‘Missing' Shows, Found! Get the Latest on Ahsoka, Monarch, P-Valley, Sugar, Anansi Boys and 25+ Others
Someone find a really, really large milk carton, because we have some 'missing' TV shows to report on!
In these times of 'un-renewals' and 'disappeared' content, TV shows more than ever have had a tendency to go 'missing' after being renewed, or after a finale airs. So, as we do now and again, let's see if TVLine can help hunt down your MIA favorite.
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The 'Lost & Found' list below covers three and only three kinds of shows, so read these parameters very closely before you 'What about…?' us:
❶ Renewed a long time ago, but it has been 🦗 since.
❷ Last aired at least nine months ago, and there is no official word on cancellation or renewal.
❸ Has been on midseason 'hiatus' for… a .
Period.
This is a Renewed/Cancelled scorecard. Far from it. No, this is a recurring status report on select shows that have been out of sight but not out of mind for their patient fans.
Peruse the list below and then hit the comments and tell us which series you are (still!) impatiently waiting for. And if a favorite 'forgotten' show isn't featured, be sure to check out our Broadcast TV Renewal Scorecard and our A-to-Z guide to 300+ return dates — or, email InsideLine@tvline.com to issue a 'BOLO' and we'll (maybe) hunt it down for ya!
Previously on: The Netflix Western — starring Lena Headey, Gillian Anderson, Patton Oswalt, Lucas Till (MacGyver), Ryan Hurst (Sons of Anarchy), Michiel Huisman and many others — was first announced in March 2023, and started production in May 2024. In October 2024, series creator Kurt Sutter exited the series (before filming wrapped), due to 'creative differences over the direction of the large-scale project.'
Current status: Filming has wrapped, but a Netflix premiere window remains TBA.
Last streamed: Season 1 of the Rosario Dawson-led Star Wars series streamed Aug. 22 through Oct. 3, 2023. Season 2 was (essentially) ordered three months later.
Current status: Filming on Season 2 began April 28.
Last streamed: Season 1 of the Christian Kane-led crime drama aired on WGN America (gosh, remember WGN America?!) in spring 2020; Freevee picked up the series and streamed Season 2 in July 2023.
Current status: Cancelled
Previously on: The six-episode adaptation of Neil Gaiman's 2005 fantasy novel of the same name (which features American Gods character Mr. Nancy) was ordered to series in July 2021. Malachi Kirby (Small Axe, Roots) was tapped to pull double duty as both Charlie Nancy and his brother, Spider, while tehr announced castings include Delroy Lindo as Mr Nancy, Amarah-Jae St. Aubyn (Small Axe) as teacher Rosie Noah, Grace Saif (13 Reasons Why) as Detective Constable Daisy Day, CCH Pounder (NCIS: New Orleans) as Mrs. Higgler, Jason Watkins (The Crown) as Graham Coats, Fiona Shaw (Killing Eve) as Maeve Livingstone, and Whoopi Goldberg as Bird Woman/God of Birds. Filming began in November 2021, and wrapped in May 2022.
Current status: Back in October 2024, TVLine's Inside Line column heard that Anansi Boys could/would bow in Q2 of this year. But in the wake of sexual assault allegations made against Gaiman in January, cast member Lindo recently speculated that the series might not ever 'see the light of day.' And yet… sources tell TVLine that Anansi Boys is currently on track for a Fall 2026 release.
Last streamed: Season 3 of the Netflix megahit streamed May 16 through June 13 of 2024.
Current status: In tandem with a Season 5 and 6 renewal announced in May 2025, Netflix said that Season 4 was on track for a 2026 release.
Last streamed Stateside: Peacock streamed the first two seasons of the Canadian thriller, with Season 2 dropping in August 2021. The series' third and final season aired in Canada back in August/September 2023.
Current status: TVLine checked in with reps for the Canadian production, and as of May 2025 there is still no word on anyone airing the final season Stateside. All three seasons can, however, be found/streamed on The Roku Channel.
Last aired: Season 3 of the Canadian family/legal drama aired Stateside, on The CW, Jan. 17 through March 20, 2024.
Current status: It was recently announced that Season 4 will premiere on The CW, ahead of any Canadian release, Wednesday, July 23 at 8/7c.
Last streamed: Season 4 of the alt-reality sci-fier streamed Nov. 10, 2023 through Jan. 12, 2024. Season 5 — as well as a Star City spinoff — was greenlit in April 2024, and filming on Season 5 began that July.
Current status: Apple TV+ has no updates to share on a Season 5 release window.
Last streamed: Season 2 of the hard sci-fi adaptation streamed July 14 through Sept. 15, 2023; Season 3 was greenlit that December.
Current status: Season 3 will premiere Friday, July 11.
Last aired: Season 1 of the coming-of-age drama based on indie pop duo Tegan and Sara Quin's eponymous 2019 memoir streamed Oct. 14 through Oct. 28, 2022.
Update: Cancelled in May 2024– even after all Season 2 scripts were written.
Last aired: Season 4 aka 'Holey Moley Fore-Ever' aired May 3 through July 12, 2022.
Current status: Stop me if you've heard this one before, but… no decisions have been made on the long-MIA, extreme mini-golf competition's fate! (As evidenced by the recent Match Game revival news, ABC doesn't really 'cancel' unscripted shows.)
Previously on: Ordered to series in October 2023 and based on May Cobb's novel, the twisty thriller tells the story of Sophie O'Neil (played by Brittany Snow) and her family's move from the East Coast to deep East Texas, where she succumbs to socialite Margo's (Malin Akerman) irresistible charms – and finds her life consumed by obsession, seduction, and murder. The cast also includes Chrissy Metz (in her first post-This Is Us TV role), Katie Lowes (Scandal), Jaime Ray Newman (Eastwick), Dermot Mulroney, Evan Jonigkeit, George Ferrier (One of Us Is Lying).
Current status: Filming began in spring 2024 and has wrapped; Starz has no updates at this time on a release window.
Last aired: Season 2 aired May 12 through June 30, 2024. Season 3, which will cover the second Anne Rice novel The Vampire Lestat, was ordered in June 2024.
Current status: As of March 2025, the writers room was hard at work and production was hoped to get underway 'soon.'
Last streamed: Season 1 streamed Nov. 17, 2023 through Jan. 12, 2024. Season 2 was ordered in April 2024.
Current status: Filming on Season 2 began July 31, 2024, and wrapped Feb. 20 of this year. Apple TV+ has yet to set a release window.
Last aired: Where to begin…?
Season 3 aka The Orville: New Horizons streamed June 2 through Aug. 4, 2022. When TVLine spoke with series creator/star Seth MacFarlane after the finale, he said that one sticky wicket was, 'How do I work it into everything else that's now going on?' (including but not limited to his Ted series for Peacock). 'I will say that I get as emotionally invested in the show as any of the fans, so I will find a way to do it if there is a Season 4.'
Craig Erwich, President, ABC Entertainment, Hulu & Disney Branded Television Streaming Originals, told TVLine in January 2023, 'It's a great show and I know that the fans loved having it back in their lives…. But we don't have anything to share right now.'
Current status: 'All I can say is the same thing that Hulu said, which is the show is not dead,' MacFarlane told TVLine in January 2024. 'Nobody has told me that it's dead from the network, so we're proceeding under those auspices.' Even in the wake of cast member Scott Grimes' claim at some summer 2024 con that Season 4 is happening, there is (still!) no official update.
Last streamed: Season 1 of the live-action fantasy adaptation streamed Dec. 19, 2023 through Ja. 30, 2024. Season 2 was ordered one week after the Season 1 finale dropped. Filming on Season 2 began in August 2024 and wrapped this February.
Current status: Though cast members Walker Scobell, Leah Sava Jeffries and Aryan Simhadri tease a 'Christmas' premiere date in the TVLine video above, Disney+ is only saying 'December' thus far.
Last streamed: Season 1 of the sci-fi series — in which teenage girls suddenly develop the power to electrocute people at will — streamed March 31 through May 12, 2023.
Current status: As reported by TVLine's Inside Line column in April 2025, The Power is cancelled and won't be back for Season 2.
Last aired: Season 1 of the semi-autobiographical sitcom created by Shea Seranno (and co-EP'd by Michael Schur) dropped all eight episodes on May 19, 2023. Schur &. Co had already 'written most of Season 2' as of that May — before the WGA strike hit — but at that time had no idea if Freevee would actually renew the series. 'We're obviously hopeful,' he said.
Update: Cancelled.
Last aired: Season 2 aired June 3 through Aug. 14, 2022. Season 3 was greenlit in October 2022.
Current status: Filming on Season 3, delayed by the WGA Strike, did not wrap until mid-November 2024. Starz has no updates to share on a possible release window.
Last aired: Season 3 aired Feb. 15 through April 3, 2024. Season 4 was greenlit that June.
Current status: Season 4 will premiere Friday, June 6 at 11/10c on both Syfy and USA Network, with episodes streaming on Peacock one week after air.
Last aired: Season 1 aired Stateside, on The CW, April 3 through June 5, 2024. Season 2 was greenlit — up north, at least — by Canada's CTV in June 2024.
Current status: Season 2 aired this winter on CTV. As of May 2025, The CW has yet to confirm whether it will offer Season 2 a Stateside home.
Last aired: Season 1 finale aired Sept. 5, 2019.
Current status: Still, as of May 2025, the Dax Shepard-hosted game show remains 'not cancelled.'
Last aired: Season 1 of the crime comedy, led by Garrett Dillahunt, streamed on Amazons's Freevee hub Aug. 19 through Sept. 15, 2022.
Current status: As recently as June 3, 2023, series creator Greg Garcia was still 'waiting to see if Amazon wants to do more.' But TVLine learned in May 2025 that Sprung in fact will not be back for Season 2.
Last streamed: Season 1 of the Colin Farrell-led… drama… streamed April 5 through May 17, 2024. Season 2 was ordered in October.
Current status: Filming on Season 2 got underway early this spring.
Last aired: Season 1 of the anthology series — which was subtitled The Battle for Uber and based on Mike Isaac's book of the same name — aired Feb. 27 through April 20, 2022. Ahead of the series' premiere, Super Pumped was renewed for a second season, which is/was to follow Isaac's forthcoming book about the rise of Facebook.
Current status: Showtime, which recently 'disappeared' Super Pumped Season 1 from its streaming platform, had no updates to share as of October 2023. (TVLine is checking on a fresher update.)
Last aired: Season 1 aired Stateside on FX in January/February 2017; Season 2 was ordered that March.
Current status: When FX chief Jon Landgraf was asked about the BBC-produced period drama back in February 2019, he listed it among several between-seasons series that were 'still active' at the cabler. In November 2021, Steven Knight — who co-created the series with star Tom Hardy — told Collider that with six of eight episodes written, 'we are trying to get the stars aligned so that we can get our star back on set.'
Much more recently, Hardy confirmed that Season 2 is still being written, and he intends to make time for it once ready. 'I've been working for the last seven years on [the] Venom [films], so it had to take a little bit of a back seat, but it's something that I'm very passionate about,' he told MovieWeb in March 2025. 'It's never been something that we didn't want to do. It's a question of when, and doing it properly.'
Last streamed: Season 2 of the Israeli spy thriller streamed May/June 2022; a third season, with Hugh Laurie joining the cast, was greenlit in February 2023.
Current status: Season 3 wrapped filming on July 30, 2023; according to a report by the Israeli news site Ynet, Apple TV+ is choosing not to release the new season until the Israel-Hamas war ends. (TVLine has reached out to Apple for comment.)
Last aired: Season 2 of the Jimmy Fallon-hosted variety series aired March 7 through May 15, 2023.
Current status: Sources tell TVLine that with Tonight Show/On Brand With host Fallon being busier than ever, That's My Jam is in 'pause mode' for the time being.
Last aired: Season 3 of the Canadian medical drama, like the ones before it, found a Stateside home on NBC, airing Oct. 12, 2023 through Feb. 9 of this year. The fourth — and final — season already aired in Canada, from Oct. 6, 2023 through Jan. 19, 2024.
Current status: Season 4 finally landed on NBC, with a double-episode premiere on May 22, 2025. It is currently airing Thursdays at 8/7c.
Last streamed: Season 3, spanning eight episodes, streamed Oct. 20 through Nov. 10, 2023. A fourth and final season was ordered in March 2024.
Current status: Filming wrapped last fall, and last I heard the series is on track to return as early as this summer.
Previously on: The 1950s-set prequel series to The Boys, starring Jensen Ackles and Aya Cash (as Soldier Boy and Stormfront), was announced in July 2024 at the San Diego Comic-Con. Other rumored cast include Will Hochman (Blue Bloods) and Elizabeth Posey (Heels).
Current status: As of late March, scripts were still being written, with an eye on a reported August production start date.
Last aired: Season 5 of the Chris Hardwick-hosted game show aired, off and off, from April 11, 2023 through Sept. 9, 2024.
Current status: The Wall will not return with new episodes until the 2025-26 TV season, TVLine has learned — and it is nowhere to be seen on the network's fall schedule, so….
Last aired: Season 1 of the fantasy drama was released in July 2020; seven weeks later, Netflix ordered a second season of the 'demon-fighting nuns.' Following at least six months of pandemic-related delays, Season 2 was released Nov. 10, 2022… and the series was cancelled a month later.
TV series creator Simon Barry tweeted in June 2023 that an 'epic' 'return' was afoot — though as TVLine scooped, no deals were in place, and certainly not at Netflix, for either a wrap-up movie or shortened Season 3. In August 2023, EP Dean English announced that Warrior Nun would return as a trilogy of movies, which comic creator Ben Dunn has since described as 'feature films' destined for 'the big screen.'
Current status: Alas, Barry in April of this year tweeted to anxious fans that 'the company that owns the movie rights has done nothing (and may not exist anymore as the CEO died). I have no control over the rights at all [and] in the same boat as you. Waiting….'
Last streamed: Season 1 of Netflix's most-watched U.S. title ever dropped Nov. 23, 2022. Season 2 was ordered in January 2023. Season 2 began filming in May 2024, and wrapped by early December.
Current status: The long-awaited Season 2 will drop in two batches — on Wednesday, Aug. 6, and Wednesday, Sept. 3.
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Creating Costumes For Teen True Love In Netflix's 'Forever'
Justin Edwards (Michael Cooper Jr.) and Keisha Clark (Lovie Simone) star in "Forever" on Netflix. Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix Tanja Caldwell designed the wonderful costumes for Mara Block Ali's Netflix series, Forever. But before that, it feels important to mention the source material on which the series is based. The novel, which has almost the same name, was first published in 1975, by beloved American author Judy Bloom. (Are You There God? It's Me, Margaret was also by Blume.) Forever-the-book won the Margaret A. Edwards Award in 1996, for its 'significant and lasting contribution to young adult literature,' and in 2019 was included in the BBC's list of the 100 Most Inspiring Novels. But regardless of its many commendations, the novel, intended for older teenagers, remains one of the 100 Most Frequently Challenged Books according to the American Library Association, 50 years after its original date of publication. Why? Because the book discusses sex and acknowledges that teenagers might be competent to both engage in the act and be able to deal with whatever consequences might arise afterwards. The reason the book resonated with teens in the 1970s and the 1990s is the same reason that the series resonates with viewers right now; it is a story that respects the voices of its young characters. In her adaptation, Ali made a point of conveying that respect, and of never looking down on her characters simply because they are young. Tiffany (Paigion Walker), Christian (Xavier Mills), Brittany (Adriyan Rae), and Shelly Clark (Xosha Roquemore) . Cr. Elizabeth Morris/Netflix © 2024. Elizabeth Morris/Netflix 'That was very important to Mara,' Caldwell told me, 'it was very important to Regina, who directed the first episode and was one of the executive producers, and all the directors that came on. Everyone, with Mara's lead, was about making it real and genuine to the time and to the people, the adults and especially the young people who are our main characters in this series. It was important to show that growth throughout. I think it's important to show young people in the diversity that they have, even at a young age. I think that gets them interested in their own storytelling, when we tell them in a way that's real and genuine to them.' [Caldwell, I need to tell you, was an assistant costume designer on Black Panther and Black Panther: Wakanda Forever, working under the incomparable Ruth Carter. It is so cool, I had to make sure you knew this.] Forever takes place in 2018 and 2019, a time which, post-Covid, feels almost technicolor in its innocence. These are also years that many members of Gen Z, the generation immediately following us millennials, spent in high school. Seven or eight years later those kids are all adults. Caldwell understood this, and she worked very hard to make her costumes Los Angeles in exactly those two years. Her research was incredibly extensive and the costumes reflect this fact, they are better for her diligent attentions but they never pull from the action occurring in a scene. Justin Edwards (Michael Cooper Jr.), Keisha Clark (Lovie Simone), Chloe (Ali Gallo), Aunt Katherine (Polly Draper) , Uncle Michael (Tim Bohn), and Jeanine (Sherri Saum) at the beach in episode five. Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix 'There are significant fashion differences between 2018-2019 and today,' Caldwell said, 'but there are also a lot of similarities. It was really important to make some distinguishing wardrobe options and choices, but we also were able to still play with more modern fashion, which helped us out a lot. The process for me really is discovery and research, about these different characters from the script, but also what young culture was in LA at that time.' Wardrobe on any production is a blend of apparel purchased, rented, tailored, remade, made from scratch. This show was no different, but needing clothing that was from a specific window of time, less than a decade old, meant the costume designer spent a lot of time in Los Angeles vintage stores. 'It was fun to dabble in vintage things, archive things, rare sneakers, rare t-shirts, things of that nature,' she told me when I asked about this. 'It was really fun to dig. When I was a teenager, I really loved vintage, I loved shopping for vintage. I think what I loved more than anything was the hunt, when you were able to find something really beautiful, really amazing, or more than one piece, and it was in great condition, or if it was a designer piece and in your size, so you just so happen to be able to fit it in.' Justin Edwards (Michael Cooper Jr.) and Keisha Clark (Lovie Simone) begin to bond in "Forever." Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix Figuring out who each character is, what they would wear and why, is something worked out between more than one person. The script might be specific about clothing, the showrunner and/or director will have thoughts, the production designer and the scenes they stage will impact how costumes read. Actor spend a lot of time figuring out who they are portraying, and for some performers that involves collaborating with the costume designer. It's a lot to think about and remember. 'Part of what I love about costume design is the research,' Caldwell said to me with a smile, deflecting my praise with precision. 'The discovery, who these characters are and how we see them through a lens of fashion, what will be distinguishing about their characters. One thing I talked about with Mara was creating somewhat of a uniform for Justin. Not that he was wearing the exact same thing, but if you look, you'll see most of the time he has a certain uniformity to what he's wearing.' 'He's always in Dickies,' the designer continued, 'different colors, some may be shorter or longer or more narrow or a little more aged. But he's always in Dickies, some form of a t-shirt, whether it's a plain shirt or it's a band shirt or something with a subliminal message on it. Then he's got a flannel shirt or some type of second layer, which I think is really indicative of Los Angeles culture. Layering is a big thing out here, just with the change of the weather.' Justin Edwards (Michael Cooper Jr.) in an awesome Dr. Dre tee from Episode 1 of "Forever." Credit: Hilary Bronwyn Gayle/Netflix © 2024 Hilary Bronwyn Gayle, SMPSP/Netflix When she was reading the script, the costume designer told me, she could feel the influence on Justin's character from his parents. She thought this might be something that would peek into his wardrobe, a tiny bit. 'His mother, especially,' Caldwell said. 'Whether he wants it or not, her influence, her hand on him is extremely close and heavy. I thought, if she's buying his clothes and she's watching him that closely, she's make sure he does his homework, she's got a tutor for him. She stays in touch with everything that he has going on. She's going to have some hands on his clothes. He's not going to have ripped distressed jeans with a lot of holes, w he's always going to look clean and put together, but still having his thumbprint on it some way, somehow.' 'With Karen Pittman's character, Justin's mother, having to be so strict because she loves him so much, maybe even a little bit to her fault, maybe a little bit overbearing. I think she still wants her son to show up in the world a certain way, that's how my parents were. You have some freedom to express yourself. But there are certain things in fashion, certain trends that you're allowed to do at this age and others you're not allowed to do, that's not the type of image you want to present yourself at this age or under my roof. These are the standards. I feel like that was more or less the way Justin's mother influences his style. His dad, I think he's the good cop. He doesn't say a lot, but when he speaks to his son, he always says something really profound and you just get it and there are some similarities in even the way that they dress. Even in the sweatshirts and hoodies, dad usually is very well put together, but he has this laid back feel. He's never super buttoned up or stuffy, but he doesn't look drabby or disheveled either. I think that's part of him being a chef and also an artist. I think that's why he may understand his son a little bit better.' Justin Edwards (Michael Cooper Jr.) and Darius (Niles Fitch) in personalized variation of their school uniforms. Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix As my regular readers will know, I am fascinated by uniforms, by the many, many ways there are to make or source garments en masse. I do love the challenge of military uniforms, but the sort worn to private schools offer similar challenges. 'We bought a ton of uniforms in the beginning,' Caldwell told me, 'because we knew we were going to need a multitude of them for background. We got a multitude of sizes. But before we even did that, we locked down with production, Mara especially, what the colors of the school are. Because there's a whole lot of work that goes into just clearing the name of a school and the colors that you use.' This is what I mentioned a little earlier, how no decision can be made independently of others. Telling stories on film is, by the nature of the medium, a collaborative art form. 'Once we decide what the colors are and what the name of the school is,' Caldwell told me, 'then we go out and we purchase from a uniform store. Then we go out and buy things for the main characters, just to add a little zhuzh to their particular uniform. But in this case, we tried to keep it really true to what it really is in LA. And a lot of private schools give you certain guidelines, on certain days you can wear this, and on certain days you can't. We were modeling their school off of a school that Mara and her nieces or nephews had actually gone to in Los Angeles. We tried to keep to what those standards and rules were. They all had their own little something because I think that's important.' Keisha Clark (Lovie Simone) in her school's uniform. Courtesy of Netflix Our main characters, Justin Edwards and Keisha Clark, don't attend the same high school, though they both do go to schools in LA. 'So, different colors and also two different standards of what the procedures are for those uniforms,' Caldwell reminded me. 'We did that research, and then we came about it organically. We tried on a bunch of different versions, the vest with the skirt, the vest with the plain skirt versus the plaid skirt. Her school didn't have a blazer. His school did, but didn't feel right for him but it felt great for Darius.' I asked the designer what she was concerned about most for Forever, what part of her job seemed to be most vitally attached to the arc the characters follow. 'For me, it was about trying not to draw so far outside the lines. I wanted to still be real and honest. And I love that the kids can wear their own sneakers, we definitely played that up with both of them. We definitely went in on the shoes. I think that was important, I think It's important to see representations of ourselves at every stage of life. If art is to imitate life, and vice versa, we have to show all those different stages, and we need to show it in the rawest, realest way. I think that sometimes we can be persuaded or influenced to show things in a way that we think we know it to be, not what it really is. So it is all about discovery and asking questions and observing people.' While I watched the series I kept noticing small things, like the way that the sportswear the teens wear after school at practice is carefully curated to the character who wears it. 'That's the thing about costume design,' Caldwell told me when I asked her about this,'just about everything is intentional, whether the viewer is aware of it or not.' How did this work practically? I was very curious, because things never happen on screen by accident, and when I see consistency across time, like I saw over and over in this series, I know it is because a person made certain that it did. The designer told me how she used color to subtly nod to the character wearing each costume. Tammy (Emyri Crutchfield) and Keisha Clark (Lovie Simone) in Episode 1 of "Forever." Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix 'For Tammy,' Caldwell explained, 'we put more in these darker muted colors, but they were still rich. We kept Keisha in the bright fluorescents, just because she's the star not only of the show, but she's also the star of the team. She's really pushing herself to get on a university track team and get that scholarship so she can attend. So I wanted her to stand out, even amongst her peers, when she was running. Even when she was with Christian at the Nike camp, I wanted her to seem bright. When she's at the Canyon, which worked really well because it was dawn, she's in a fluorescent orange, two-piece sports bra and matching shorts. When she's first running against Tammy and wins, she's in a fluorescent yellow Nike bra top and Nike shorts.' I asked Caldwell if she would tell me about something she was really proud of, something she figured out or made happen for Forever. There are so many more solutions than we are conditioned to see, and costume design is excellent proof that I am correct. A dozen costume designers presented with the same challenge would come back with a dozen different ways of making it happen. So, while working on this Netflix series, Caldwell generously told me this story, 'This was a really crazy story and something you don't see as much. We were doing interstitials, towards episode eight, Instagram shots that you see really quick that helps us pass time. There is a shirt that we actually made, one that we found, that was vintage,' the designer told me. 'We had to get it made because we needed multiples of it. And later we ended up revisiting it in a scene with Keisha and with Justin. ' 'In those shots,' Caldwell explained, 'Mara was putting them at a Little Uzi Vert concert. We went and found the Little Uzi Vert tour t-shirts from 2018, 2019, saw what those shirts looked like, and we really tried to get them. We only found one or maybe two. Scouring the world, you know, Etsy and vintage shops online and here in LA. The one thing about vintage is that when you're not looking for it, that's when you find it. If you look for something, you never find it. A few of them we had to recreate because we didn't have enough to place on all four actors. Costume designer Tanja Caldwell. Courtesy of Tanja Caldwell 'What's great about our process is in the beginning of prep, we were able to just start collecting a lot of beautiful vintage things. LA still has quite a few really great vintage stores that still collect, an assortment of really great tees in great condition. That was something from the research, in 2018, 2019, what did band tees look like? What concerts were going on? What artists were big then that teenagers were listening to?' Would she be willing to share any names of the places she likes to shop for vintage. 'I'm not a gatekeeper,' the designer said to me with a laugh. 'I like to share information because I like to get their information back. 'We found some really good t-shirts at American Rag on Melrose,' she continued. 'They're always really helpful and were really great, especially with Justin's band tees. They have a great assortment of vintage; skater, hip hop, old vintage Ralph Lauren… It was a really one-stop shop that we could go to. There's a really great shop, Virgo, that I love personally. It's in downtown LA and the owner is this really special young woman who started it. I go there to shop and I love their stuff.' When the last episode of Forever came to a close, I desperately wanted to warn the characters that Covid-19 was coming. That is how real these characters and story feel; the suspension of disbelief is as seamless as the costumes Tanja Caldwell designed for the series. 'I'm just really fortunate that I was able to be a part of it,' said the designer. All episodes of season one of Forever are available to stream on Netflix.
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‘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.
