U.K. Culture Secretary Hails ‘DDLJ' Bollywood Musical as Symbol of Growing India Ties (EXCLUSIVE)
'It was a privilege to represent the U.K. government in India last month where I met with my ministerial counterparts to help strengthen the deep cultural ties between our two great countries,' Nandy said. 'That deepening bond between our nations is evident in one of Bollywood's most beloved stories coming to the UK. I hope that 'Come Fall in Love – The DDLJ Musical' is a great success in Manchester showcasing a talented British cast, including many local performers from the North West.'
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'DDLJ' Musical Unveils Full U.K. Cast - Global Bulletin
The culture secretary's comments come as Aditya Chopra's English musical comedy adaptation of Bollywood blockbuster 'Dilwale Dulhania Le Jayenge' ('DDLJ') opened Wednesday night at Manchester Opera House. The production runs through June 21.
Manchester Mayor Andy Burnham said: 'We're proud to welcome the U.K. premiere of 'Come Fall in Love – The DDLJ Musical' to Manchester, a city that celebrates creativity, diversity, and international storytelling. This iconic reimagining of a beloved Indian film is a landmark moment for cultural collaboration between the U.K. and India, and we're honored that Manchester is at the heart of it.'
The musical is based on one of the biggest Bollywood blockbusters in Indian cinema history. 'DDLJ' holds the record as the longest-running title in Indian cinema, playing continuously in Mumbai since its 1995 release. The stage adaptation features 18 new English songs performed by a cast that includes both rising British talent with local links to Manchester and the North West, as well as internationally renowned South Asian artists.
Yash Raj Films CEO Akshaye Widhani said: 'It is always a great honor for us to take India and its stories to the world. We are thrilled to open 'Come Fall in Love – The DDLJ Musical' at the magnificent and historic Manchester Opera House. 'Dilwale Dulhania Le Jayenge' is not only YRF's treasured IP but it is one of the biggest IPs in the history of Indian cinema, a story that has resonated with people worldwide for over 30 years now.'
Widhani added: 'We look forward to sharing this magical version of 'DDLJ' with those who cherish the original film, as well as introducing the charm of DDLJ to new audiences for the first time.' He also praised Nandy's 'brilliant effort in forging deep cultural ties with India.'
The production stars Jena Pandya ('Bhangra Nation,' 'Mamma Mia') as Simran and Ashley Day ('An American in Paris,' 'Dynasty') as Rog, supported by a company including Irvine Iqbal ('The Father and the Assassin') as Baldev, Kara Lane ('The Addams Family') as Minky, and Millie O'Connell ('Six') as Cookie.
The award-winning creative team includes book and lyrics by Nell Benjamin (Tony winner for 'Mean Girls,' Olivier Award winner for 'Legally Blonde'), music by Bollywood hitmakers Vishal Dadlani and Sheykhar Ravjiani, and choreography by Tony, Olivier and Emmy Award winner Rob Ashford ('Frozen,' 'Cat on a Hot Tin Roof'). The production also features scenic design by two-time Tony Award winner Derek McLane ('MJ the Musical,' 'Moulin Rouge!') and Indian dance co-choreography by Shruti Merchant.
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Los Angeles Times
4 minutes ago
- Los Angeles Times
‘And Just Like That' is finished. We discuss the good, the bad, the pie and the poop
'And Just Like That,' it's over. Earlier this month, showrunner Michael Patrick King informed the world that the long-awaited, highly anticipated and then almost universally hated sequel to HBO's groundbreaking series 'Sex and the City' would end. Mere weeks later, it did just that and rather abruptly, with two Thanksgiving-themed episodes, which felt a bit odd in these dog days of summer. But at least it allowed the writers to box up and tie off all the various storylines as if they were the medley of pies Carrie (Sarah Jessica Parker) picks up and delivers to all her friends during the show's finale. If you think those pies denote happiness, you would be right. The main feast at Miranda's (Cynthia Nixon) apartment falls far short of perfection — loads of no-shows, the appearance of chef Brady's (Niall Cunningham) passive-aggressive baby mama, an undercooked turkey and a toilet disaster — but in the end, every character is left wallowing in peace and satisfaction. Miranda lowers her defenses enough to tell Joy (Dolly Wells) that she is a recovering alcoholic, to which Joy responds with deep understanding. Prostate cancer survivor Harry (Evan Handler) becomes fully, er, functional again and in the afterglow, Charlotte (Kristin Davis) finally surrenders the girly expectations she once had for her nonbinary daughter Rock (Alexa Swinton). After fleeting concern that her crunchy gardener lover Adam (Logan Marshall-Green) doesn't believe in big weddings or even marriage, Seema (Sarita Choudhury) accepts that true, and committed, love comes in all shapes and sizes. As do Anthony (Mario Cantone) and Giuseppe (Sebastiano Pigazzi). Whether Lisa's (Nicole Ari Parker) renewed devotion to husband Herbert (Christopher Jackson) counts as a happy ending is open to debate, but at least he seems to be letting go of his 'humiliating' loss in the New York City comptroller race. As for Carrie, well, after her renewed romance with Aidan (John Corbett) became blighted by mistrust, she had a lovely brief affair with Duncan (Jonathan Cake), the British biographer living in the basement of her townhouse. But in the end, she decides, via the novel that served as this season's voice-over, that life in a fabulous Manhattan apartment with a closet that looks like it was shipped from 'The Devil Wears Prada' costume department and a group of fine faithful friends (including a cantankerous baker who allows her to order pies long past the pie-ordering deadline), does not require a man to be complete. Culture critic Mary McNamara, staff writer Yvonne Villarreal and television editor Maira Garcia compare notes on the end of one of the most discussed, if not beloved, reboots in television history. Mary McNamara: When I wrote about 'And Just Like That' a month ago, I expressed my hope that Season 3 would be the last, so I feel nothing but relief (though had I known the universe was in listening mode, I would have also mentioned wanting to win the lottery and a few other things). I am not worried, as others appear to be, about the legacy of 'Sex and the City,' which is all around us in series as disparate as 'Broad City,' 'Fleabag' and 'Insecure.' Nor do I think that the failure of 'And Just Like That' has anything to do with the current political climate or the rise of the trad wife or whatever hot takes seem handy. It was simply and consistently a very bad TV show. I tuned in initially because, like many, I was excited to see how these characters were coping with late middle-age life — by apparently not experiencing menopause for one thing (an early indication that female authenticity had fallen by the wayside) or developing any sort of interior life. Real crises — Carrie losing Big and 'dealing' with Aidan's troubled son, Miranda discovering her queerness and alcoholism, Charlotte struggling to cope with her daughter's gender fluidity and her husband's cancer — were treated performatively, as plot twists to underline, apparently, the resilience of each character and the core friendship. Not a bad objective, but the hurdles, which increasing felt like a whiteboard checklist (podcasts! pronouns! prostate cancer!), came and went so fast they quickly became laughable (and not in the comedic sense), culminating with Lisa's father dying twice. I kept watching, as many did, not because I loved hating it, but because there was a good show in there somewhere and I kept waiting for it to emerge. When it didn't — well, the Thanksgiving/pie finale was a bit much — I honestly didn't care how it ended, as long as it did. Maira Garcia: Mary, after you wrote your column, I decided to take a break from the show because it summarized some of my frustrations with the reboot that seemed to come to a head this season — Aidan's unrealistic expectations for his relationship with Carrie, the perfunctory way it addressed ADHD, the lack of rugs on Carrie's floors. Of course my break didn't last long because I caught up and now I'm here wondering what it was all about and what it could have been. While the line from King and Parker is that this season felt like a good place for the show to end, based on the number of developing storylines, like Brady becoming a father, I have a very hard time believing it. But the problem of how to fix this show was too big — it was better that they ended on this chapter (whether or not that decision was made by them). I think like many viewers, I just wanted to enjoy spending some time with these ladies again at a later stage in life after a couple of decades with them through reruns and the films. But this was something else and while the addition of new characters seemed well-intentioned, they either lacked dimension, meaty storylines or were plain annoying (ahem, Che) — except for Seema. I love Seema. Please get Sarita Choudhury a spinoff. Yvonne Villarreal: Uh, is it sad that I'm sad? I know, I know. But, look, I feel like the girl who cried 'Che?!' too many times and now it's real and it's like I've been mentally placed in that insane DIY mini foyer of Carrie's old apartment trying to emotionally find my way out. Like you, Mary, I've been frustrated endlessly by the series and have long felt like it needed to be put out of its misery, but I still dutifully watched every episode with a weird mix of enthusiasm and dread — and the community that grew (in my TikTok algorithm and in my group texts) from that shared experience was oddly one of the bright spots. So for HBO Max to call my bluff by actually ending it still feels like a breakup as flabbergasting — albeit, necessary — as Berger's Post-it note peace-out. I came in ready to approach this stage of my relationship to these characters the same way I approach the friendships I've maintained the longest — excited to catch up once our schedules aligned, trying to fill in the blanks from the long absence caused by life, but still recognizing the foundation of who they are and how they're choosing to navigate life's curveballs. But with each passing episode, it always seemed like I was at the wrong table, perplexed and trying not to be rude with all the 'But why?' questions. Miranda's quote from this week's finale, as she took in the most bizarre Thanksgiving dinner television has ever put onscreen, felt like the epilogue to my experience watching it all: 'I'm not sure exactly what's happening now, but let's all take a breath.' I will mourn the potential of what this series could have been. Like Carrie's playful tiptoe stride through the streets in heels, the show pranced around topics that, had it walked through them with intention, would have given the series traces of its former self. That friend moment between Seema and Carrie outside the hair salon in Season 2 — where the former is reluctantly but bravely expressing that she feels like she's being dropped now that Aidan is back in the picture — was such a genuine peek at the vulnerability between friends that so many of us valued from the original series. And that moment from this week's finale, where the women are gathered at a bridal runway show, sharing their varying feelings on marriage at this stage in their life — I just wanted to shout, 'MICHAEL PATRICK KING, this is what I wanted more of!' Though, I would have preferred if they were around a table, looking at each other as they shared and unpacked. I wanted an extended scene of that, not Carrie ordering pies! I don't like to be teased with goodness. And that's how it often felt. Also, I know it's a comedy, although the decision to lean into the sitcom style of humor remains perplexing (Harry and Charlotte, I'm looking at you), but I felt like there was a way to explore grief — the death of Mr. Big and Stanford, plus the strain on the group's friendship with Samantha — in a way that felt truer to the characters and the style of the show. Heck, even Miranda's drinking problem was squandered. I feel like the loss of a spouse (through death, divorce or emotional distance), the fading out of friendships and reconsideration of lifestyle habits are the most talked-about topics in my friend group at this stage in my life — sometimes the convos happen while we're huddled around a Chili's triple dipper, which is as bleak and real as it gets. And I'm sorry, but if I were to use one of those outings, when I'm in my mid-50s, to tell them an ex wants me to wait five years while he focuses on being a toxic parent before we can really be together, they'd slap me with a fried mozzarella stick — I will never forgive the writers for how lobotomized these characters feel. Mary and Maira, how did you feel about how the show handled its biggest absences? The show began in such a different place than where it ends — did it evolve in the right direction? Where did it go right for you? McNamara: Oh Yvonne, you are so much kinder than I am. I never felt it was going right — the writers seemed so determined to prove that women in their 50s aren't boring that they constantly forced them into all manner of absurd situations without much thought for what kind of actual women these characters might have become. Age was represented mostly by bizarre, grannified reactions to younger folk and their strange ways (up until the finale, which gave us that baby mama and her buddy Epcot), as if the women (and the writers) had been kept in a shoe box for 20 years. Looking back, the lack of Samantha, and Cattrall, feels like a deal-breaker. For all her campy affectations, Samantha was always the most grounded of the characters, able to cut to the heart of things with a witty line, biting comment or just a simple truth. Seema, and Choudhury, did her best to fill that void, but she never got quite enough room to work — her relationship was almost exclusively with Carrie for one thing and Carrie was, even more than in 'Sex and the City,' the driving force of the show. I agree that grief was given very short shrift, and the fact that no one seemed to miss Samantha very much, or be in touch with her at all (beyond the few exchanges with Carrie) was both bizarre and a shame — coping with the loss of a dear friend, through misunderstanding or distance, is a rich topic and one that many people deal with. As for the resurrection of Aidan, well, who thought that was going to work? Especially when it became clear that the writers thought it made perfect sense to keep Carrie and Aidan's children separate — so unbelievable, and demeaning to both characters. Carrie's final 'revelation' that a woman doesn't need a man to be happy would have had a much more meaningful resonance if Carrie had been allowed to explore her grief, fear, frustration and hope beyond a few platitude-laden conversations and that god-awful novel. Which, quite honestly, was the funniest thing about this season. When her agent went bananas over it, I literally walked out of the room. Garcia: Samantha, and Cattrall in turn, were sorely missed. And you're right, Mary, Seema filled some of that void, and you really need that connection across the different characters. Which leads me to my biggest gripe: Why did some characters feel so distant? Lisa's storyline this season was so disconnected from the rest — it seemed like she was with the core group only in passing. And it happened with Nya (Karen Pittman), who disappeared after Season 2, though that had to do with scheduling conflicts. As far as its evolution, I was glad to see the podcast group, with its overbearing members, whittled away — though we had to deal with Che for another season. Those overbearing characters kept getting replaced with other overbearing characters like Giuseppe's mother, played by Patti LuPone, and Brady's baby mama and her odd pals (if the writers were trying to get us to scratch our heads at Gen Z, they did it). While I'll miss being able to turn my brain off for an hour each week, along with the occasional shouts at my TV over some silly line or moment, I can't say I was satisfied in the end. At least when someone said or did something stupid in previous iterations of the show, it was acknowledged in a way that felt true the characters and there was some growth expressed. After the return of Aidan, I can't say that's true here. But now that we're at the end, I have to ask you both how this affects the SATC universe? Did this disrupt the canon? Was there something memorable you'll take away at least? A character, a moment, a ridiculously oversized piece of jewelry, hat or bag? Villarreal: Oh geez. There's no question — for me, at least — where this sequel falls in the SATC universe. The original series, even with its moments that didn't stand the test of time, will always be supreme; the first movie, while hardly perfect, gave us some memorable BFF moments — like Charlotte giving Big eye daggers after he left Carrie at the altar or Samantha feeding a heartbroken Carrie — that keep it in my rewatch rotation. I'd place 'And Just Like That …' after that, with the Abu Dhabi getaway movie dead last. What will I miss? For sure the fashion moments, especially the ones that broke my brain, like Carrie's Michelin Man snowstorm getup or her recent gingham headwear disaster that my former colleague Meredith Blake described as Strawberry Shortcake … and don't get me started on Lisa's jumbo balls of twine necklace. I'm curious, Mary, as someone who has watched your share of series finales, how you felt about this conclusion and whether it served that mission. This season had episodes that felt like wasted filler and didn't do much to move the plot forward. Last week's penultimate episode is what convinced me the wrapping up of this series was not planned. It was 28 minutes of huh? And what about Carrie's book? I would add it to my Kindle just out of curiosity. While I maybe would have seen all that's transpired as an opportunity for Carrie to write a memoir on love and loss à la Carole Radziwill, I did get a kick out of the excerpts from Carrie's take on a 19th century woman having an existential crisis. And look, maybe I'm schmaltzy, but I did sort of love the last line she tacked on in her epilogue: 'The woman realized, she was not alone — she was on her own.' Mary, are you judging me right now? I promise I didn't dance to Barry White's 'You're the First, the Last, My Everything' through the halls of my apartment after watching. But I would have loved more exploration of that thread sooner — I mean, aren't there studies about women being happier, or at least less stressed, later in life once their spouse dies? I believe it! It doesn't mean you can't have companionship in other ways. Anyway, what's the takeaway from what happened with this show? Hollywood isn't going to stop trying to find new life in established properties. So, what can be learned from what went wrong here? McNamara: Yvonne! I would never judge you! And the world would be a far better place if everyone danced around their domiciles more often. I think Carrie realizing that her life is full and happy without a partner is actually a perfect way to end this series. (She will certainly never want for romance — So. Much. Tulle.) I just wish it had felt less rushed and did not involve a weird giant plushie at a robot restaurant. Whatever sequence of events led to the final scene, I have to believe that was going to be Carrie's journey all along. I even liked the debate over the ending of her book — if only the book had not been so terrible! I will certainly miss marveling at Parker's Olympics-worthy ability to navigate nearly any surface in heels (and 'sell' outfits that seem more like Halloween costumes than style) as well as those rare conversations, like the one at the bridal show, that allowed a situation to be viewed from multiple points of view. As for the finale, it felt very much in keeping with the intention, if not the overall execution, of the series. I am not cold-hearted enough to want any of these characters to depart mid-crisis or accept less than a happy life. Sure, it was a bit pat, with everyone's story neatly boxed up like a Thanksgiving pie. But who doesn't like pie? Garcia: I love pie! But let's not forget, like the toilet that overflowed (with a few logs, to boot) in the final scenes, too much of something isn't always what we need. Villarreal: Is this a safe space to share that if the girls make up with Samantha/Cattrall in their 70s, I'll be ready for their return to my screen? Sorry, not sorry — I don't have time to set healthy boundaries with friendships that are no longer serving me.
Yahoo
19 minutes ago
- Yahoo
Biggest Loser 's Bob Harper Calls Out Jillian Michaels for This Snub
Originally appeared on E! Online endured a big loss after experiencing a major health crisis. The Biggest Loser alum seemingly confirmed an ongoing feud with costar , revealing that in the wake of his life-threatening heart attack in February 2017, he received well-wishes from many of his colleagues on the NBC reality series—but notably did not hear from his fellow trainer. 'We weren't besties, but we were partners on a television show for a very long time,' Bob, 59, told The Guardian in an interview published Aug. 14, adding that his former costar's silence 'spoke volumes." But the fitness expert—who coached contestants on the competition show from 2004 to 2020—stressed that the snub didn't exactly take him by surprise, adding, 'I would not expect Jillian Michaels to do anything other than what she wants to do.' E! News has reached out to Jillian's rep for comment but has not heard back. Shortly after his medical episode, Bob noted that despite his active lifestyle, his survival largely came down to luck. Keep scrolling to see what more stars have said about their own health scares. More from E! Online Jason Kelce Gets Emotional Over Taylor Swift's Adorable Comment About Travis Kelce Taylor Swift Reveals What She Told Travis Kelce on First Date Travis Kelce Shares Heart-Melting Reason He Wanted to Date Taylor Swift After Eras Tour 'I had what they call a 'widow-maker,'' he explained to Today in April 2017. 'It was a six percent survival rate, and the fact that there were doctors in the gym when I had the heart attack saved my life.' While the Traitors star ultimately lived to tell the tale, he admitted the ordeal made him see his wellness regimen through new eyes. 'After my heart attack, I really went through a complete identity crisis having to figure out what life would be like,' he told E! News in February 2018. 'It was really difficult to figure out me, the fitness guy, how everything had changed after that.' But Bob—who got engaged to Anton Gutierrez in 2019—managed to find community among others who had similarly defied the odds, calling the experience 'a second chance at life.' 'I realize I'm part of a club—the heart attack survivors club,' he continued. 'It's never a club you want to be in, but once you're in, you find that there are other people just like you that are in need of guidance, in need of support.' Keep scrolling to see what more stars have said about their own health scares. Nikki Garcia's Breast Implant InjuryLupita Nyong'o's Uterine FibroidsSuki Waterhouse's HerniaBrian Austin Green's Perforated AppendixAdam Devine's Long-Term Injury From Childhood AccidentJason Tartick's Back InjuryMatt Kirschenheiter's Heart AttackTracy Morgan's Medical EmergencyChristy Carlson Romano's Eye InjuryAmy Schumer's Cushing SyndromeCasey Fitzgerald's Neck Injury From Hockey Skate BladeHailey Bieber's Blood ClotJustin Bieber's Ramsay Hunt SyndromeJamie Foxx's Brain Bleed & StrokeEmilia Clarke's Brain AneurysmCori Broadus's StrokeShailene Woodley's Health Battle For the latest breaking news updates, click here to download the E! News App Solve the daily Crossword
Yahoo
2 hours ago
- Yahoo
Sex, lies and small-town scandal. No wonder ‘The Hunting Wives' is a Netflix hit.
It's part soapy drama, part erotic thriller and a whole lot of fun. Don't take it too seriously. When The Hunting Wives star Jaime Ray Newman was on a small ferry outside of Vancouver Island last week, she learned firsthand just how much buzz the sexy drama has created. Newman, who plays fiery, red-haired Texan Callie, overheard a group of friends debating what to binge-watch next. When one of them mentioned The Hunting Wives, two women on the boat who weren't part of the group interjected: "Oh my God, we just finished that. Have you seen it yet?" "All of a sudden, the whole boat started talking about the damn Hunting Wives," Newman tells Yahoo. She had changed her hair since the show came out, so she wasn't immediately recognizable. But when a producer she was with pointed her out to the group, they started to freak out. "All of a sudden, I was Julia Roberts on the boat. Everyone wanted selfies." It's a clear sign of how The Hunting Wives is the show of the moment. Last week, it pulled in over 2 billion minutes viewed on Netflix, according to data analytics platform Luminate. That was more than double its debut week numbers, an impressive accomplishment for a show licensed for only U.S. streaming. It remains in Netflix's Top 10. Based on May Cobb's bestselling novel, the series follows Sophie (Brittany Snow), who moves with her family from Boston to Texas. As she settles into the small town, Sophie becomes dangerously entangled with a socialite named Margo (Malin Akerman), spiraling into obsession, seduction and murder. Politics, guns and a touch of campy dialogue are thrown in too. Beyond the premise, what's so resonant about this raunchy series? The shock factor From steamy scenes to unexpected plot twists, The Hunting Wives pushes the envelope. That's especially true with how the series explores sex. There's the unconventional marital arrangement between Margo and her husband, Jed Banks — a debauched oil tycoon played by Dermot Mulroney — which allows them both to sleep with other women. And they both do … a lot. Akerman's character ultimately shares intimate moments with both Snow's and Newman's. There's also a storyline of her sleeping with the son of her best friend, a barely legal teen. Aside from 2021's Sex/Life, this might be the most risqué original series Netflix has ever released. Up until just two months ago, The Hunting Wives was actually slated to premiere on Starz. As Snow told Glamour, the cast filmed the series believing it would land with a smaller audience and potentially become a 'cult classic.' But Netflix changed the equation — and with a much bigger streaming audience comes a lot more opinions. As for the nudity, yes, it's meant to be provocative. 'Nobody who puts this many naked people on TV does it entirely for educational or creative purposes,' Linda Holmes wrote for NPR, while also pointing out how 'everybody seems to be having a transparently great time.' Snow told Glamour she didn't find that nude scenes were 'gratuitously done, where we're showing this shot of a woman's body for no reason.' 'It's all part of the story that needs to be told, specifically because of Margo's coercion and power and making these moves on Sophie, the sex scenes need to happen because Margo uses her sexuality and prowess to make sure that Sophie feels like she's finally being seen,' she said. This show isn't just buzzy because of the sex, although Episode 7's pegging scene might be the most jaw-dropping moment of them all. "Respectfully, the entire meat of the series is its indescribable, inescapable, horniness,' Rolling Stone says. There are plenty of wild antics that make The Hunting Wives an unhinged binge. In one episode, the hunting wives load up for a boar hunt, and after Callie calmly finishes one off, the women celebrate with a boozy brunch of mimosas, gossip and a game of never-have-I-ever that ends with a manslaughter confession. That abruptly ends the party … until two characters embark on an alcohol-and-Xanax rager and invite younger men over for a game of spin the bottle. There's also enough political satire to ruffle both sides of the aisle. Akerman has said her character was inspired by Melania Trump, and an abortion storyline comes with a side of anti-abortion posturing. Critics have called it a 'bonkers, bisexual culture-war soap,' with each episode going further than expected. While all that chaos keeps the entertainment dialed all the way up, it's part of the show's charm. This isn't a prestige drama like Succession or The Crown — it's your new guilty pleasure, dripping in scandal and served with a cold glass of whiskey. Beneath the sex, power plays and whodunit murder mystery, The Hunting Wives knows exactly what it is: a glossy, high-octane escape that doesn't take itself too seriously. Escapism at its finest With its biting one-liners — "she's a coastal elite with a body count" or "open marriages are for liberals" — chaotic Southern style, The Hunting Wives is about having a good time. "There are serious things that we're dealing with, but we come off the [storylines] quickly. We want to entertain," Newman says, crediting showrunner Rebecca Cutter for this no-holds-barred approach. "Oftentimes shows pussyfoot a little bit. They're a little too scared to upset this group, a little scared to upset that demographic. So they end up just playing it so down the middle, and Rebecca has no fear," Newman continues. "She threads that very delicate needle. Every now and then, you get a writer who comes along who just speaks to everyone.' The Hunting Wives certainly speaks to a female audience. The show offers complex, unapologetic characters who break the mold, telling stories that entertain an often-overlooked demographic. Although Sex and the City paved the way in 1998, it's rare to find TV shows centered on female desire and ambition, especially when it comes to portraying women over the age of 40. SATC spin-off And Just Like That... was recently canceled after three seasons, highlighting the challenge of sustaining these narratives. The Hunting Wives rises to the occasion, offering a bold exploration of women navigating power, intimacy and self-discovery without hesitation. 'Why can't women talk about wanting to have sex and be pleased?" Newman asks. 'Most stories are centered around men's pleasure, but finally, we get to be the forefront of these stories. So I think it's about time." This perspective in storytelling is speaking to audiences, especially as women are increasingly demanding their voices and experiences be heard. "Thank God we have writers like Rebecca to clear the way for us. People are so interested,' Newman says. 'You can see that [portraying] women in their 40s garners huge audiences." Will there be a Season 2? There's no official word yet on whether Netflix plans to greenlight a second season, but if the show stays at the top of the charts and the tip of everyone's tongues, it's hard to imagine why the streaming giant wouldn't invest. Newman says the cast and crew all hope it happens. "I cannot express enough the bond that we all had on this set. There was not a bad apple among the bunch. It's very rare to experience that. We all came into the show very seasoned,' she says. 'That is also the benefit of casting women who've been around for a long time. We've all seen good behavior and bad behavior on set." Newman is happy to leave the bad behavior on your TV screens. If that offends you, too bad. "Listen, maybe there are a few people that this angers, but whatever," she says. "Find another show." Solve the daily Crossword
