
Seth Rogen says this is the key to the A-list cameos in 'The Studio: 'It's very enticing'
Seth Rogen says this is the key to the A-list cameos in 'The Studio: 'It's very enticing'
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AUSTIN, Texas – When Seth Rogen and Evan Goldberg debuted their new Apple TV+ comedy inspired by their own experiences in Hollywood during South by Southwest, they couldn't help but rib the studio executives involved.
The longtime friends, who met in bar mitzvah class and founded their production company Point Grey Pictures in 2011, are co-creators of 'The Studio' (first two episodes stream Wednesday, then weekly). Rogen stars as the recently appointed studio head Matt Remick, who replaces Patty Leigh (Catherine O'Hara) after several of her Continental Studios films bomb. Now in his dream job, cinephile Matt wrestles with wanting to make good, artful movies that are financially successful to please his boss (Bryan Cranston) and the desperate-to-be-relevant marketing executive (Kathryn Hahn).
Before showing an enthusiastic audience at the Paramount Theatre two of the season's 10 episodes, Rogen and Goldberg expressed their gratitude to executives in a way only comedians can.
'We are so appreciative that we got to make this show,' Goldberg said, 'and without you, our beloved studio executives, it never would have happened, or it totally would have happened with other execs at another company, but we wouldn't like them as much.'
'No! Not at all,' Rogen added.
Recognizing the powers that be is essential, Rogen told USA TODAY at the March 7 premiere.
'There's an episode (at) the Golden Globes where I just want to be thanked,' Rogen teases. 'That's something every studio head we talked to told us their greatest fear was, (that) they wouldn't be thanked in the speech.'
Rogen and Goldberg, who began writing an early version of 2007 hit 'Super Bad' when they were just 13, integrated several of their own head-scratching or wince-inducing experiences into the show.
'We were in a meeting once with an executive who said the thing I say (in the premiere), which is, 'I got into this because I love movies, and now it's my job to ruin them,'' Rogen said. 'Which became one of the cornerstones of the whole character, in a lot of ways.'
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Ike Barinholtz, who plays party boy executive Sal Saperstein, says there's a lot that 'The Studio' gets right about the entertainment industry.
'Most people who survive in the industry on those levels, they understand that you sometimes are going to have to compromise a couple things that you might want to do to survive,' he said on the red carpet. 'And that's kind of what's been going on for a long time. There's a lot of pressure, and when studio executives come to set it can be disruptive sometimes.'
The series adds another layer of realism with cameos: Olivia Wilde 'really surprised' Rogen, he said in an interview. Her portrayal of a director of a Continental movie is the first time they'd worked together. 'She's so funny in the episode she's in and she's someone I was a fan of for a long time. But I'd only met her a couple of times, and she just destroys in the show.'
Rogen was also stunned when a Hollywood heavyweight director agreed to appear.
'The set of this show was the first time I met Martin Scorsese, and we couldn't believe he did it!' Rogen candidly shared with the audience gathered for the premiere. 'But we worked hard to write roles we hoped were funny and that we hoped people would respond to, and all anyone wants is a good joke. That's what we really learned. It's very enticing to people to feel like they get to be funny. Even Charlize (Theron): We're like, 'You have one line, but it'll kill. We promise.''
Partial list of guest stars in 'The Studio'
Aaron SorkinAdam ScottAnthony MackieAntony StarrBryan CranstonCharli D'AmelioCharlize TheronDave FrancoDavid KrumholtzDevon BostickErin MoriartyGreta LeeIce CubeJean SmartJohnny KnoxvilleJosh HutchersonKit HooverLil Rel HoweryMartin ScorseseOlivia WildePaul DanoQuinta BrunsonRamy YoussefRebecca HallRhea PerlmanRon HowardSarah PolleySteve BuscemiZac EfronZack SnyderZiweZoë Kravitz
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USA Today
33 minutes ago
- USA Today
Miley Cyrus celebrates 'intense energy' of 'Something Beautiful' film premiere
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Los Angeles Times
3 hours ago
- Los Angeles Times
‘Somebody hug me!' 7 Emmy hopefuls on staying calm, hitting their marks and more
The Emmys' limited series/TV movie acting categories have come to represent some of the best and most-talked-about shows on television, and this year's crop of contenders is no exception. The seven actors who joined the 2025 Envelope Roundtable were Javier Bardem, who plays father, victim and alleged molester Jose Menendez in Netflix's 'Monsters: The Lyle and Erik Menendez Story'; Renée Zellweger, who reprises her role as the British romantic heroine in 'Bridget Jones: Mad About the Boy'; Stephen Graham, who co-created and stars in 'Adolescence' as the father of a teenage boy who commits a heinous murder; Jenny Slate, who plays the best friend of a terminally ill woman in FX's 'Dying for Sex'; Brian Tyree Henry, who portrays a man posing as a federal agent in order to rip off drug dealers in Apple TV+'s 'Dope Thief'; Elizabeth Banks, who takes on the role of an estranged sibling and recovering alcoholic in Prime Video's 'The Better Sister'; and Sacha Baron Cohen, who appears as the deceived husband of a successful filmmaker in Apple TV+'s 'Disclaimer.' The Times' news and culture critic Lorraine Ali spoke to the group about the emotional fallout of a heavy scene, the art of defying expectations and more. Read highlights from their conversation below and watch video of the roundtable above. Many of you move between drama and comedy. People often think, 'Drama's very serious and difficult, comedy's light and easy.' Is that true? Banks: I think the degree of difficulty with comedy is much higher. It's really hard to sustainably make people laugh over time, whereas [with] drama, everyone relates to loss and pining for love that's unrequited. Not everybody has great timing or is funny or gets satire. Henry: There's something fun about how closely intertwined they are. In my series, I'm playing a heroin addict running for my life, and I have this codependency with this friend … There's a scene where I've been looking for him, and I'm high out of my mind, and I find him in my attic, and all he's talking about is how he has to take a s—. And I'm like, 'But they're trying to kill us.' You just see him wincing and going through all these [groans]. It is so funny, but at the same time, you're just terrified for both. There's always humor somewhere in the drama. Banks: There's a reason why the theater [symbol] is a happy face/sad face. They're very intertwined. Renée, with Bridget Jones — how has she changed over the last 25 years and where is she now with 'Mad About the Boy'? Zellweger: Nobody's the same from one moment to the next, one chapter to the next and certainly not from one year to the next. It's been a really interesting sort of experiment to revisit a character in the different phases of her life. What I'm really grateful for is that the timing runs in parallel to the sort of experiences that you have in your early 20s, 30s and so on. With each iteration, I don't have to pretend that I'm less than I am, because I don't want to be the character that I was, or played, when she was 29, 35. I don't want to do that, and I certainly don't want to do that now. So it was really nice to meet her again in this place of what she's experiencing in the moment, which is bereavement and the loss of her great love, and being a mom, and trying to be responsible, and reevaluating what she values, and how she comports herself, and what's important and all of that, because, of course, I relate to that in this moment. Stephen, 'Adolescence' follows a family dealing with the fallout of their 13-year-old son being accused of a brutal murder. You direct and star in the series. What was it like being immersed in such heavy subject matter? Did it come home with you? Graham: We did that first episode, the end of it was quite heavy and quite emotional. When we said, 'Cut,' all of us older actors and the crew were very emotional. There were hugs and a bit of applause. And then everyone would be like, 'Where's Owen?' [Cooper, the teenage actor who plays Graham's character's son]. 'Is Owen OK? Is he with his child psychologist?' No, Owen's upstairs playing swing ball with his tutor. It was like OK, that's the way to do this — not to take myself too seriously when we say, 'Cut,' but when I am there, immerse myself in it. Let's be honest, we can all be slightly self-obsessed. My missus, she's the best for me because I'd phone her and say, 'I had a really tough day. I had to cry all day. My wife's died of cancer, and it was a really tough one.' She goes, 'The dog s— all over the living room. I had to go shopping and the f— bag split when I got to Tesco. There was a flat tire. They've let the kids out of school early because there's been a flood. And you've had a hard day pretending to be sad?' Bardem: I totally agree with what Stephen says. You have a life with your family and your children that you have to really pay attention to. This is a job, and you just do the job as good as you can with your own limitations. You put everything into it when they say, 'Action,' and when you're out, you just leave it behind. Otherwise, it's too much. Certain scenes, certain moments stay with you because we work with what we are. But I think it doesn't make you a better actor to really stay in character, as they say, for 24 hours. That doesn't work for me. It actually makes me feel very confused if I do that. On the show 'Monsters' I tried to protect Cooper [Koch] and Nicholas [Alexander Chavez], the actors who play the children, because they were carrying the heavy weight on the show every day. I was trying to make them feel protected and loved and accompanied by us, the adults, and let them know that we are there for them and that this is fiction. Because they were going really deep into it, and they did an amazing job. Elizabeth, in 'The Better Sister,' you portray Nicky, a sister estranged from her sibling who's been through quite a bit of her own trauma. Banks: I play a drunk who's lost her child and her husband, basically, to her little sister, played by Jessica Biel. She is grappling with trauma from her childhood, which she's trying not to bring forward. She's been working [with] Alcoholics Anonymous, an incredible program, to get through her stuff. But she's also a fish out of water when she visits her sister, who [lives in a] very rarefied New York, literary, fancy rich world. My character basically lives in a trailer park in Ohio. There's a lot going on. And there's a murder mystery. I loved the complication … but it brought up all of those things for me. I do think you absolutely leave most of that [heaviness] on set. You are mining it all for the character work, so you've got to find it, but I don't need to then infect my own children with it. Sacha, you have played and created these really gregarious characters like Ali G or Borat. Your character in 'Disclaimer,' he's not a character you created, but he is very understated. Was that a challenge? Cohen: It took me a long time to work out who the character was. I said to [director] Alfonso [Cuarón], 'I don't understand why this guy goes on that journey from where we see him in Act 1.' For me it was, how do you make this person unique? We worked a lot through the specificity of what words he uses and what he actually says to explain and give hints for me as an actor. A lot of that was Alfonso Cuarón saying, 'Take it down.' And there was a lot of rewriting and loads of drafts before I even understood how this guy reacts to the news and information that he believes about his wife. Jenny, 'Dying for Sex' is based on a true story about two friends. One has terminal cancer, and the other — your character — supports her right up until the end. Talk about what it was like to play that role in a series that alternates between biting humor and deep grief. Slate: Michelle Williams, who does a brilliant job in this show, her energy is extending outward and [her character] is trying to experiment before she does the greatest experiment of all, which is to cross over into the other side. My character is really out there, not out there willy-nilly, but she will yell at people if they are being rude, wasteful or if she feels it's unjust. [And she's] going from blasting to taking all that energy and making it this tight laser, and pointing it right into care, and knowing more about herself at the end. I am a peppy person, and I felt so excited to have the job that a lot of my day started with calming myself down. I'm at work with Michelle Williams and Sissy Spacek and Liz Meriwether and Shannon Murphy and being, like, 'Siri, set a meditation timer for 10 minutes,' and making myself do alternate nostril breathing [exercises]. Brian, many people came to know you from your role as Paper Boi in 'Atlanta.' The series was groundbreaking and like nothing else on television. What was it like moving out of that world and onto other projects? Henry: People really thought that I was this rapper that they pulled off the street from Atlanta. To me, that's the greatest compliment … When I did 'Bullet Train,' I was shocked at how many people thought I was British. I was like, 'Oh, right. Now I've twisted your mind this way.' I was [the voice of] Megatron at one point, and now I've twisted your mind that way. My path in is always going to be stretching people's imaginations, because they get so attached to characters that I've played that they really believe that I'm that person. People feel like they have an ownership of who you are. I love the challenge of having to force the imaginations of the viewers and myself to see me in a departure [from] what they saw me [as] previously. Because I realize that when I walk in a room, before I even open my mouth, there's 90 different things that are put on me or taken away from me because of how I look and how I carry myself. Javier, since doing the series are you now frequently asked about your own opinions on the Menendez case? The brothers claim their father molested them, and that is in part what led to them murdering their parents. Bardem: I don't think anybody knows. That's the point. That was the great thing about playing that character, is you have to play it in a way that it's not obvious that he did those things that he was accused of, because nobody knows, but at the same time you have to make people believe that he was capable. I did say to Ryan [Murphy] that I can't do a scene with a kid. Because in the beginning, they do drafts, and there were certain moments where I said, 'I can't. It's not needed.' The only moment that I had a hard time was when [Jose] has to face [his] young kid. It was only a moment where Jose was mean to him. That's not in my nature. Henry: I discovered, while doing my series, 'My body doesn't know this isn't real.' There's an episode where I'm shot in the leg, and I'm bleeding out and I'm on all this different morphine and drugs and all this stuff, and I'm literally lying on this ground, take after take, having to mime this. To go through the delusion of this pain ... in the middle of the takes, it was just so crazy. I would literally look at the crew and say, 'Somebody hug me! Somebody!' Stephen, that scene where you confront the boys in the parking lot with the bike, I was just like, 'Oh, my God, how many times did he have to do that?' This kid gets in your face, and I was like, 'Punch the kid!' My heart went out to you, man, not just as the character but as you being in there. Graham: Because we did it all in one take, we had that unique quality. You're using the best of two mediums. You've got that beauty and that spontaneity and that reality of the theater, and then you have the naturalism and the truth that we have with film and television. So by the time I get to that final bit, we've been through all those emotions. When I open the door and go into [Jamie's] room, everything's shaken. But it's not you. It's an out-of-body experience and just comes from somewhere else. Bardem: Listen, we don't do brain surgery, but let's give ourselves some credit. We are generous in what we do because we are putting our bodies into an experience. We are doing this for something bigger than us, and that is the story that we're telling. What have been some of the more challenging or difficult moments for you, either in your career or your recent series? Zellweger: Trying not to do what you're feeling in the moment sometimes, because it's not appropriate to what you're telling. That happens in most shows, most things that you do. I think everybody experiences it where you're bringing something from home and it doesn't belong on the set. It's impossible to leave it behind when you walk in because it's bigger than you are in that moment. Banks: I would say that the thing that I worked on the most for 'The Better Sister' was [understanding] sobriety. I'm not sober. I love a bubbly rosé. So it really did bring up how much I think about drinking and how social it is and what that ritual is for me, and how this character is thinking about it every day and deciding every day to stay sober or not. I am also a huge fan of AA and sobriety programs. I think they're incredible tools for everybody who works those programs. I was grateful for the access to all of that as I was making the series. But that's what you get to do in TV. You get to explore episode by episode. You get to play out a lot more than just three acts. Stephen, about the continuous single shot. It seems like it's an incredibly difficult and complex way to shoot a series. Why do it? Graham: It's exceptionally difficult, I'm not going to lie. It's like a swan glides across the water beautifully, but the legs are going rapidly underneath. A lot of it is done in preparation. We spend a whole week learning the script, and then the second week is just with the camera crew and the rest of the crew. It's a choreography that you work out, getting an idea of where they want the camera to go, and the opportunity to embody the space ourselves. Cohen: That reminds me of a bit of doing the undercover movies that I do because you have one take. ... I did a scene where I'm wearing a bulletproof vest. There were a lot of the people in the audience who'd gone to this rally, a lot of them had machine guns. We knew they were going to get angry, but you've got to do the scene. You've got one time to get the scene right. But you also go, 'OK, those guys have got guns. They're trying to storm the stage. I haven't quite finished the scene. When do I leave?' But you've got to get the scene. I could get shot, but that's not important. Henry: There's a certain level of sociopathy. Slate: I feel like I'm never on my mark, and it was always a very kind camera operator being like, 'Hey, Jenny, you weren't in the shot shoulder-wise.' I feel like such an idiot. Part of it is working through lifelong, longstanding feelings of 'I'm a fool and my foolishness is going to make people incredibly angry with me.' And then really still wanting to participate and having no real certainty that I'm going to be able to do anything but just make all of my fears real. Part of the thing that I love about performance is I just want to experience the version of myself that does not collapse into useless fragments when I face the thing that scares me the most. I do that, and then I feel the appetite for performance again. Do you see yourself in roles when you're watching other people's films or TV show? Graham: At the end of the day, we're all big fans of acting. That's why we do it. Because when we were young, we were inspired by people on the screen, or we were inspired by places where we could put ourselves and lose our imaginations. We have a lot of t— in this industry. But I think if we fight hard enough, we can come through. Do you know what I mean? It's people that are here for the right reasons. It's a collective. Acting is not a game of golf. It's a team. It's in front and it's behind the camera. I think it's important that we nourish that. Henry: And remember that none of us are t—. Bardem: What is a t—? I may be one of them and I don't know it. Graham: I'll explain it to you later.
Yahoo
5 hours ago
- Yahoo
6 Apple TV+ shows that are so good, I wish I could enjoy them for the first time all over again
If you purchase an independently reviewed product or service through a link on our website, BGR may receive an affiliate commission. There's a particular kind of magic that only comes with a first watch of a TV series — the sort of thing that makes you gasp at a twist you didn't see coming, get emotionally invested in a story and its characters, and whisks you away someplace else thanks to the visual magic of the medium. I've actually thought about this a lot while watching Apple TV+. It's no secret that Apple doesn't release as much content as most of the other streamers, but whenever Apple does get it right the result is often unforgettable. On that score, I've rounded up six Apple TV+ series below that are honestly so good, I wish I could erase them from memory just so I could experience them again for the first time. They range from heartwarming comedy to spy adventures and prestige drama that's as good as anything Hollywood has done in years. Today's Top Deals Best deals: Tech, laptops, TVs, and more sales Best Ring Video Doorbell deals Memorial Day security camera deals: Reolink's unbeatable sale has prices from $29.98 Bright, joyful, and full of heart, Acapulco has loads of How I Met Your Mother/The Wonder Years energy, thanks to narration by an older version of the show's main character — Maximo Gallardo, who as a young man in 1984 lands his dream job at the Las Colinas beach resort in Acapulco. The coming-of-age story unfolds with such a deft balance of charm and depth that by the end of each episode, you're either grinning or teary-eyed — and many times, both. The pastel-colored aesthetic and overall wholesome introduction to Mexico's culture certainly made me want to dig out my passport for that first visit to Mexico I keep planning. It somehow feels like underselling this next Apple TV+ standout by describing it as a mere TV show. Drops of God is a feast for the senses disguised as a family drama — sort of like a wine industry version of Succession. At the center of it all is a globe-spanning narrative stemming from the death of a wine expert who sets up a series of tests in order to determine who will inherit his estate: Will it be his estranged daughter, or his prized pupil? The series is tense, beautiful, and quietly devastating. And befitting its subject, the cinematography here is as intoxicating as an aged Bourdeaux. This dreamy adaptation of Min Jin Lee's award-winning novel is, without question, one of the most extraordinary things I've ever seen on television. It begins in Japanese-occupied Korea and follows Sunja, a young woman whose decisions echo across generations, as her family migrates to Japan and struggles to carve out a life amid war, discrimination, and dislocation. The title refers to the Japanese gambling game — one the family eventually turns into a livelihood — but it's also a haunting metaphor for the randomness of life, the slim odds of success, and the quiet resilience of those determined to endure. Here again, this is an Apple TV+ show that's on par with cinema. The visuals, the acting, and the storytelling in Pachinko are each breathtaking in their own right. Watching the show, dare I say, might even change you, not unlike the way traveling outside one's home country for the first time makes a profound impression on you. This next one broke the internet just a few months ago, with its jaw-dropping and supremely addictive second season. The premise behind Severance sounds simple: What if you could split your work and personal memories into two separate lives? The execution ended up being a masterclass in slow-burn tension, eerie world-building, and existential dread. Severance is actually so good, it's now the most-watched Apple TV+ series of all time, according to the streamer, and I envy anyone discovering this puzzle box for the very first time. It's rare for a spy thriller to be both razor-sharp and grimy, but Slow Horses pulls off that quirky balancing act thanks in large part to Gary Oldman's glorious mess of a lead performance. The show also pulls off a neat trick — it turns the espionage genre on its head by focusing on a team of MI5 outcasts rather than more competent secret agents with movie star good looks. The resulting story somehow makes these characters' loser status feel both hilarious and heroic. This is basically espionage with a hangover. It's messy and unpredictable. In a genre obsessed with perfection, Slow Horses makes failure look like a superpower. From its opening moments, Tehran grabs you and doesn't let go. This tightly-wound espionage thriller follows Tamar, a Mossad hacker sent undercover in Iran's capital, where one wrong move could mean the end — not just for her mission, but for her life. What makes the show stand out isn't just the cat-and-mouse plotting, but the emotional depth running beneath every decision Tamar makes. It's a story about identity, loyalty, and the psychological cost of living a lie. The upcoming third season has me especially excited — not just because Tehran raised its game significantly in Season 2, but also thanks to the arrival of Hugh Laurie, who joins the cast as a nuclear plant supervisor. When spy thrillers are done right, avoiding tired tropes and leaning into sharp writing and believable tradecraft, they're among my favorite kinds of shows to stream. And Tehran delivers so strongly, fans of The Bureau and The Americans will feel right at home here. With a lead actress who commands every scene and a constant undercurrent of tension, double-crosses, and moral ambiguity, Tehran stays a step ahead at every turn. Don't Miss: Today's deals: Nintendo Switch games, $5 smart plugs, $150 Vizio soundbar, $100 Beats Pill speaker, more More Top Deals Amazon gift card deals, offers & coupons 2025: Get $2,000+ free See the