industry has never been more robust, with the 2026-2027 industry catalog reporting a 20.5% surge compared to the last season. The catalog was unveiled at the San Sebastián Festival where eight Chilean titles screened across seven sections.

However, the industry is bracing for some belt tightening – and will most likely resort to even more co-productions starting next year – given the upcoming cuts announced by the administration of new President Jose Antonio Kast, who took office in March. Cuts to the Ministry of Culture and various competitive funds for the Arts are forthcoming although the ministry downplayed the cutback, stressing that it would be an overall decrease of 9% next year. However, the Audiovisual Investment Support Fund drops from approximately $586,000 (540 million pesos) in 2026 to $208,000 (192 million pesos) in 2027—a 64% reduction.

Speaking to Variety when the news first broke, Alejandra Garcia of Ronda Cine, producer of “The Meltdown,” Chile’s Oscars submission, said: “The recent budget cuts to culture in Chile are deeply frustrating. It’s difficult to understand why a country’s support for culture is still seen as an expense to be reduced, rather than an investment that should be strengthened.”

The other nine sections of the festival will be announced on Oct. 20.

Sanfic runs Nov. 2 – 6 in Santiago de Chile.

Chilean Pics in Competition:

“Animals” (Andrés Waissbluth Weinstein, Retaguardia Films, Avispa Cine, Frutacina, Chile, Argentina)

In a near future where animals have civil rights, three privileged couples see their lives disrupted by an eerily human quadruped: a sheep running for office, a dog that can sniff out lies and a jealous cat. Produced by Felipe Azúa and Iván Eibuszyc, the Chilean-Argentine Sanfic world premiere was developed through Santiago Lab, BrLab and Guadalajara’s Co-production Meeting, with support from CORFO, Ibermedia and Buenos Aires’ Mecenazgo program.

“Beat” (“Latir,” Patricio Loutit Azócar, Suroeste Films, Reinos Cine, Chile)

Loutit Azócar’s feature debut follows Manuel, a retired university professor who joins a body-percussion workshop during Chile’s 2022 constitutional plebiscite. The experience transforms his life as he confronts his wife’s terminal illness. World premiering at Sanfic, it was produced by Manuel González Llanos and Daniel Rebolledo. The Chilean production received support from the Audiovisual Development Fund in 2024 and participated in Industria FIC Viña’s 2024 business meetings.

“Black Corp,” (“Cuadro Negro,”Carolina Adriazola and José Luis Sepúlveda, Iglo Cine Chile)

Adriazola and Sepúlveda’s film follows Sofía, a young journalist documenting the Chilean army who returns to live with her grandmother after a breakup. She meets María, whose view of the military legacy contrasts with her grandmother’s. Produced by Sofía Paloma Gómez, José Luis Sepúlveda and Carolina Adriazola, the film premiered at Punto de Vista, winning the Grand Prize for Best Film and Youth Jury Award for Best Film. It marks its Latin American premiere.

“Death Brought You Back” (“La muerte te vio volver,” Sebastián Cuevas Barria, Praxia Producciones, Mala Films, Chile; Vert & Bleu Productions, France)

Cuevas Barria’s debut follows Silvia, returning to Chiloé after 30 years to claim her dying mother’s inheritance and confront a disturbing family past. Produced by Catalina Alarcón Reyes, it received support from Chile’s Audiovisual Fund and was developed through Sanfic Lab, CCC and the Lebu Film Festival Lab. Selected for Sanfic’s 2024 Ibero-American WIP, it won the Films en Cours Award at Entrevues Belfort and FECILS’ Sound Award. Participated in Ventana Sur in Montevideo.

“Erratics” (“Bloques Erráticos,” Thomas Woodroffe, La Belle Affaire Productions, Un Puma, Chile, France, Argentina)

Woodroffe’s debut follows filmmaker Lucien Castelnau’s ghost, played by France’s Denis Lavant (“Holy Motors”), released from a glacier after a century into a futuristic Patagonia where technological progress collides with forgotten histories. A Rotterdam CineMart winner produced by Rodrigo Díaz, Pascual Mena and Jérôme Blesson, the Chilean-French-Argentine co-production was developed through La Fabrique Cinéma, TorinoFilmLab, CineMart Darkroom and Sanfic Lab. Selected for San Sebastián’s New Directors, it received Eurimages’ New Lab Outreach Award and support from Chile’s Audiovisual Fund and TorinoFilmLab’s Co-production Fund.

“Floating Population” (“Población Flotante,” Carlos Araya Díaz, Maria una vez, Chile)

Araya Díaz’s docu-fiction hybrid follows a filmmaker reconnecting with a childhood friend through an actor’s voice, revisiting his final days as a bus worker. World premiered at Czech Republic’s Ji.hlava Fest and marking its Latin American premiere at Sanfic, the film was produced by María Paz González and developed through Encuentros Australes at FIC Valdivia, where it won Best Chilean Film of the Future (First Cut) in 2023, plus WIP selections at FIC Viña del Mar.

“Inner Rebellion” (“Rebelión Interior,” Sofía Paloma Gómez Vergara, La Jauría Comunicaciones, Chile)

Gómez Vergara’s documentary revisits Chile’s social uprising through a health brigade treating protesters injured by police repression, connecting present violence with dictatorship-era wounds. World premiering at Sanfic, it was produced by Catalina Alarcón Reyes and developed through FIC Valdivia’s Cine Chileno del Futuro, where it won Best Chilean Film of the Future (Post-production) and the Sonamos Award. It also participated in WIP FicViña, DocsMX and Fidba’s LINK-WIP and received national post-production funding in 2025.

“Monguen” (“Life,” Antonio Caro, Lemuntu Producciones, Totem Producciones, Chile)

The late Caro’s documentary feature follows Fresia, a young Mapuche woman from Alto Biobío who must leave her community to give birth in the city, navigating motherhood between two worlds. World premiering at Sanfic, the film is produced by Michel Toledo and was developed through Conecta CCDoc, Residencia Arca, Nuevas Miradas EICTV, Hot Docs Forum, Cannes Docs at Marché du Film and Encuentros Australes Fic Valdivia.

“The Tiger of the East” (“El Tigre del Este,” Jorge Acevedo, Yareta Films, Queltehue Films, Chile; Estudio Churubusco, Mexico)

Acevedo’s debut pic follows Andrés, a young Chilean muleteer and self-taught musician who leaves his hometown to pursue his dream of becoming a professional musician in Mexico. His wish to gift an original song to Los Tigres del Norte inspires the journey. Produced by Mixie Araya Soler, the Chilean-Mexican co-production premiered at Shanghai Film Festival. Developed since 2018, the project has participated in international labs and markets including Cannes Docs, DocsMX and FiDocs.

Ever since its premiere at Sundance, “Wicker” has been generating headlines. Mostly thanks to its erotic scenes featuring Olivia Colman and Alexander Skarsgård as her custom-woven lover, with both characters putting an enthusiastic spin on Taylor Swift’s “Wood.”

The film’s raunchiness might have surprised some unsuspecting viewers at Zurich Film Festival. But Colman adored the script.

“I’ve never read anything like it before. It’s in my top three scripts that I’ve loved and I’ve done,” she said at the fest, where it celebrated its European premiere.

“It’s beautiful, funny and original. And yes, the only way you can sell it is by having a picture of Alex as a very sexy basket.”

In “Wicker,” Colman plays a medieval fisherwoman who’s constantly ostracized – until she marries a wicker husband (Skarsgård), created by the basket weaver (Peter Dinklage).

It’s directed by Alex Huston Fischer and Eleanor Wilson, and adapted from “The Wicker Husband” by Ursula Wills-Jones.

While no stranger to risqué films thanks to “Pillion,” Skarsgård – better known for darker roles – had to embrace his softer side for a change.

“To be honest, I found it terrifying. I feel way more comfortable playing dark, twisted, demented characters,” he said.

“This was a departure and yeah, I was confused in the beginning about how to approach this. He’s so sweet, so tender and caring, and all those things that I can’t relate to personally.”

The famed Wētā Workshop created his woven body.

“It was extraordinary. It really was,” he said, recalling seeing it for the first time.

“Wētā is behind ‘The Lord of the Rings’ and that whole universe. They wanted practical [effects], which was really exciting. This was not going to be a CGI version.”

He added: “I’ll never forget the first time I saw the wicker husband at the workshop in Budapest, and looked at that version of myself. We’d done a bunch of tests and scans, but I was shooting something else and they were obviously in New Zealand. Then they built it. Stepping into it was also a way of finding the character because it defined his physicality and who he was.”

Learning how to move was tricky, though.

“It was glued to my face! It was crucial that [the mask] would move with my facial movements so that it wouldn’t be completely flattened, but that meant I had to exaggerate them. Al and Elle, our directors, kept saying that normal movements wouldn’t really register. At first, that felt a little strange, like you really had to overact. Luckily, we had a few days to perfect that.”

Obviously, Colman has never acted alongside a similar costar.

“I’ve never done it before, but we’re in that magical world where we’re just talking to each other. We got on very well, and giggled a lot. It was lovely to play those two people. Well, one person and a basket.”

Despite its twisted premise, “Wicker” – whose humor echoes the madness of “Monty Python and the Holy Grail” – also takes a look at the institution of marriage and gender roles.

“None of the women [in the film] have their own names, except for the fisherwoman, and she’s shunned and ostracized for being sort of ugly and smelly, and unmarriable. But she shows them,” noted Colman.

“I like the fact that they are the only equals here. They support each other, listen to each other, take care of each other. It was really about these two humans – or, again, a basket – and two souls being kind to each other. We have no same sex marriages in this story, which I just realized and that’s a shame, but they’re kind to each other and that was the important relationship in the film.”

Skarsgård added: “It commented on the patriarchy of our time and on the construct of marriage, but it was done with so much humor. And in a way that didn’t feel preachy or too on the nose.”

“It was so tender, sweet, funny and irreverent, and with a subtlety to it. That’s what really spoke to me.”

After all, it’s all about a girl, standing in front of a boy – or a basket – asking him to love her.

BBC boss Matt Brittin says he was recently sent a fully AI-generated episode of “Doctor Who,” which he deemed “pretty good” – although he was quick to add it was “not going to replace humans.”

“Everyone’s got the ability in their hands — or six billion people have — to create content at the standard of a Hollywood studio,” said Brittin, who was speaking at the Royal Television Society conference in London, U.K.

“Somebody sent me a 50-minute episode of ‘Doctor Who’ that was AI-generated the other day. It’s pretty good,” he continued. “I mean, it’s not going to replace humans, and we’ll come on to that. So everyone’s a creator. Not all the creativity is bad.”

He didn’t give any more details about what the episode contained — for example using existing actors or generating entirely new ones — or who made it.

Brittin joined the BBC as director-general earlier this year after an eighteen-year stint at Google. He confessed at the conference, where he was in conversation with Kirsty Young, that he first turned down the job when he was approached. “They called me, and I said, ‘I can’t do the job, I’m not a program maker. I’m not a journalist.’”

“And actually, I was persuaded that being an outsider, I might be able to do the job, but only with all of you,” he said, gesturing to the audience, which was made up of senior television producers, commissioners and executives.

AI has been the dominant topic of conversation at the convention, which is this year hosted by Amazon and themed “United in change, if not now when?”

At the opening of the convention, Prime Video international boss Kelly Day also urged the industry to embrace AI, saying “AI doesn’t replace imagination, it amplifies it.”