Blog

  • ‘Real Housewives of New York City’ Returns for Its 16th Season: When and Where to Watch Online

    ‘Real Housewives of New York City’ Returns for Its 16th Season: When and Where to Watch Online

    If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

    The second installment of the ever-growing Real Housewives franchise returns for its 16th go-around on Sept. 8. RHONY‘s latest season premieres — and will air weekly — at 8 p.m. PT/ET on Bravo, which is available to stream live via DirecTV (with a five-day free trial), Fubo (with a five-day free trial), Sling and Hulu + Live TV.

    Alternatively, new Real Housewives of New York City episodes will stream the following day on Peacock, and while the service doesn’t offer a free trial of its own, fans can claim two complimentary months of Peacock with any of DirecTV’s Signature packages, which offer the aforementioned five-day free trial period.

    At a Glance: How to Watch The Real Housewives of New York City Season 16

    RHONY season 16 premieres on Tuesday, Sept. 8 at 8 p.m. PT/ET on Bravo. New episodes will air weekly during the same time slot.

    Where to Stream The Real Housewives of New York City Season 16 Online

    Since the reality show airs on Bravo, new episodes will also be available to watch live on any streaming service that carries said network, including DirecTV (with a five-day free trial), Fubo (with a five-day free trial), Sling and Hulu + Live TV.

    As mentioned, new episodes will drop the following day (Wednesdays) on Peacock. While Peacock doesn’t offer a free trial directly through its site, there is a little-known workaround through partner subscription DirecTV. Customers who sign up for one of DirecTV’s Signature packages — Entertainment, Choice, Ultimate or Premier — can get two months of the Movies Extra Pack + Peacock at no cost.

    Plus, DirecTV offers a five-day free trial for any plan, meaning new members can stream Real Housewives (and everything else Peacock has to offer) at absolutely no cost during that period. Simply select your preferred Signature package, then opt to add “Movies Extra Pack + Peacock Premium” where it instructs you to pick your add-ons.

    For another savvy streaming hack, a subscription to Peacock is available through Prime Video and unlike direct subscriptions on PeacockTV.com, Peacock on Prime Video offers a seven-day trial period for the Premium Plus plan.

    Streamers can also get free Peacock access through Walmart+, which includes Peacock Premium in its membership. Even better, Walmart+ offers a 30-day trial for $1, giving nearly free access to Peacock for one month.

    The Real Housewives of New York City Cast​ for Season 16

    Carole Radziwill was initially announced as a “friend of,” but will instead be making her return as a full-time Housewife. Other season 16 castmembers include Jessel Taank, Erin Lichy, Sai de Silva, Daisy Toye, Hailey Glassman and Erika Hammond.

  • What the Costume Emmy Winners Say About Fearless Aesthetics

    What the Costume Emmy Winners Say About Fearless Aesthetics

    From 1960s Palm Beach chic to dystopian retro-futurism or a madcap style suitable only for Alan Cumming, winning costume designers at this weekend’s Creative Arts Emmys proved sartorial excellence can be achieved in unlimited forms.

    Across five categories, the six design teams that took home 2026 Emmy Awards indeed proved that there’s no guaranteed formula for capturing a best costume win. The wide-ranging spectrum of this year’s winners starts with the country club quiet luxury Olga Mill envisions for Netflix’s Beef, while the polar opposite of that aesthetic is surely the wild theatrics Steven Lee and his team conjures for the extravagant character costumes seen on Fox’s The Masked Singer.

    The latter’s design crew shared this year’s honor for outstanding costumes for variety, nonfiction or reality programming with The Traitors (as one of four juried awards at the Creative Arts Emmys, this costume category is often split between multiple winners). Given the fan frenzy over host Alan Cumming’s costumes — which this season has ranged from over-the-top kilts to a head-to-toe black look inspired by a coffin — this season-four victory by costume designers Sam Spector and Riki Finlay was perhaps the least surprising win among the six trophies captured this weekend by the wildly popular Peacock series.

    “The coffin [look] has become iconic — Jonathan Bennett wore it on the GLAAD Media Awards to host [in March],” Spector said during a backstage interview following Saturday’s Emmy win. “I custom-made that and is one of my favorites so far. Then there was the [Black Banquet cape], with tons of pearls, really heavy and really fun. Every season keeps getting more and more ridiculous; for the next one, coming out next week, we were supposed to tone it down, and we did not. Alan was like, ‘This is what you call toned down?’ But [Riki and I] can’t control ourselves.” The Traitors will vie for its final nomination, for outstanding reality competition program — a category the series won in both 2024 and 2025 — at the 2026 Primetime Emmy Awards on Sunday, September 14.

    Costumes that transcend a film or TV show to become a standalone conversation didn’t always happen like their current frequency, though it’s notable that popularity doesn’t always translate to an Emmy. Mad Men, with five nominations and zero wins for costume designer Janie Bryant, is a perfect example. But thanks to TikTok, launched the year after Mad Men ended its run in 2015, and other social-media platforms that place a high value on entertainment visuals, creating style that spawns clicks and conversation increasingly feels like an integral element in a show’s success. (Bryant did take home an Emmy for outstanding costumes for HBO’s Deadwood in 2005.)

    That focus on creating viral moments via style likewise can be seen in other 2026 winners, starting with Palm Royale’s Alix Friedberg and her co-costume designer, Leigh Bell, who together with their team won outstanding period costumes Sunday evening. The Apple TV+’s show has spawned a wealth of attention for its retro-meets-colorful-meets-camp designs for stars Kristen Wiig, Laura Dern, Carol Burnett and others. “There’s a gala or a ball in almost every episode,” Friedberg explained to Vogue in 2024 about the show’s maximalist vibe. “We go from gowns to lunch to tennis to fittings at the boutique on Worth Avenue — there’s so much fashion and so many different levels to it.”

    Two radically different takes on futurism, meanwhile, earned a pair of wins from Emmy voters. Designer Mirren Gordon-Crozier and her team channeled an undeniable whimsy to create Elle Fanning’s Barbarella-esque costumes for her role as a rising OnlyFans star in Margo’s Got Money Troubles — the Apple TV+ series that wrapped its first season in May and co-stars Michelle Pfeiffer, Nick Offerman and Greg Kinnear took home the trophy for outstanding contemporary costumes. For the post-apocalyptic world of Amazon Prime Video’s Fallout, costume designer Dayna Pink and her team channeled an aesthetic that was markedly darker, chief among the reasons they were rewarded with the Emmy for outstanding fantasy/sci-fi costumes Sunday night.

    At a panel discussion featuring several Fallout creatives in August, Pink discussed the myriad challenges of conjuring a wide range of looks for the show’s dystopian world. Then again, she could have been speaking for any costume designer on any series when she summed up how she approaches being a creative amid the current entertainment landscape: “It’s no fun if you’re not afraid.”

  • Let’s Fly: How to Watch a Rocket Launch From Florida’s Space Coast

    Let’s Fly: How to Watch a Rocket Launch From Florida’s Space Coast

    CAPE CANAVERAL, Fla.—Watching a space launch from a few miles away is an epic experience with one downside: the certainty that the rest of your day will not be as awesome.

    That’s because watching a launch on TV does not prepare you for the light-then-sound spectacle of a giant rocket igniting, incinerating gravity’s pull, and throwing a payload or people into space. First it becomes the brightest thing in sight, then it becomes the loudest thing nearby.

    It is easily one of the greatest shows on Earth, and it’s also become one of the most frequent on the Space Coast.

    Unlike 10 or 20 years ago, you don’t have to plan a trip months in advance. Even with SpaceX’s recent shift of Starlink launches from here to Vandenberg Space Force Base on California’s coast, rockets lift off from the Kennedy Space Center and the adjacent Cape Canaveral Space Force Station multiple times in a month.

    I’ve had the immense and intense privilege of seeing that spectacle from the Cape five times: the final two launches of the Space Shuttle in 2011, the 2018 debut of SpaceX’s Falcon Heavy, the September 2024 launch of AST SpaceMobile’s first five production satellites on a Falcon 9, and the September 2026 Falcon Heavy launch of NASA’s Nancy Grace Roman Space Telescope. You should enjoy this sometime, too; here’s what you should know about it.

    Cape Cartography

    Walt Disney World keeps central Florida a highly competitive travel market, so you can often book a flight to Orlando International Airport, a rental car, and lodging near the Cape on short notice without paying a fortune.

    But once you’ve picked out a launch that seems worth a trip—the launch calendars maintained by Florida Today and the Space Coast tourism office are good places to start—securing a good viewing spot will require its own advance planning, especially among the Kennedy Space Center’s public viewing areas.

    Banana Creek viewing area in 2019

    Banana Creek viewing area in 2019 (Joe Burbank/Orlando Sentinel/Tribune News Service via Getty Images)

    For the two most frequently used launch pads on the Cape—KSC’s Launch Complex 39A, the storied starting point of every Apollo mission to the Moon and almost every shuttle launch, and CCSFC’s Launch Complex 40, leased by SpaceX since 2007—the Banana Creek Launch Viewing Area next to KSC’s Apollo Saturn V Center is the obvious choice.

    It provides the second-closest viewing of a launch from 39A, just 3.9 miles away, after KSC’s press site (which also has a giant countdown clock to focus your attention, but which requires media credentials or an invitation from NASA). Launch Complex 39A’s far-less-used neighbor 39B is only 3.3 miles away from this viewing area, while LC 40 is 6.2 miles distant.

    Kennedy Space Center press site

    Kennedy Space Center press site (Credit: Rob Pegoraro)

    The Kennedy Space Center Visitor Complex offers the bonus of inspecting a leftover Saturn V rocket, suspended from the ceiling of this hangar-sized building. Admission costs $75 for one day or $89 for two days (with a $10 discount for kids ages 3-11), but for special events, you can expect to pay a premium for a launch-viewing package that often sells out quickly.

    For example, tickets to see the Oct. 13 launch of NASA’s Europa Clipper space probe to one of Jupiter’s most interesting moons on a Falcon Heavy rocket cost $250. I would have happily paid that, but a) I’m not normal, and b) I already had travel booked that sadly did not involve any rockets.

    Delaware North, the company that runs the visitor complex, typically sells launch viewing packages a week in advance but will put them on sale farther in advance for “historic” launches, says spokesman Russell Bruhn in 2024.

    A third viewing option at KSC, the Gantry at LC-39, stands 3.4 miles from LC 40 but would be closed for any launches from 39A or 39B.

    People watch a 2018 SpaceX launch from Playalinda Beach.

    People watch a 2018 SpaceX launch from Playalinda Beach. (Photo by Paul Hennessy/NurPhoto via Getty Images)

    Guides such as Launch Photography consistently point to Playalinda Beach on Canaveral National Seashore, east of Titusville and north of 39A, as a next-best and much-cheaper option: A car day pass runs $25. If the beach is open for a launch (don’t count on that for crewed missions or Falcon Heavy launches) during its usual daylight hours, the closest parking lot is 3.6 miles from that pad.

    Whenever Blue Origin resumes launches of its giant New Glenn rocket from Launch Complex 36, at the southern end of CCSFS, the best public viewing spot should be a more easily accessible oceanfront location: Jetty Park at the northeast corner of Cape Canaveral, about 5.5 miles away.

    The KSC Visitors’ Center, 7.5 miles away from 39A and 6.7 miles from 40, should also be on your list. The added distance is suboptimal and prevents a view of the pads themselves, so you see nothing for a few seconds after the countdown reaches zero.

    But admission to the center (which did not come with a surcharge for the Europa Clipper or Roman launches) lets you inspect an impressive selection of hardware—including the shuttle Atlantis, which closed out the 30-year program in July 2011.

    The top of the S-II second stage of a Saturn V moon rocket hangs from the Kennedy Space Center's Apollo Saturn V Center, flanked by giant reproductions of Apollo mission badgets

    Just imagine the noise a Saturn V would have made at liftoff. (Credit: Rob Pegoraro)

    Viewing spots from the Apollo-Saturn V Center, the Visitor Complex, and places south of there, such as the town of Cape Canaveral itself, can yield a bonus on certain launches: watching and hearing a Falcon 9 or Falcon Heavy booster return for a landing at one or more of SpaceX’s landing zone pads at CCSFS.

    Countdown Considerations

    Launch-viewing logistics have to factor in the risk of the launch getting delayed or scrubbed for a variety of hard-to-predict reasons. Sensors can indicate a fault in its engines or plumbing, the weather may not cooperate, or you may have the especially annoying “boat in the box” range safety violation (as in, some bozo lingers in the offshore area designated as off-limits to mariners during a launch for their own protection).

    Even when the countdown reaches its final second or second, a detected issue can require aborting the attempt. Regular launch viewers rightfully dread hearing a launch controller call out “hold hold hold.”

    Study the launch commit criteria for the mission on your calendar carefully. Uncrewed Falcon 9 launches should have the lowest risk of complications, while the criteria for crewed missions are stricter because of the need to ensure a safe landing of the Dragon capsule if necessary.

    NASA's Artemis 1 lifts off from launch pad 39-B at Kennedy Space Center, Florida, carrying the Orion spacecraft on a mission to orbit the moon on Nov. 16, 2022.

    Artemis 1 launch in November 2022 (Joe Burbank/Orlando Sentinel/Tribune News Service via Getty Images)

    NASA’s Space Launch System, meanwhile, was an enormously temperamental machine before its November 2022 launch from 39B. It was less fussy on its Artemis II crewed debut in April, but with the next SLS launch not penciled in until sometime in 2027, seeing that shuttle-derived rocket fly isn’t a short-term consideration.

    Plan your travel with an extra day of margin in case of a scrub. And no matter what, do not buy a non-changeable basic economy ticket.

    You should also budget plenty of time to get to your viewing spot. Pack snacks and beverages and make a day out of it—and if you plan to fly back after a high-profile morning or afternoon launch, expect traffic on the way back to Orlando. After the Falcon Heavy launch, the 45-minute drive from the Cape to MCO took closer to two hours, leading to my spending an extra night in Florida.

    Don’t forget to put together an appropriate soundtrack for the flight and the drive. That should be mostly Rush, but Antonín Dvořák’s New World Symphony and Gustav Holst’s The Planets are also strong choices.

    Pictures Because it Did Happen

    If you’ve never seen a launch before, don’t go crazy taking pictures of it. Get a couple of photos with your phone, but otherwise live in the moment: This isn’t something to see through a smartphone screen or a camera viewfinder.

    Recommended by Our Editors

    If you brought binoculars, save them for inspecting the pad in the minutes before launch. Put them down and put your camera away as the countdown reaches the last 30 seconds—the heart-in-your-throat moments of the experience.

    At T-0, the launch vehicle’s engines will instantly become the brightest thing in view as it lifts off the pad—on a night launch, the rocket can look like a synthetic sun lighting the clouds from below. But as the vehicle sprints into the sky, the only thing audible at first will be the cheering of people around you.

    (“Go [rocket or spacecraft name] go!” is an appropriate thing to yell.)

    Then the sound, a relentless crackling thunder, rushes toward you, louder and louder. If you’re lucky enough to see a Pad 39A launch from the Apollo Saturn V Center, you should not just hear it but feel it as an acoustic avalanche hurtling right over you.

    Then you should try to get a photo of the rocket streaking into the sky, but realize that it will only be an approximation of what you’re experiencing.

    If you have a spare phone or any other device that can record high-fidelity sound, consider setting it up to record the noise. If you make a habit out of launch viewing—which is a real if expensive prospect after you’ve seen one—then you can obsess over getting the perfect launch photo.

    If you’re watching a Falcon 9 or Falcon Heavy launch that has the boosters returning to one of or both of its Landing Zones on the Cape instead of one of its droneships far offshore, you have something extra to look forward to. That’s not so much the sight of the booster relighting on the way down—what will look like a pinprick of flame in the sky—but the series of sonic booms each generates. They hit right after a landing, sharp detonations in the air that might suggest the descending stage just exploded.

    Other Viewing Possibilities—Maybe Even at Home

    SpaceX Falcon 9 rocket after launching from Vandenberg Space Force Base in June

    Falcon 9 rocket after launching from Vandenberg Space Force Base in June. (Photo by Kevin Carter/Getty Images)

    Beyond Florida, the US features a few other launch-viewing possibilities: Vandenberg, well north of Los Angeles; NASA’s Wallops Flight Facility and the adjacent Mid-Atlantic Regional Spaceport on Virginia’s Eastern Shore, the US launch facility for Rocket Lab’s small Electron rocket; and SpaceX’s Starship launch facility in Boca Chica, Texas, just north of the Mexican border. Those places are, however, harder to get to than the Space Coast.

    But if you live sufficiently close to the Atlantic or the Pacific, you also may be able to watch part of a rocket’s launch right from your own home if a few things line up in your favor. First, you’ll need a launch with a high inclination that takes it up along the coast instead of heading out over either ocean. You’ll also need this launch to happen a little after sunset or a little before dawn and a clear sky above.

    Should those circumstances all cooperate, set your phone’s alarm to remind you to step outside a few minutes after the launch. Because under those conditions you can see the exhaust of the rocket’s second stage balloon out high enough in the upper atmosphere for the sun to light it up in what space geeks call a ”space jellyfish” effect.

    Veteran space photographer John Kraus maintains a helpful “Space Jellyfish Predictor” site that can show the odds of your seeing one near you.

    Watching what can look like an artificial comet silently arc above you is a spectacular sight in its own right, one you can easily capture with a phone’s camera. And it just might lead you to start looking up fares to Orlando.

    About Our Expert

  • Nick Offerman Slams Ben Shapiro’s ‘Rampant Homophobia’ After Being Attacked for Playing a Gay Role: ‘Holy S—. That’s Crazy’

    Nick Offerman Slams Ben Shapiro’s ‘Rampant Homophobia’ After Being Attacked for Playing a Gay Role: ‘Holy S—. That’s Crazy’

    Nick Offerman recently appeared on the “Talk Easy With Sam Fragoso” podcast and blasted Ben Shapiro‘s “rampant homophobia” after seeing a video for the first time of the Daily Wire co-founder and political commenter’s attacking Offerman’s gay role in HBO’s “The Last of Us.”

    “The entire episode has no zombies, no real threat, and it is about two gay dudes who meet and have a relationship, in which one grows strawberries for the other, and then they die,” Shapiro said, noting Offerman “likes to nail dudes” in the episode. “There’s gay Ron Swanson, and it’s complete with sex scenes and the whole thing. And gay Ron Swanson decides that he is also going to commit suicide at the same time because of ‘Romeo and Juliet,’ or ‘Romeo and Romeo’ in this particular case.”

    “Holy shit… that’s crazy,” Offerman responded to the video. “That’s the most Ben Shapiro I’ve ever seen, and there’s a very good reason for that. I mean, I don’t know what to say. I’m embarrassed for his reading comprehension. I think he got eight things wrong in his recap, besides his rampant homophobia.”

    Offerman starred opposite Murray Bartlett in “The Last of Us” episode “Long, Long Time,” which took a break from the main storyline of the show’s first season to spotlight the love story between two men over 20 years as the world succumbs to a zombie virus. The episode earned near universal acclaim from critics, but that didn’t stop homophobic trolls from taking issue with the show for spotlighting a gay romance.

    In an interview with Variety earlier this year, Offerman said he tunes out toxic online backlash to his work because “you can’t navigate life steering by Twitter trolls, the sadness of Elon Musk and his minions,” adding: “I navigate my life by the writings of Wendell Berry and the values my mom and dad gave me. I willfully ignore the overall public zeitgeist. Something from this article might put me on some Ben Shapiro list, where a bunch of jerks literally will just call me ‘f****t’ or worse on my social media. It’s a pattern. It’s laughable and sad, but it’s also just humiliating.

    Offerman won an Emmy and an Independent Spirit Award for his performance in “The Last of Us.” During his acceptance speech at the latter awards ceremony, he took aim at the toxic trolls outraged over his decision to play a gay character.

    “Thanks to HBO for having the guts to participate in this storytelling tradition that is truly independent,” he said. “Stories with guts that when homophobic hate comes my way and says, ‘Why did you have to make it a gay story?’ We say, ‘Because you ask questions like that. It’s not a gay story it’s a love story, you asshole!”

    Watch Offerman’s full interview on “Talk Easy with Sam Fragoso” in the video below.

  • Netflix Circling Andres Cantor For 2027 FIFA Women’s World Cup Coverage

    Netflix Circling Andres Cantor For 2027 FIFA Women’s World Cup Coverage

    As Netflix prepares to host its NFL kickoff game in Australia later this week, the streaming giant is also in the process of securing talent for its coverage of the 2027 FIFA Women’s World Cup in Brazil, and The Hollywood Reporter has learned that it is closing in on a deal with a soccer broadcasting legend.

    The streaming giant is circling Andres Cantor to provide Spanish-language coverage of the event. He is also expected to have a role in the draw, which is set to be held in December.

    Netflix declined to comment as of writing.

    Cantor is one of the most famous soccer announcers in the world, having called some 14 FIFA World Cups, including the very first Women’s World Cup final in 1991. His signature “¡goooooooll!” call after a team scores has become synonymous with Spanish-language soccer coverage in America.

    The Argentina-born broadcaster has been with NBCUniversal’s Spanish-language media division Telemundo for 26 years, though The Hollywood Reporter hears that his contract with the company will end in the coming weeks, thus allowing for his move to Netflix. He previously called games for Univision.

    As it happens, FIFA is expected to bring its World Cup media rights up for bidding later this year, with future men’s and women’s and English and Spanish rights all up for grabs. With Fox, Disney, Netflix, NBCUniversal and perhaps others all expected to explore bids, broadcasters like Cantor would likely want to keep their options open for whichever company ultimately secures them.

  • ‘Meta Labs’ Debut at Best Buy to Offer Free Demos of Tech Giant’s Latest AI Glasses and VR Headsets

    ‘Meta Labs’ Debut at Best Buy to Offer Free Demos of Tech Giant’s Latest AI Glasses and VR Headsets

    If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission.

    Meta is teaming up with Best Buy to offer fans of the brand and curious customers alike a chance to demo the new Meta product lineup up-close and in person.

    Select Best Buy locations across the country are now offering hands-on demos of the trendy Ray-Ban Meta and Oakley Meta glasses, the Meta Ray-Ban Display glasses and the popular Meta Quest VR headset, giving shoppers a chance to see how the products work in real-life settings. 

    “Meta Lab @ Best Buy” will offer demos of all the products, bringing the AI glasses and VR headsets to life through interactive displays and activations. Customers can try on the Meta Ray-Ban Display glasses, for example, to read information right in front of their eyes from the lenses, and learn how to use hand gestures to swipe or tap without ever needing to take the phone out. 

    VR headsets like the Meta Quest 3 and Meta Quest 3S will also be available to demo, letting customers play their favorite games, try a workout or watch a movie in immersive 3D environments and stunning realism.

    And of course, the popular Ray-Ban Meta and Oakley Meta glasses will be available to shop, with product specialists helping customers find a pair of frames to fit their face shape, personality and style. Meta sales specialists will also demo some of the new features of the smartglasses, which now go beyond just video recording to also provide improved music listening capabilities and live translation, among other features.

    The first Meta Lab @ Best Buy “store in store” opened in June, with more rolling out throughout the summer. Meta says the experience will be available in more than 50 Best Buy locations across the US and Canada by the end of the year. See a full list of participation locations here.

  • ‘The Walking Dead: Daryl Dixon’ Final Season Reveals First-Look Teaser (TV News Roundup)

    ‘The Walking Dead: Daryl Dixon’ Final Season Reveals First-Look Teaser (TV News Roundup)

    AMC+ revealed the first look for the fourth and final season of “The Walking Dead: Daryl Dixon.” The final season premieres in 2027.

    Daryl Dixon’s journey, which began in 2010, is finally coming to an end in the concluding season of the series, a spinoff from the original “Walking Dead” series. The new season sees Daryl (Norman Reedus) and Carol (Melissa McBride) cross the badlands of Spain. They are joined by Captain Alejandro Perkins (Jimmy Smits), a former U.S. Navy officer and medical doctor who found a unique way to survive during the apocalypse.

    Also starring are Romain Levi, Eduardo Noriega, Óscar Jaenada, Candela Saitta and Hugo Arbués.

    The series is executive produced by showrunner David Zabel, Scott M. Gimple, Reedus, McBride, Greg Nicotero, Brian Bockrath, Angela Kang, Jason Richman, Dan Percival and Steve Squillante.

    The spinoff series launched in 2023, following Daryl on an unexpected journey across Europe. Along with its sister spinoff “The Walking Dead: Dead City,” the series has continued the franchise since the original show’s conclusion in 2022 after 11 seasons.

    See the teaser trailer below.

    Also in this week’s TV News Roundup:

    CASTING

    Alvina August has joined the cast of “The Rookie” spinoff series, “The Rookie: North.”

    August joins previously announced cast members Jay Ellis, Chris Sullivan, Froy Gutierrez, Karen Fukuhara, Mya Lowe, Janet Montgomery and Malik Watson. No details of August’s character have been revealed. 

    The spinoff follows Alex Holland (Ellis), who, after a violent home invasion, faces a midlife crisis that forces him to confront a lifetime of his shortcomings. His solution? Join the Pierce County Police Department in Washington as its oldest rookie. 

    August recently starred in Season 3 of “Invasion,” as well as “Nancy Drew” and “Lucky Hank” alongside Bob Odenkirk. Her additional credits include “Chilling Adventures of Sabrina,” “The Boys,” “The Good Doctor,” “Suits” and “Supernatural.” August is represented by Buchwald and Performers Management.

    *

    Ana Brenda Contreras and Erick Elías will lead the cast of “Emergencias. Unidad de Vida,” a new Telemundo medical drama. 

    The series follows Gabriela Serrano, who is an ambitiously talented medical resident returning to her hometown, where she must confront her family’s complicated past while navigating a hospital that’s future isn’t guaranteed. 

    Joining Contreras and Elías are Geraldine Bazán, Ana Belena, Rodolfo Salas, Elizabeth Gutiérrez, Laura Flores, Mónica Dionne, David Palacio and Luis Ernesto Franco. The series also features Gloria Aura, Jerónimo Cantillo, Elena Medina, Miguel Ferreira, Paola Fernández, Pepe Gámez, Vince Miranda, Roberto Mateos, Gloria Peralta, Emma Ramos, Sebastián Silva, Johann Vera and Sara Linares. Arturo Peniche will also make a special appearance.

    “Emergencias. Unidad de Vida” has officially begun production in Miami. The series is a Telemundo Studios production written by Carlos Eloy Castro and directed by Nicolas Di Blasi and Luis Sierra, with Javier Pons, Jacky Castro and Martha Godoy as executive producers.

    FIRST LOOKS

    Prime Video released the first official images of “Boys of Tommen” at the two-day Obsessed Retreat: Class of ’26 event in The Alps, Germany. 

    The romantic drama series based on the New York Times bestselling series by Chloe Walsh stars Nancy Surridge as Shannon Lynch, Conor Sánchez as Johnny Kavanagh, James O’Donoghue as Joey Lynch and Sophie McGibbon as Aoife Molloy. 

    The official logline reads: “‘Boys of Tommen’ follows the forbidden love story of Johnny Kavanagh, the star rugby player on the verge of a pro career, and Shannon Lynch, the talented but painfully shy new girl at the prestigious private school of Tommen College in Ballylaggin, Ireland. Both teenagers are hiding secrets; Johnny, a potentially career-ending injury, and Shannon, a troubled and violent homelife. Through their secret and highly charged connection, the two teens from opposite worlds battle against the odds and find a way to save each other.”

    The series is produced by global independent studio Wiip in association with Amazon MGM Studios, with Metropolitan providing local production services. Adapted by Poppy Cogan, Season One will be based on the first two novels in Walsh’s series, “Binding 13” and “Keeping 13.” Cogan serves as an executive producer alongside Walsh, Wiip’s Paul Lee, Hope Hartman and Sean Flanagan, Temple Hill’s Wyck Godfrey Marty Bowen, James Seidman and Annika Patton and Drama Republic’s Greg Brenman and Deena Butt. Carla Stronge serves as casting director. Brendan Canty (Christy) is directing the series, while Ingrid Goodwin serves as the series producer.

    Christian Tierney/Prime

    Christian Tierney/Prime

  • Maria Bartiromo’s Fox Exit “Self-Inflicted Wound”; Trump Praises “True Warrior” As Legal Threats & Accusations Of Host Sharing Insider Info Fly

    Maria Bartiromo’s Fox Exit “Self-Inflicted Wound”; Trump Praises “True Warrior” As Legal Threats & Accusations Of Host Sharing Insider Info Fly

    EXCLUSIVE: The coup de grâce that caused Fox to announce this week that Maria Bartiromo would “no longer be with” the conservative news outlet was a case of “very bad judgment” and a long time coming, sources say.

    The assertions come Friday despite Bartiromo’s Hollywood attorney Bryan Freedman insisting the veteran Wall Street anchor is still “an employee” of Fox and threatening legal action. Adding to the burgeoning media mess surrounding the so-called “Money Honey,” Donald Trump had thrown serious shade on Fox for taking good pal Bartiromo off the air.

    That shade could set the stage for yet another showdown between Trump and his once favorite media buddies at the Murdoch-ruled Fox.

    “I can’t believe Maria Bartiromo is no longer going to have her great show(s) on FoxNews/Business,” Trump, a frequent Bartiromo guest, posted Thursday night, about 12 hours after Fox announced “effective today” that the Mornings With Maria host was out. “Three different shows, always number one. Maria is a total professional, and a true warrior. Her fans, of which there are many, will not be happy. God bless you, Maria!”

    Bartiromo hadn’t been on the air for almost a month, with Deadline confirming that Fox brass had enough of the MAGA-friendly Bartiromo after they learned she passed corporate-guidance missives to the White House in recent months. However, carving her own way at Fox Business and Fox News for more than a decade, those communications were just the latest minefield that Fox execs feared could blow up in everyone’s faces.

    “Her indiscretion was just the latest in a series of self-inflicted wounds,” a cable news insider says of Bartiromo and her close ties with Trump. “This has been a concern for a while, Maria being too cozy with the White House. She crossed a line, and she’s suffered the consequences.”

    Weary of addressing allegations of similar conduct over the years by Sean Hannity and other Fox hosts, or Bartiromo’s contract specifics, the source added: “She’s no longer with Fox. Take that for what it is.”

    Deadline hears that while there may be “technical truth” to Freedman’s remarks today that Bartiromo still works at Fox because of contracts and other paperwork, she is not returning to her Fox Business or Fox News roles — full stop.

    Long a passionate defender of POTUS and offering him a platform over the years, Bartiromo’s apparent sharing of internal edicts with Trump administration officials, first reported by Status, made her pink-slipping inevitable.

    Digging a little deeper and a few years back, the seeds of Bartiromo’s downfall were evident if you connect the red string.

    In April 2023, Fox agreed to pay $787 million to settle a lawsuit filed by Dominion Voting Systems, one of the technology firms singled out in Fox’s coverage of the 2020 election results. Citied in volumes of court filings and the high-stakes trial that had just begun when Fox settled, Bartiromo was one of the main hosts on Fox promoting the false claims of irregularities with the election Trump lost and Joe Biden won. At the time, the top-rated Tucker Carlson was pulled off the air at Fox in a move that resulted in a Freedman-handled legal dust-up between Carlson and the media company.

    No word from ex-Apprentice host Trump if Bartiromo is in the running to be the new White House Press Secretary, but sharp-elbowed lawyer Freedman says his client actually isn’t looking for a new job because she still has her old one.

    “For many years, Maria Bartiromo hosted three number one rated television shows on Fox channels,” Freedman said Friday, as my colleague Dade Hayes noted earlier. “She has been, without question, one of the hardest working journalists throughout her award winning career.”

    The lawyer for the likes of Carlson and Megyn Kelly, as well as Don Lemon, then unsheathed the knife that may lead to a bloody affair down the line.

    “The irresponsible reports that have been published stating that Maria Bartiromo was fired or is no longer an employee of Fox are absolutely and unequivocally false,” Freedman said. “Make no mistake, we have the receipts and witnesses and they will come out whether through the courthouse or otherwise. Those reporting her firing or the incredulous facts supporting that fiction have exhibited a complete and utter reckless disregard for the truth.”

    When Deadline asked Fox for a response to Freedman’s statement about his client’s employment situation, the company said: “the release speaks for itself.” The White House did not respond to Deadline’s request for comment.

  • Score Mint Mobile’s Unlimited Data Plan for 50% Off While You Can

    Score Mint Mobile’s Unlimited Data Plan for 50% Off While You Can

    An advertiser paid for editorial consideration of this deal. Our experts vetted the deal based on our independent expertise. Because we determined that the deal will save you money, we covered it.

    Fed up with hacking through the endless lines of fees, charges, conditions, and restrictions on your wireless bill? Ready to change things up for a plan that’s both more affordable and less complicated? Mint Mobile has the answer: get any of Mint’s plans, including the peak Unlimited Wireless service, for just $15 a month with this exceptional introductory offer.

    Mint Mobile

    4G, 5G, unlimited talk, text, data


    $15.00
    at Mint Mobile

    $30.00
    Save $15.00


    Get Deal

    There are two kinds of wireless plans in this world: post-paid and prepaid. The big companies (Verizon, AT&T, and T-Mobile) mostly specialize in post-paid plans, where you get a bill at the end of every month for the service you used, typically running in the hundreds of dollars. But cash-savvy shoppers know that the real value is in prepaid carriers like Mint Mobile, where putting down cash up front gets you drastically lower rates and service that’s just as good. Compare whatever you’re paying now to Mint’s $15 a month, and the choice should be clear.

    Mint is a subsidiary of T-Mobile and has access to the that carrier’s massive network. We’ve extensively tested it, and it consistently ranks near the top of the best mobile networks for coverage area, speed, and reliability. Mint also has excellent customer service, and the activation process is hassle-free. Cut yourself loose from your current provider however you can, because they probably can’t match this value.

    Here’s how the deal works: you’ll pay up front for three, six, or 12 months of unlimited wireless at $15 a month. That’s $45, $90, or $180 out of your pocket right now, which is probably still less than you’re paying for a single month of your current service. This offer is available only to new Mint customers, but otherwise it’s a simple proposition. You can choose any Mint plan you want, ranging from 6GB of data per month for $15 to unlimited data for $30. All plans also include mobile hotspot functionality, so you can use your phone to connect your PC or other devices if needed.

    Once the initial trial period is over, you’ll still only be paying a maximum of $30 a month up front for unlimited talk, text, and data, which is a bargain no matter how you slice it. And because it’s prepaid, you’re not locked into multi-year contracts. It’s win-win.

    Recommended by Our Editors

    Need a new phone to go with your new plan? We’ve also got unlocked phone deals on tons of well-reviewed models that work just fine with Mint.

    Offer only valid until October 31. This is a new customer offer for the initial plan term only; then, full-price plan options will be available. Taxes & fees are extra and vary depending on your location. Unlimited customers who use over 50GB/mo. may notice reduced speeds for the remainder of the monthly cycle, but only in certain locations and when the network is busy. Additional terms and conditions may apply; check out the Mint Mobile page for details.

    About Our Expert

  • ‘The Spiral’ Review: Jasmine Trinca’s Real Housewife of Bari Makes a Faustian Pact With Valeria Bruni Tedeschi’s Enigmatic Stranger in Crackling Italian Chiller

    ‘The Spiral’ Review: Jasmine Trinca’s Real Housewife of Bari Makes a Faustian Pact With Valeria Bruni Tedeschi’s Enigmatic Stranger in Crackling Italian Chiller

    No disrespect to the more high-minded entries, but a ripe genre detour can often be just what you crave during an intensive festival. Paolo Strippoli’s The Spiral (L’Estranea) scratches that itch with a psychological thriller seeped in supernatural horror, dread and vicious satire of middle-class Italians who would sooner sell their souls to the devil — or some random woman in a hospital chapel — than risk the embarrassment of damaged children. Led by a nail-biting performance from Jasmine Trinca and wicked support from Valeria Bruni Tedeschi, who really should play bad-bitch emissaries of evil more often, this is juicy entertainment that ought to travel well.

    Though neither of them was widely seen internationally, Strippoli’s Flowing and The Holy Boy saw him honing his skills with dark-hearted chillers, dipping into nightmarish family friction and religious horror, respectively. His taut, stylishly directed third solo feature returns to the sacred institution of the well-heeled Italian family — affluent, beautiful, chic, prominently positioned in society — and the panic that can ensue when something threatens to dull their enviable golden glow. Even if the movie gets a bit crazy in an apocalyptic epilogue, its picture of bourgeois smugness due for a takedown is delicious.

    The Spiral

    The Bottom Line

    Delectably nasty fun.

    Venue: Venice Film Festival (Competition)
    Cast: Jasmine Trinca, Romana Maggiora Vergano, Adriano Giannini, Valeria Bruni Tedeschi, Gabriella Telegrafo, Mariandrea Cesari, Andrea Genovese, Alessandro Carbonara, Andrea Rossini, Marina Limosani
    Director: Paolo Strippoli
    Screenwriters: Paolo Strippoli, Salvatore de Chirico

    1 hour 55 minutes

    There’s an amusing, retrograde cruelty in the suggestion that a status-conscious Italian mamma might completely lose it at the prospect of having a child with a disability or — Mio Dio! — obesity issues. Or one who’s a lesbian. The script by Strippoli and Salvatore de Chirico shrewdly underplays that hand, instead cushioning the vanity factor in sincere parental concern for the children’s health, well-being and preordained path to success.

    The movie opens with Trinca’s agitated character Anna flying to Rome, where she turns up unannounced at the apartment of her semi-estranged daughter Alice (Romana Maggiora Hergano) in the middle of a Biblical thunderstorm. Alice is a theatrical costume designer; the rushed exit of her female “director” and everyone’s awkward embarrassment are a clear hint that Anna might be uncomfortable with her daughter’s sexuality.

    Wasting no time, Anna blurts out that everything Alice has ever been told about the family is built on a lie, a secret that now must be shared for grave reasons revealed as the plot unfolds. That happens over four chapters, titled The Daughter, The Son, The Father and The Mother, each of them jumping back to various points in the past 25 years in Anna’s trembling account.

    The family’s misfortunes began in 1999, when they moved into a sumptuous villa in Bari, acquired with profits from what used to be grandpa’s tailoring business, since transformed into the swankiest clothing boutique in town. With two magnificent external staircases leading onto pristine lawns dotted with palm trees, it’s obvious that the fancy villa will need to be shown off at a garden party.

    When she’s not berating the housekeeper over some minor slip-up, Anna drapes herself over the outdoor stairs, eyeing her domain with satisfaction and kvelling over the news that 7-year-old Alice (Gabriella Telegrafo) has booked a pasta commercial. Never mind that the dream of becoming an actress is more about Anna’s ambitions than her daughter’s. 

    The moment is shattered, in front of the guests, when Alice is brutally attacked by the family’s bull terrier during a dance recital with her friends, one of whom has already caught her eye in what looks like presexual longing. She’s rushed to hospital with serious injuries and Anna is horrified to learn from doctors that her daughter is at risk of losing a leg. 

    But it seems there’s a rescue plan. Still shellshocked, Anna drifts down a long corridor lit like a surreally unsettling dream to visit the medical facility’s chapel. A trenchcoat-clad woman with good hair and expensive highlights (Bruni Tedeschi) at first comes off as sympathetic, though disconcertingly, she seems to know an awful lot about Anna’s family. The stranger informs her matter-of-factly that Alice’s leg will be amputated unless Anna opts into her payment-plan bargain. Saving Alice will require risking the health of her older sibling.

    The two women’s performances are so locked in that we don’t even question why Anna would buy the creepy proposal. The witchy stranger speaks with such cool authority and lights up a cigarette with such flagrant disdain for the etiquette of this house of worship and prayer that she seems all-knowing. (The movie features much fabulous screen siren-style smoking, with both Anna and the stranger constantly sucking on super-slim lady cigs.)

    Alice gets to keep her leg, albeit with extensive scarring, and Anna does her best to forget about the sacrificial part of the pact until she is awoken one night by a noise downstairs. Upon investigation, she finds Alice’s 13-year-old brother Tobia (Alessandro Carnbonara) gorging on sweet treats under the Christmas tree. The teen’s alarming weight gain and declining health over the next few years are especially irksome to his fitness-obsessed father Walter (Adriano Giannini), whose oily complacency almost makes Anna look humble. Walter is even more pissed when Tobia’s expanding body mass kills his football prowess, fat-shaming be damned.

    Again, the mysterious stranger appears, offering a way out and establishing the domino-effect pattern by which every person saved from some grim fate demands that another be thrust into misery, or worse. When Anna urges the stranger — by now we can guess the identity of her infernal master — to take her instead, she’s told that’s not an option.

    It’s around this point that the scenes between Trinca and Bruni Tedeschi really start to cook, dialing up the mordant humor. The stranger treats her traumatized pawn with tickled condescension, teasing and mocking her while rolling her eyes each time Anna pathetically scrambles to find a loophole in the deal. A psychosexual Sapphic frisson edges into their rapport, with a never-better Bruni Tedeschi hilariously nailing her character’s mix of mischief and malevolence.

    As the Mephistophelian stranger’s conditions grow increasingly stringent, the family’s woes continue escalating, financial troubles included. The action cuts back and forth from Anna and Alice in Rome, the latter still deeply resentful and convinced the whole elaborate story is just some morbid fantasy hatched out of her mother’s self-absorption. 

    Eat-the-rich thrillers have been multiplying like rabbits over the past several years, but the diabolical scenario outlined in Strippoli and co-writer Salvatore de Chirico’s screenplay is a particularly toothsome variation on the price to be paid for vainglorious perfection. 

    The director and his DP Cristiano Di Nicola create striking visuals, with a strong sense of composition and lots of woozy, disorienting angles. And Quentin Collette’s turbulent soundscape — rumbling, clanking, with the unrelenting downpour stirring in elemental fury — mixes seamlessly with the tense synth riffs of French electronic composer Robin Coudert, known professionally as ROB. Strippoli also makes effective use of the 1998 Euro hit “Narcotic,” by German band Liquido.

    The entire cast, which includes actors playing both of Anna and Walter’s children at three diifferent ages, is solid. But the movie very much belongs to Trinca and Bruni Tedeschi, just as Anna belongs to the merciless stranger. (The Italian title translates as The Stranger; presumably the switch was intended to let people know this is not Camus, especially coming so soon afer François Ozon’s film of the French lit classic.)

    The movie seems a likely candidate for a U.S. remake and stands to be an international calling card for Strippoli. But The Spiral is well worth a look in its original form, its nefarious developments tied into European class pride and vanity with savage glee. It’s easy to imagine it catching on with audiences beyond Italian borders, hankering for atmospheric horror with a subversive twist.