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WATCH: Dichen Lachman Revisits Early Severance Days, Talks Gemma vs. Helly and Dollhouse Comparisons

WATCH: Dichen Lachman Revisits Early Severance Days, Talks Gemma vs. Helly and Dollhouse Comparisons

Yahoo16-04-2025

It's been almost a month, so, yeah — this interview mentions all kinds of spoilers from the Season 2 finale, streaming on Apple TV+.
When Dichen Lachman paid a visit to TVLine's New York office, 1) it was almost 16 years to the day that I published my first interview with her, and 2) the pop culture-verse was abuzz with theories about the Severance Season 2 finale, which dropped March 21.
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In the video Q&A above, Lachman and I very quickly commemorate our 'anniversary' before diving into all things Severance — starting with what all she was told about the role when she was first eyed for it some four-and-a-half years ago.
'I only had two or three [script] pages and absolutely no context about who this person was,' the Aussie actress recalls, 'and she's saying the most random, bizarre things!'
Lachman was allowed a bit more context after she and executive producer Ben Stiller navigated a potential scheduling conflict with her role in Jurassic World: Dominion. At that juncture, 'he finally, reluctantly told me the Season 1 cliffhanger,' where Mark S. bellowed to a confused Devon and friends, 'She's alive!' — meaning, his 'dead' wife Gemma.
Lachman then talks about the early direction she was given, on Ms. Casey's overall vibe as Lumon's wellness counselor. She hails Stiller's 'empathy and curiosity,' being an actor himself, and how he was able to play for her, on-set, the actual music that would score Ms. Casey's sessions. 'It really helped inform me of the pace and the tone,' she recalls.
After touching on how she developed Ms. Casey's speaking voice, Lachman talks about first getting wind of Season 2, Episode 7, which introduced viewers to a lot of Gemma Scout's other Innies. Until that point, 'I was noticing I wasn't in the scripts very much!' she says with a laugh. 'Finally, [series creator] Dan Erickson, who's just an extraordinary talent, mentioned, 'We have this episode….''
Once apprised of what 'Chikhai Bardo' would entail, 'I'd be lying if I said I didn't feel the pressure' — not just to do right by her castmates and bosses but 'for the fans of this show,' Lachman admits. 'It's an intensity I haven't experienced, the attention and love they have for the show.'
The dual Hollywood strikes of Summer 2023 and the pause in filming they dictated worked in Lachman's favor, affording her time to speak at length with 'Chikhai Bardo' director Jessica Lee Gagné and co-writers Erickson and Mark Friedman. What's more, 'We were fortunate enough to go to the house [where the Gemma/Mark scenes filmed] and have rehearsal,' she shares, where 'things did change a bit.'
Lachman then talks about working with teen icon Robby Benson as Dr. Mauer ('I'm from Katmandu, so I didn't know who he was! But I did learn very quickly that he was an absolute legend and is antithetical to the character he's playing'), and to what degree her stint as a regularly reprogrammed Active on Fox's Dollhouse helped with her portrayal of so many Innies.
'There are similarities, absolutely…,' she allows, though Actives were even more detached from their true selves. 'Maybe Dollhouse is the sequel in terms of the tech?' she quips.
From there, Lachman shares her take on the Season 2 finale (namely, whether Gemma saw the redhead Mark was with as any kind of threat)… explains why she enjoys 'living in the not knowing' what's to come ('I have complete faith in Dan and the entire team to come up with something that won't let anyone down')… and along those lines, gets candid about what all she knows about the Season 3 plan.Best of TVLine
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Is The Diplomat season 3 releasing in June 2025? Everything we know so far
Is The Diplomat season 3 releasing in June 2025? Everything we know so far

Business Upturn

timean hour ago

  • Business Upturn

Is The Diplomat season 3 releasing in June 2025? Everything we know so far

By Aman Shukla Published on June 7, 2025, 17:30 IST Last updated June 7, 2025, 12:04 IST Netflix's political thriller The Diplomat , starring Keri Russell as U.S. Ambassador Kate Wyler, has kept audiences hooked with its intense drama, jaw-dropping cliffhangers, and sharp political intrigue. After the explosive Season 2 finale, fans are eagerly awaiting news about The Diplomat Season 3. One burning question is whether the show will return in June 2025. Here's everything we know so far. Is The Diplomat Season 3 Releasing in June 2025? As of now, Netflix has not confirmed an exact release date for The Diplomat Season 3, but the show is slated to premiere in fall 2025. While June 2025 falls within the first half of the year, multiple reports indicate that the release is more likely to occur between September and November 2025, aligning with Netflix's 'fall' window. The Diplomat Season 3 Renewal and Production Updates Netflix renewed The Diplomat for Season 3 in October 2024, before Season 2 even premiered, showing strong confidence in the series. Production began in June 2024, with filming taking place in London and New York City, and wrapped in mid-to-late March 2025, earlier than the initially planned March 20 date. This dual-location shoot reflects the show's commitment to capturing the global scope of diplomatic affairs. The early renewal and back-to-back filming with Season 2 (to avoid delays like those caused by the 2023 strikes) suggest Netflix is prioritizing a quicker turnaround. Executive producer Janice Williams noted that the show is 'almost finished filming' as of early 2025, with most work now in the editing room, further supporting a fall 2025 release. Additionally, Netflix announced a Season 4 renewal in May 2025, ahead of Season 3's premiere, ensuring that Kate Wyler's story will continue beyond the upcoming season. Aman Shukla is a post-graduate in mass communication . A media enthusiast who has a strong hold on communication ,content writing and copy writing. Aman is currently working as journalist at

‘Somebody hug me!' 7 Emmy hopefuls on staying calm, hitting their marks and more
‘Somebody hug me!' 7 Emmy hopefuls on staying calm, hitting their marks and more

Los Angeles Times

time11 hours ago

  • Los Angeles Times

‘Somebody hug me!' 7 Emmy hopefuls on staying calm, hitting their marks and more

The Emmys' limited series/TV movie acting categories have come to represent some of the best and most-talked-about shows on television, and this year's crop of contenders is no exception. The seven actors who joined the 2025 Envelope Roundtable were Javier Bardem, who plays father, victim and alleged molester Jose Menendez in Netflix's 'Monsters: The Lyle and Erik Menendez Story'; Renée Zellweger, who reprises her role as the British romantic heroine in 'Bridget Jones: Mad About the Boy'; Stephen Graham, who co-created and stars in 'Adolescence' as the father of a teenage boy who commits a heinous murder; Jenny Slate, who plays the best friend of a terminally ill woman in FX's 'Dying for Sex'; Brian Tyree Henry, who portrays a man posing as a federal agent in order to rip off drug dealers in Apple TV+'s 'Dope Thief'; Elizabeth Banks, who takes on the role of an estranged sibling and recovering alcoholic in Prime Video's 'The Better Sister'; and Sacha Baron Cohen, who appears as the deceived husband of a successful filmmaker in Apple TV+'s 'Disclaimer.' The Times' news and culture critic Lorraine Ali spoke to the group about the emotional fallout of a heavy scene, the art of defying expectations and more. Read highlights from their conversation below and watch video of the roundtable above. Many of you move between drama and comedy. People often think, 'Drama's very serious and difficult, comedy's light and easy.' Is that true? Banks: I think the degree of difficulty with comedy is much higher. It's really hard to sustainably make people laugh over time, whereas [with] drama, everyone relates to loss and pining for love that's unrequited. Not everybody has great timing or is funny or gets satire. Henry: There's something fun about how closely intertwined they are. In my series, I'm playing a heroin addict running for my life, and I have this codependency with this friend … There's a scene where I've been looking for him, and I'm high out of my mind, and I find him in my attic, and all he's talking about is how he has to take a s—. And I'm like, 'But they're trying to kill us.' You just see him wincing and going through all these [groans]. It is so funny, but at the same time, you're just terrified for both. There's always humor somewhere in the drama. Banks: There's a reason why the theater [symbol] is a happy face/sad face. They're very intertwined. Renée, with Bridget Jones — how has she changed over the last 25 years and where is she now with 'Mad About the Boy'? Zellweger: Nobody's the same from one moment to the next, one chapter to the next and certainly not from one year to the next. It's been a really interesting sort of experiment to revisit a character in the different phases of her life. What I'm really grateful for is that the timing runs in parallel to the sort of experiences that you have in your early 20s, 30s and so on. With each iteration, I don't have to pretend that I'm less than I am, because I don't want to be the character that I was, or played, when she was 29, 35. I don't want to do that, and I certainly don't want to do that now. So it was really nice to meet her again in this place of what she's experiencing in the moment, which is bereavement and the loss of her great love, and being a mom, and trying to be responsible, and reevaluating what she values, and how she comports herself, and what's important and all of that, because, of course, I relate to that in this moment. Stephen, 'Adolescence' follows a family dealing with the fallout of their 13-year-old son being accused of a brutal murder. You direct and star in the series. What was it like being immersed in such heavy subject matter? Did it come home with you? Graham: We did that first episode, the end of it was quite heavy and quite emotional. When we said, 'Cut,' all of us older actors and the crew were very emotional. There were hugs and a bit of applause. And then everyone would be like, 'Where's Owen?' [Cooper, the teenage actor who plays Graham's character's son]. 'Is Owen OK? Is he with his child psychologist?' No, Owen's upstairs playing swing ball with his tutor. It was like OK, that's the way to do this — not to take myself too seriously when we say, 'Cut,' but when I am there, immerse myself in it. Let's be honest, we can all be slightly self-obsessed. My missus, she's the best for me because I'd phone her and say, 'I had a really tough day. I had to cry all day. My wife's died of cancer, and it was a really tough one.' She goes, 'The dog s— all over the living room. I had to go shopping and the f— bag split when I got to Tesco. There was a flat tire. They've let the kids out of school early because there's been a flood. And you've had a hard day pretending to be sad?' Bardem: I totally agree with what Stephen says. You have a life with your family and your children that you have to really pay attention to. This is a job, and you just do the job as good as you can with your own limitations. You put everything into it when they say, 'Action,' and when you're out, you just leave it behind. Otherwise, it's too much. Certain scenes, certain moments stay with you because we work with what we are. But I think it doesn't make you a better actor to really stay in character, as they say, for 24 hours. That doesn't work for me. It actually makes me feel very confused if I do that. On the show 'Monsters' I tried to protect Cooper [Koch] and Nicholas [Alexander Chavez], the actors who play the children, because they were carrying the heavy weight on the show every day. I was trying to make them feel protected and loved and accompanied by us, the adults, and let them know that we are there for them and that this is fiction. Because they were going really deep into it, and they did an amazing job. Elizabeth, in 'The Better Sister,' you portray Nicky, a sister estranged from her sibling who's been through quite a bit of her own trauma. Banks: I play a drunk who's lost her child and her husband, basically, to her little sister, played by Jessica Biel. She is grappling with trauma from her childhood, which she's trying not to bring forward. She's been working [with] Alcoholics Anonymous, an incredible program, to get through her stuff. But she's also a fish out of water when she visits her sister, who [lives in a] very rarefied New York, literary, fancy rich world. My character basically lives in a trailer park in Ohio. There's a lot going on. And there's a murder mystery. I loved the complication … but it brought up all of those things for me. I do think you absolutely leave most of that [heaviness] on set. You are mining it all for the character work, so you've got to find it, but I don't need to then infect my own children with it. Sacha, you have played and created these really gregarious characters like Ali G or Borat. Your character in 'Disclaimer,' he's not a character you created, but he is very understated. Was that a challenge? Cohen: It took me a long time to work out who the character was. I said to [director] Alfonso [Cuarón], 'I don't understand why this guy goes on that journey from where we see him in Act 1.' For me it was, how do you make this person unique? We worked a lot through the specificity of what words he uses and what he actually says to explain and give hints for me as an actor. A lot of that was Alfonso Cuarón saying, 'Take it down.' And there was a lot of rewriting and loads of drafts before I even understood how this guy reacts to the news and information that he believes about his wife. Jenny, 'Dying for Sex' is based on a true story about two friends. One has terminal cancer, and the other — your character — supports her right up until the end. Talk about what it was like to play that role in a series that alternates between biting humor and deep grief. Slate: Michelle Williams, who does a brilliant job in this show, her energy is extending outward and [her character] is trying to experiment before she does the greatest experiment of all, which is to cross over into the other side. My character is really out there, not out there willy-nilly, but she will yell at people if they are being rude, wasteful or if she feels it's unjust. [And she's] going from blasting to taking all that energy and making it this tight laser, and pointing it right into care, and knowing more about herself at the end. I am a peppy person, and I felt so excited to have the job that a lot of my day started with calming myself down. I'm at work with Michelle Williams and Sissy Spacek and Liz Meriwether and Shannon Murphy and being, like, 'Siri, set a meditation timer for 10 minutes,' and making myself do alternate nostril breathing [exercises]. Brian, many people came to know you from your role as Paper Boi in 'Atlanta.' The series was groundbreaking and like nothing else on television. What was it like moving out of that world and onto other projects? Henry: People really thought that I was this rapper that they pulled off the street from Atlanta. To me, that's the greatest compliment … When I did 'Bullet Train,' I was shocked at how many people thought I was British. I was like, 'Oh, right. Now I've twisted your mind this way.' I was [the voice of] Megatron at one point, and now I've twisted your mind that way. My path in is always going to be stretching people's imaginations, because they get so attached to characters that I've played that they really believe that I'm that person. People feel like they have an ownership of who you are. I love the challenge of having to force the imaginations of the viewers and myself to see me in a departure [from] what they saw me [as] previously. Because I realize that when I walk in a room, before I even open my mouth, there's 90 different things that are put on me or taken away from me because of how I look and how I carry myself. Javier, since doing the series are you now frequently asked about your own opinions on the Menendez case? The brothers claim their father molested them, and that is in part what led to them murdering their parents. Bardem: I don't think anybody knows. That's the point. That was the great thing about playing that character, is you have to play it in a way that it's not obvious that he did those things that he was accused of, because nobody knows, but at the same time you have to make people believe that he was capable. I did say to Ryan [Murphy] that I can't do a scene with a kid. Because in the beginning, they do drafts, and there were certain moments where I said, 'I can't. It's not needed.' The only moment that I had a hard time was when [Jose] has to face [his] young kid. It was only a moment where Jose was mean to him. That's not in my nature. Henry: I discovered, while doing my series, 'My body doesn't know this isn't real.' There's an episode where I'm shot in the leg, and I'm bleeding out and I'm on all this different morphine and drugs and all this stuff, and I'm literally lying on this ground, take after take, having to mime this. To go through the delusion of this pain ... in the middle of the takes, it was just so crazy. I would literally look at the crew and say, 'Somebody hug me! Somebody!' Stephen, that scene where you confront the boys in the parking lot with the bike, I was just like, 'Oh, my God, how many times did he have to do that?' This kid gets in your face, and I was like, 'Punch the kid!' My heart went out to you, man, not just as the character but as you being in there. Graham: Because we did it all in one take, we had that unique quality. You're using the best of two mediums. You've got that beauty and that spontaneity and that reality of the theater, and then you have the naturalism and the truth that we have with film and television. So by the time I get to that final bit, we've been through all those emotions. When I open the door and go into [Jamie's] room, everything's shaken. But it's not you. It's an out-of-body experience and just comes from somewhere else. Bardem: Listen, we don't do brain surgery, but let's give ourselves some credit. We are generous in what we do because we are putting our bodies into an experience. We are doing this for something bigger than us, and that is the story that we're telling. What have been some of the more challenging or difficult moments for you, either in your career or your recent series? Zellweger: Trying not to do what you're feeling in the moment sometimes, because it's not appropriate to what you're telling. That happens in most shows, most things that you do. I think everybody experiences it where you're bringing something from home and it doesn't belong on the set. It's impossible to leave it behind when you walk in because it's bigger than you are in that moment. Banks: I would say that the thing that I worked on the most for 'The Better Sister' was [understanding] sobriety. I'm not sober. I love a bubbly rosé. So it really did bring up how much I think about drinking and how social it is and what that ritual is for me, and how this character is thinking about it every day and deciding every day to stay sober or not. I am also a huge fan of AA and sobriety programs. I think they're incredible tools for everybody who works those programs. I was grateful for the access to all of that as I was making the series. But that's what you get to do in TV. You get to explore episode by episode. You get to play out a lot more than just three acts. Stephen, about the continuous single shot. It seems like it's an incredibly difficult and complex way to shoot a series. Why do it? Graham: It's exceptionally difficult, I'm not going to lie. It's like a swan glides across the water beautifully, but the legs are going rapidly underneath. A lot of it is done in preparation. We spend a whole week learning the script, and then the second week is just with the camera crew and the rest of the crew. It's a choreography that you work out, getting an idea of where they want the camera to go, and the opportunity to embody the space ourselves. Cohen: That reminds me of a bit of doing the undercover movies that I do because you have one take. ... I did a scene where I'm wearing a bulletproof vest. There were a lot of the people in the audience who'd gone to this rally, a lot of them had machine guns. We knew they were going to get angry, but you've got to do the scene. You've got one time to get the scene right. But you also go, 'OK, those guys have got guns. They're trying to storm the stage. I haven't quite finished the scene. When do I leave?' But you've got to get the scene. I could get shot, but that's not important. Henry: There's a certain level of sociopathy. Slate: I feel like I'm never on my mark, and it was always a very kind camera operator being like, 'Hey, Jenny, you weren't in the shot shoulder-wise.' I feel like such an idiot. Part of it is working through lifelong, longstanding feelings of 'I'm a fool and my foolishness is going to make people incredibly angry with me.' And then really still wanting to participate and having no real certainty that I'm going to be able to do anything but just make all of my fears real. Part of the thing that I love about performance is I just want to experience the version of myself that does not collapse into useless fragments when I face the thing that scares me the most. I do that, and then I feel the appetite for performance again. Do you see yourself in roles when you're watching other people's films or TV show? Graham: At the end of the day, we're all big fans of acting. That's why we do it. Because when we were young, we were inspired by people on the screen, or we were inspired by places where we could put ourselves and lose our imaginations. We have a lot of t— in this industry. But I think if we fight hard enough, we can come through. Do you know what I mean? It's people that are here for the right reasons. It's a collective. Acting is not a game of golf. It's a team. It's in front and it's behind the camera. I think it's important that we nourish that. Henry: And remember that none of us are t—. Bardem: What is a t—? I may be one of them and I don't know it. Graham: I'll explain it to you later.

Alexis Bledel's Dating History Over The Years Includes A Few ‘Gilmore Girls' Loves, Too
Alexis Bledel's Dating History Over The Years Includes A Few ‘Gilmore Girls' Loves, Too

Yahoo

time11 hours ago

  • Yahoo

Alexis Bledel's Dating History Over The Years Includes A Few ‘Gilmore Girls' Loves, Too

Alexis Bledel is best known for playing Rory Gilmore in Gilmore Girls, a character whose love life fans are very passionate about. And Alexis dated some of her onscreen boyfriends too! Earlier this week, my phone buzzed with a text from a friend I hadn't spoken to in three months. 'Dean, Jess, Tristan, or Logan?' she asked. Sensing the urgency of the situation, I immediately responded, 'Logan 100000 percent.' I've elected myself president of the Logan Huntzberger Fan Club since the first time I watched Gilmore Girls. I firmly believe that Logan is the best partner for Rory. Sorry to all the Jess girlies out there — and if we're looking at off-screen relationships, that includes Alexis Bledel. Any Gilmore Girls fan worth their coffee knows Rory Gilmore's dating history like the back of their hand, but Alexis Bledel's dating history is much more low-key. The star is much more private, but just like Rory, she's captured her fair share of hearts over the years, including two of her Gilmore Girls love interests! Rory may have Dean, Jess, Tristan, and Logan, but Alexis has Jared, Chris, Milo, John, and Vincent. This might be controversial, but I think Dean was the best first boyfriend Rory could have had. As far as we know, Jared Padalecki was the best first boyfriend Alexis Bledel could have had, too. The Supernatural alum confirmed he and Bledel dated while filming Gilmore Girls Season 1. 'When Alexis and I met, we were both 17 years old and were both Texans and kind of in this new, strange city and I was like, 'Hey, want to go out to dinner?'" he told Glamour in 2021. 'I don't know if we tried to keep it a secret. I wish it was scandalous or something! I think it was more kind of silly.' I guess he really was 'her Dean.' Bledel may have dated two of her Gilmore Girls love interests, but she dated three of her Gilmore Girls co-stars. Chris Heuisler had a small role as a Stars Hollow High basketball player in Season 2 Episode 11, titled 'Secrets and Loans.' The pair didn't interact onscreen, but casting director Mara Casey told Life & Style that they were briefly together offscreen. Okay, even though I'm Team Logan, I happily admit that Rory and Jess had crazy onscreen chemistry. That's probably because their actors dated for three years in real life! They started dating halfway through filming Season 2 (which was around 2002 and was the season Jess moves to Stars Hollow) and broke up in 2006. They've stayed on good terms since; Ventimiglia even Bledel on her Emmy nomination in 2017. Alexis Bledel briefly dated this British model between 2010 and 2011. They were photographed attending a for Kate Spade's new fragrance in September 2010. Bledel guest-starred on Season 5 of Mad Men as the mistress of Pete Campbell (played by Vincent Kartheiser). Their illicit affair was totally above board in real life. They waited to begin dating two months after filming wrapped, got engaged a year later, and tied the knot in a in June 2014, according to US. The couple were careful to keep the details of their relationship private, so the world was happily surprised to learn — from , who played Luke Danes on Gilmore Girls — that they welcomed a son in fall 2015. In 2022, Us Weekly reported that Kartheiser had filed for divorce after eight years of marriage. Bledel currently appears to be single. I may be on Team Logan for Rory, but I'm on Team Alexis for Rory's real-life counterpart. Check out for even more celebrity relationship content! This post has been updated.

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