Casting News: Nicole Kidman Lands Yet Another Series, Power Reunion at Netflix and More
Nicole Kidman's got a lot of horsing around in her future.
The Emmy- and Oscar-winning actress will star in and executive produce Girls and Their Horses, which is in development at Prime Video, our sister site Variety reports. Based on Eliza Jane Brazier's 2023 novel, the series is a murder-mystery set in Rancho Santa Fe, Calif. Per the official logline, the plot 'follows the newly wealthy Parker family as they aim to position their teenage daughters in the rarified, sometimes deadly world of competitive horse racing.'
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Jenna Lamia, with whom Kidman worked on The Perfect Couple, will serve as showrunner and executive producer. Brazier will pen the pilot and also be an EP.
Girls and Their Horses is the latest on Kidman's long list of TV projects over the past few years, which includes Nine Perfect Strangers, Lioness, Top of the Lake: China Girl, The Perfect Couple, Big Little Lies, The Undoing, Expats and the upcoming Scarpetta and Margo's Got Money Problems.
In other recent casting news…
* Mark Feuerstein (Royal Pains) has joined the cast of Nemesis, the Netflix drama from Courtney Kemp and Tani Marole. Feuerstein will play Sam Morrow, 'a high-powered attorney and total shark willing to toe the ethical line in the name of protecting his clients,' Deadline reports. In addition to reuniting with Kemp, who cast him as a recurring character in the Powerverse, Feuerstein will join fellow Power alum Shane Johnson on the new series.
* Isabella Briggs (Sugar) and Kristen Connolly (FBI: International) have landed series-regular roles in the third and final season of Prime Video's The Summer I Turned Pretty, premiering with all 11 episodes on Wednesday, July 16. Additionally, Sofia Bryant (I Am Not Okay With This), Lily Donoghue (Daisy Jones & the Six), Zoé de Grand'Maison (Riverdale), Emma Ishta (Stitchers) and Tanner Zagarino (Shrinking) will recur in the final season.
* Asante Blackk (This Is Us, When They See Us), Peyton Alex Smith (All American: Homecoming, Legacies), and Simmie Sims III have joined FX's Snowfall spinoff pilot, Variety reports. Character details are being kept under wraps.
* Victoria Pedretti (YOU, The Haunting of Bly Manor) and Kiera Allen (Watson) will star in Disinherited, new drama pilot from Peter Gould (Breaking Bad, Better Call Saul) in development at FX, per our sister site Deadline. The potential series will find a pair of scrappy sisters entering a world of generational wealth and long-buried crimes after receiving an unexpected inheritance.
Hit the comments with your thoughts on the castings above!Best of TVLine
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USA Today
26 minutes ago
- USA Today
'Good Night, and Good Luck' penultimate performance: See cast, how to watch play live
'Good Night, and Good Luck' penultimate performance: See cast, how to watch play live Show Caption Hide Caption George Clooney gets star-studded support on Broadway debut night George Clooney's celebrity friends came out in support on the opening night of his Broadway debut. In the words of George Clooney's Edward R. Murrow: "There are a certain kind of people wired a certain kind of way, who know there's a story behind the story if you're bold enough to search for it." The 64-year-old Academy Award-winning actor says this line in the trailer for the Broadway play, "Good Night, and Good Luck," which CNN will be airing and streaming the production's penultimate performance this weekend. According to CNN, the "Good Night, and Good Luck" plot tells the "gripping true story of journalist Edward R. Murrow's legendary showdown" against U.S. Sen. Joseph McCarthy. The play is based on the 2929 Entertainment and participant film of the same name, distributed by Warner Bros., and co-written by Clooney and Grant Heslov, the outlet says. The film was released in 2005 and featured Clooney and actors Robert Downey Jr and Jeff Daniels. CNN will air the performance of the five-time Tony-nominated play live for one night only. The performance airs one night before the Great White Way's annual awards show. Here's how to watch and stream the play. What to watch this weekend: New TV shows, movies on streaming How to watch 'Good Night, and Good Luck' "Good Night, and Good Luck" airs on June 7 at 7 p.m. ET/4 p.m. on CNN apps and Viewers may also stream it on Max. 'Good night, and Good Luck': Watch trailer 'Good Night, and Good Luck' Broadway play cast The cast for the 'Good Night, and Good Luck' Broadway play includes: George Clooney as Edward R. Murrow Mac Brandt as Colonel Anderson Will Dagger as Don Hewitt Christopher Denham as John Aaron Glenn Fleshler as Fred Friendly Ilana Glazer as Shirley Wershba Clark Gregg as Don Hollenbeck Paul Gross as William S. Paley Georgia Heers as Ella Carter Hudson as Joe Wershba Fran Kranz as Palmer Williams Jennifer Morris as Millie Green Michael Nathanson as Eddie Scott Andrew Polk as Charlie Mack Aaron Roman Weiner as Don Surine Natalie Neysa Alund is a senior reporter for USA TODAY. Reach her at nalund@ and follow her on X @nataliealund.


Los Angeles Times
27 minutes ago
- Los Angeles Times
Another act of vandalism in downtown L.A. as Robert O'Hara defaces ‘Hamlet' at the Taper
Playwright and director Robert O'Hara has turned his puckish attention to 'Hamlet,' treating Shakespeare's tragedy not as an august cultural treasure that has held the world's attention for more than 400 years but as a squeaky plaything that can be exploited for eccentric fun and games. It goes without saying that his new adaptation of 'Hamlet,' which had its premiere Wednesday at the Mark Taper Forum, isn't for purists. But Shakespeare's drama can withstand even the most brazen attack. Oh, the crazy stagings I've seen! None more so than the 1999 New York production by performance theorist and director Richard Schechner that turned the play into a pop-cultural hallucination, featuring a weed-smoking Hamlet with a Jamaican lilt, ghostly reminders of Marilyn Monroe and Shirley Temple and a Rosencrantz and Guildenstern costumed as rats. By this standard, O'Hara is proceeding quite tamely. Some might be startled that his Hamlet (Patrick Ball from Max's 'The Pitt') goes from pleasuring a lusty Ophelia (a gritty Coral Peña) in public to getting hot and heavy with his visiting college buddy Horatio (Jakeem Powell). But O'Hara's film noir approach has precedent in none other than Laurence Olivier's Academy Award-winning 1948 movie, still the most prestigious screen adaptation of the play, no matter how dated it might seem to us today. To set the mood, the adaptation begins with a roll of cinematic credits. A grand staircase dominates Clint Ramos' set. The clean, gleaming surfaces leave an impression of what Elsinore castle might be like as a coastal McMansion on one of the 'Real Housewives' series. Footage of the sea serves as a lyrical backdrop. The setting is more California than Denmark, but location is dealt with subjectively in a first act that closely follows Hamlet's perspective. Projection designer Yee Eun Nam shifts the mood as Hamlet meets the ghost of his father on screen (Joe Chrest) and then spirals into a mania that's accompanied by surreal visual flourishes that seem indebted to the Netflix series 'Stranger Things.' The production, which runs two hours, is performed without intermission. O'Hara's audacious antics are stimulating at first, but there's not enough dramatic interest to sustain such a grueling journey. The first two-thirds of the adaptation offer a quick run-through of tragic events. The actors at times seem to be speed-reading their lines, rushing through the notoriously long play to get to the good bits. O'Hara simplifies vocabulary, reassigns lines and excises parts that don't interest him, but otherwise sticks to Shakespeare's template. The revisions in language, done for reasons of accessibility, diminish the poetry. Shakespeare can be ridiculously obscure to modern audiences but tweaking such a well-known play is like changing lyrics in a revival of 'Oklahoma!' The word substitutions prove jarring even when they're not veering off into raunchy slang. (I'll forgo mentioning the choice verbiage O'Hara employs when Hamlet, confronting his mother in her chamber, becomes enraged by the sight of her unsavory marital bed.) The clumsy use of voice-overs is more embarrassing still. But these are superficial distractions in a production that hasn't figured out why it's revisiting Shakespeare's play. O'Hara is in a riffing mode. Outrageousness is an integral part of his sensibility, as his plays 'Barbecue' and 'Bootycandy' have made unabashedly clear. As a director, he enjoys boldly iconoclastic strokes whether staging new work, such as Jeremy O. Harris' 'Slave Play,' or classic drama, such as Lorraine Hansberry's 'A Raisin in the Sun.' But in 'Hamlet' he seems content to toy around with Shakespeare's tale without probing its miraculous depths. In the final third of this 'Hamlet,' O'Hara takes the playwriting reins from Shakespeare and invents a novel character, Detective Fortinbras, a gumshoe fixer in a trench coat, who comes in to investigate the tragedy's spree of fatalities. Brought in by the board to shield the Elsinore Picture Corp. from damaging publicity, he sets out to determine what really happened, only to concoct a plausible narrative that won't get the company canceled. Hamlet, it is explained after his death, was an overage film student pursuing 'an over-budget period film noir piece of crap.' And all the talk about succession and the throne seems to have been about corporate control within a cartoonishly messed-up family. Who knew? I won't spoil all the humorous details, but the intermittent amusement can't conceal the fundamental incoherence of O'Hara's project. The level of artistic self-indulgence on display is impressive. 'Hamlet' will survive as will O'Hara, but I'm less confident about the Taper. What pleasures there are to be obtained from this ill-conceived 'Hamlet' are fleeting. The actors supply most of them. Ball, prancing handsomely around the stage in a leather jacket and see-through club shirt, leaves a stylish impression when in motion. But he seems completely adrift when speaking his lines. He inflects Hamlet's glorious speeches with modern color but little meaning. The text becomes a straitjacket for a princely son who doesn't seem accustomed to Shakespearean rigors. Gina Torres' Gertrude has no such trouble. She commands the stage with rhetorical finesse, making it all the more disappointing that her character isn't more complexly deployed by O'Hara. Peña's formidable Ophelia might be the production's saving grace. Fiercely independent, she answers to no one's morality but her own. I was delighted that she was granted a prominent place in the adaptation's second act, but it's a shame that, like all the characters, she becomes a pawn in O'Hara's prankish plot. If this description seems harsh, perhaps I should mention the cocaine revel Claudius (Ariel Shafir) instigates with the First Player (Jamie Lincoln Smith), Polonius (Ramiz Monsef) and a version of Rosencrantz (Ty Molbak) and Guildenstern (Danny Zuhlke) who would be right at home in a 'Dumb and Dumber' movie. These nimble performers gamely rise to the occasion, but the comic adrenaline at this point has a numbing effect. If you're going to do 'Hamlet,' at least probe some of the play's moral and psychological mysteries. O'Hara is more drawn to the plot puzzles that have encouraged interpreters to weigh in with their own crackpot notions. He would have been better advised to do what James Ijames did in his Pulitzer Prize-winning play 'Fat Ham' — respond to Shakespeare's classic through a completely autonomous work of art. Shakespeare's 'Hamlet' provokes endless fascination precisely because of its unresolved nature. T.S. Eliot famously called Shakespeare's tragedy 'the 'Mona Lisa' of literature.' O'Hara does little more than graffiti a mustache on this inexhaustible theatrical canvas.


Los Angeles Times
28 minutes ago
- Los Angeles Times
Mandy Patinkin and Kathryn Grody hope their ‘out of the box' comedy gets new life at Tribeca
When Mandy Patinkin was first handed a list of potential storylines for the television comedy 'Seasoned,' in which he co-stars with wife Kathryn Grody, he was a little taken aback. ''This is completely out of the box,'' he remembers thinking. ''This is the most original thing I think maybe I've ever seen. I don't think I can do this.'' But then his son, Gideon Grody-Patinkin, one of the co-writers on the project, had a way to convince him he was up to the task. On a video call with Grody, Grody-Patinkin, and director Ewen Wright, Patinkin explains that Grody-Patinkin reminded him that he's always playing intense, dark roles like his Emmy-nominated stint on 'Homeland.' ''You always say you want a break from it,'' Patinkin recalls his offspring saying. ''This is just you. Just be you. Just show up. Come to work. It should be very freeing.' Well, from the mouths of babes, he was a trillion percent right.' And it's true: Speaking with Grody and Patinkin on Zoom is not that dissimilar from watching them in the pilot of 'Seasoned,' which premieres Sunday at the Tribeca Festival. In the episode, Grody and Patinkin play lightly fictionalized versions of themselves scouring New York for a place to eat dinner on their anniversary after they miss their reservation because Kathryn spent too long chatting with friends after a play. That leads to Mandy having a breakdown over a falafel truck driving away. On our call, Patinkin clasps his arm around Grody, showering her with affection and telling her he adores her as she bursts out laughing. They casually bicker and lightly razz one another. ('Give me anything but rice and vegetables,' he jokes about their nightly dinners.) It's a dynamic that was also on display in the viral videos they starred in, after encouragement from Grody-Patinkin, during the early days of the COVID-19 pandemic lockdown. Wright, a friend of Grody-Patinkin, joined their team when they began to direct their efforts to get out the vote for Joe Biden during the 2020 election. Almost immediately, networks came sniffing, wondering if they could put the Grody and Patinkin show on a bigger platform. Grody-Patinkin says they turned down multiple reality offers, but when Patinkin was approached about whether he had anything he wanted to make, he realized he wanted to continue working with Wright. Wright, meanwhile, wanted to keep it all in the family. 'Obviously working with Mandy in any capacity would be thrilling and exciting and fruitful,' Wright says. 'But the secret sauce, to just cut you down a little bit Mandy, is adding Kathryn.' Grody-Patinkin and Wright, who serve as writers, came up with a list of over 50 potential episodes. They shot the pilot in July 2022 and Showtime, Patinkin's former 'Homeland' base, picked up the series for a six-episode season. They submitted scripts just before the 2023 writers' strike hit. Once production resumed, the cable channel dropped the project. 'Showtime was amazingly gracious about letting us know, like, do not take this as a creative slight,' Wright says. 'This was purely a business decision in the middle of a crazy moment in the industry.' But none of the foursome wanted to let 'Seasoned' go. Tribeca is a chance for it to get a new life. Grody remains optimistic. 'It's an expression that sounds better in Spanish — my older son says I overuse it — and it's not always true, but 'there's nothing so bad that good can't come from it,'' she says, noticing a bit of exasperation hit Grody-Patinkin's face. 'I just don't know how that phrase enters nine out of 10 of our family conversations,' Grody-Patinkin says. Patinkin adds, 'Learn it in Spanish by now.' In part, they are looking to recreate the rush they got from making the pilot, which Patinkin describes as 'frigging thrilling.' The septuagenarian actors shot for five days straight from about 4 p.m. to 6 a.m. 'I know it's hard to believe looking at us, but we're not 30 years old,' Patinkin says. Grody interrupts, 'But we're not 100 either,' to which Patinkin adds, 'No, but we're not 30. And we really were thrilled at our ability to stay awake, to keep focused and to not kill each other.' Grody is more used to live theater than television or film, but she got a kick out of the crew laughing at footage of her running around wearing a camera that captures a close-up of her face. 'I don't care if I look like some other species, it made them laugh,' she says. 'That was really fun.' On social media, Grody and Patinkin are still posting videos that range from the silly (drawing on each other's faces) to the serious (speaking out for causes including Gaza aid and the climate). That mix of goofiness and genuine advocacy is part of the reason Grody is so passionate about having the rest of 'Seasoned' made. 'It blows apart assumptions about behavior, about relationships of people our age,' she says. 'I would hope it would be encouraging for young people to not be so frightened about getting to be older in this fakakta culture that is so youth-obsessed and so frightened about the privilege of getting older.' Wright acknowledges that the show he and Grody-Patinkin wrote is that way because of who Grody and Patinkin are. 'You know my joke is I didn't expect my muses to be a Jewish couple in their 70s,' he says. 'And that's because of everything they're expressing about how they approach life. It's in who they are.' But while the characters of Mandy and Kathryn aren't that different from Patinkin and Grody themselves, the scenarios are not entirely taken from real life. One script has them going to a sexy party, and, for what it's worth, Patinkin has never pulled out an Inigo Montoya impression to try to get a table at a restaurant. He has, however, used his star power to try to get Wright and his young son into a sold-out Disneyland. At first it didn't work, but eventually an employee recognized him. 'We got in and we had a great time,' Wright says.