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Severe storms to continue as calendar turns to June

Severe storms to continue as calendar turns to June

Yahoo2 days ago

Friday offered a break from thunderstorms in the Plains. The stormy corridor shifted back into the Plains on Saturday. Unfortunately for storm-weary residents, AccuWeather meteorologists say that more severe weather is on the way.
Thunderstorms that are expected to form in southern Kansas and northern Oklahoma on Saturday night will dive southward into Sunday morning. This could give residents of places like Oklahoma City an early wakeup call. From there, the storms will lose some of their intensity and may largely fall apart as they head toward Dallas by mid-morning on Sunday.Have the app? Unlock AccuWeather Alerts™ with Premium+
However, storms are likely to redevelop Sunday afternoon. While they could form as far north as Dallas, they can be a bit more numerous farther to the south. The focus will be in Texas, with cities such as Waco, Austin and Houston all in the risk zone for Sunday afternoon and evening. Hail, flooding and isolated tornadoes will all be possible.
A much wider expanse of real estate will be at risk for severe weather on Monday.
"A dynamic pair of storms set to march into the western United States this weekend are expected to work in tandem to prompt a risk for severe weather across the center of the nation on Monday, with hail, damaging winds and the potential for a few tornadoes being the main concerns," explained AccuWeather Meteorologist Brandon Buckingham.
Other factors will come together to continue the severe weather into Tuesday and Wednesday. A fast-moving river of air in the upper atmosphere, known as the jet stream, will begin to strengthen over the Plains. In addition, warm and humid air will be flowing northward from the Gulf.
A cold front moving eastward will also act as focusing mechanism for the thunderstorms. The cold front will collide with a preceding warm air mass. This difference in temperature will be another ingredient for the severe storms.
The severe risk on Tuesday will extend from southwestern Wisconsin and western Illinois southwestward to northern Texas on Tuesday. This will be east of the area at risk the previous day.
The front will continue eastward on Wednesday. One difference on Wednesday will be a loss of some of the energy in the atmosphere. While the initial energy weakens, a new storm will be moving into the southern Plains.
"Another wave of low pressure is expected to roll out of the Rockies and into the central United States into midweek, which can keep the risk for severe weather in place across the center of the nation," said Buckingham.
Even in the absence of severe weather, that new area of low pressure moving along the front will enhance rainfall. In parts of this area, the rainfall will help to alleviate a developing drought.
Meanwhile, other places such as central and southern Missouri, southeastern Kansas and Oklahoma have had rainfall well above the historical average in May. For example, Springfield, Missouri, has received 7.57 inches of rain. Well over half of that came in just a three-day span. Therefore, some rivers and streams may be be elevated and any excessive rain could cause localized flooding.
Showers and thunderstorms will continue to progress eastward to end the week. Meanwhile, the next cold front will be moving into the Plains by next weekend. AccuWeather meteorologists will continue to monitor any potential for severe weather with that front in the coming days.
Want next-level safety, ad-free? Unlock advanced, hyperlocal severe weather alerts when you subscribe to Premium+ on the AccuWeather app. AccuWeather Alerts™ are prompted by our expert meteorologists who monitor and analyze dangerous weather risks 24/7 to keep you and your family safer.

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‘King of the Hill' cast and creators on revival: ‘Bobby's got a little bit of fame and a little bit of swagger'
‘King of the Hill' cast and creators on revival: ‘Bobby's got a little bit of fame and a little bit of swagger'

Yahoo

time26 minutes ago

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‘King of the Hill' cast and creators on revival: ‘Bobby's got a little bit of fame and a little bit of swagger'

'On August 4th I will be back, and I'm pissed off.' That's how King of the Hill cocreator and executive producer Mike Judge teased the long-anticipated revival of the Hulu animated series, in the voice of Hank Hill. The show will be returning for its 14th season on Hulu, after wrapping a 13-year run in 2009. More from GoldDerby David E. Kelley on the secret of his prolific career: 'Don't ever assume you're smarter than the audience' 'I'm glad I'm still alive': Jon Hamm and John Slattery on 'Mad Men,' 10 years later Watch the first 6 minutes of 'Wednesday' Season 2, from Netflix Tudum 2025 Judge offered a sneak peek at what's in store for Season 14 at a panel at the ATX TV Festival in Austin that also included cocreator and executive producer Greg Daniels, executive producer and showrunner Saladin K. Patterson, and voice cast members Pamela Adlon, Lauren Tom and Toby Huss. The new season finds Hank and Peggy having retired and returning to live in Texas, after working in Saudi Arabia; Bobby (as voiced by Adlon) is now 21 and working as a sushi chef — technically a "German sushi robata" chef — in Dallas. Judge said they had toyed with the idea of bringing the show back for years, but "when it clicked for me, I would just say, is when we start talking about actually aging the characters and the idea of Hank going to Saudi Arabia for a propane gig to retire off of," said Judge. "The ideas just started coming in. Because it's such a grounded realistic show, it just seemed right that they would be older. Bobby wouldn't be the same. That just seemed like the right thing." The actors said they'd been following the rumors of a revival for years. "I just never wish for things like that because it's too big of a dream," said Adlon. Once she was convinced it was real, she was quickly on board with playing an older version of her beloved character. "Bobby's got a little bit of fame and he's got a little bit of swagger," she said. "As an adult, he's become more centered and a bit more like his dad." Huss added, 'I came back because it was like I miss my friends. I miss my friends in real life, but I miss my cartoon friends. We used to have crazy adventures, and I want to have more adventures with them.' But some friends are missing — Brittany Murphy, who voiced Luanne, died in 2009, and Johnny Hardwick, who voiced Dale Gribble, died in August 2023. He'll be in the first six episodes, and then Huss will take over the role for the remaining four. Patterson, who stepped in as showrunner, said, 'We talked about the best way to honor them, the show and the fans as well. I don't want to give any spoilers, but we found opportunities to let them be referenced, in a very respectful way that people are going to appreciate.' Add Huss, 'I'm not trying to copy Johnny ... I guess I'm trying to be Johnny," said Huss. "He laid down a really wonderful goofball character ... he had a lot of weird heart to him and that's a credit to Johnny. So all I'm trying to do is hold on to his Dale-ness. We love our guy Johnny and it's so sad that he's not here.' Over its initial run, King of the Hill received seven Emmy nominations and won twice: Best Animated Series in 1999 and Adlon for Best Voice-Over Performance in 2002. Watch a teaser for the upcoming season here: Best of GoldDerby 'I cried a lot': Rob Delaney on the heart and humor in FX's 'Dying for Sex' — and Neighbor Guy's kick in the 'zone' TV directors roundtable: 'American Primeval,' 'The Lord of the Rings: The Rings of Power,' 'Paradise' 'Paradise' directors John Requa and Glenn Ficarra on the 'chaos' of crafting 'the world coming to an end' Click here to read the full article.

David E. Kelley on the secret of his prolific career: ‘Don't ever assume you're smarter than the audience'
David E. Kelley on the secret of his prolific career: ‘Don't ever assume you're smarter than the audience'

Yahoo

time26 minutes ago

  • Yahoo

David E. Kelley on the secret of his prolific career: ‘Don't ever assume you're smarter than the audience'

L.A. Law. Picket Fences. Chicago Hope. Ally McBeal. The Practice. Boston Legal. Big Little Lies. Nine Perfect Strangers. Presumed Innocent. And that's far from the complete list. So it's fitting that David E. Kelley was chosen as the inaugural recipient of the ATX TV Festival's Showrunner Award. Over the course of his career, he's earned 31 Emmy nominations and 12 wins (including a Hall of Fame trophy) and was the first producer ever to take home Emmys for both comedy series and drama series in the same year. Not to mention all of the actors he's written for who have won trophies in their own right. More from GoldDerby 'I'm glad I'm still alive': Jon Hamm and John Slattery on 'Mad Men,' 10 years later 'King of the Hill' cast and creators on revival: 'Bobby's got a little bit of fame and a little bit of swagger' Watch the first 6 minutes of 'Wednesday' Season 2, from Netflix Tudum 2025 In a Q&A at the festival moderated by Gold Derby's editor-in-chief, Kelley talked about his creative process, what he learned from his mentor Steven Bochco, and why he still writes longhand. Gold Derby: You've written comedy, drama, legal dramas, medical dramas, adaptations. What's the secret formula? What's the DNA of a David E. Kelley show? David E. Kelley: Well, there's no secret formula. And if you think that you've got one or it's that easy, then that's when you've lost it and you should get out. It's always hard and always daunting. I would say for my shows, they're character-based. I look to mine the cauldron with a collection of characters that allow me to go in different directions. And so more times than not, you'll see disenfranchised people who have flaws and personality deficits, but who are redeeming and have something to love in them as well. I've always wanted but not always succeeded the piece to ultimately be affirming at the end of the day. That doesn't mean you don't have bad things going on within episodes, but at the end of the day, I would love to nurture the audience with the idea that people are more good than bad. If there's one common denominator that fits the bill across the board, that would probably be it. SEEEmmys flashback 25 years to 1999: David E. Kelley pulls off unprecedented double win for comedy and drama series So what do you look for in an actor to embody that? First, I look for a good casting director. There's something called casting fatigue. It's a long, long process, and the longer it goes, the more likely that you will settle. That the first 20 actors will be so far off, that number 21 will be remotely in the ballpark and you go, that's the one. And that's very dangerous. I've always counted on a strong casting director to bring a point of view and a perspective to (a) find the person that we're looking for, but (b) be strong and secure enough to tell me that this person is not it if I fall for the wrong person. A woman named Judith Weiner cast The Practice and Ally McBeal, which we were doing at the same time. We did The Practice first, and then we went to cast Ally McBeal, and she changed the furniture around in the same room. And I said, "Judith, I can see you've chosen to sit over by the window this time." And she said, "Yes, so I can jump out of it if you fall prey to some of the inclinations that you did during The Practice." When you get a casting director who does not settle, it just makes your job as a producer much, much easier. Do you find that once you've worked with an actor before, you're able to then write with them? You've worked with Nicole Kidman, for example, a few times now. It's a really good question because I don't think people understand how collaborative television series can be. I can't really compare it to movies because I've not done many of them. But in a series you're really looking at what the actor is bringing to the piece and listening to it and feeding off of it. Sometimes you're going for the strengths and shying away from the deficits when you're writing a subsequent episode. But oftentimes, they're doing things that you don't even anticipate. And if you're working with great actors, you just allow yourself to be flexible, to play to their strengths. O-T Fagbenle who played Nico Della Guardia on Presumed Innocent, I had no idea what he was doing when the dailies first came in. He was playing it with an affect and an aloofness and a humor and it wasn't at all the way I'd heard it when I'd written on the page. But it was great and the show needed a little bit of levity where we could find it. So I remember saying I don't know what he is doing but tell him to keep doing it. SEEDavid E. Kelley says new ending for 'Presumed Innocent' on Apple TV+ 'wasn't mandatory' Did you write end up writing to that? It's folly to say, well, that's not the construct that I set out to build and I'm going to stick to the original idea. Sometimes you do, but other times if you see what the actor is giving you is elevating the piece, don't be afraid of it. Is that something you've learned over the course of your career? I learned it pretty early from Stephen Bochco. He taught me so many good habits, and he also had huge amount of respect for the actors. If you surround yourself with good people and smart people, it's only going to make your work better. Lord knows we have more than a few in our industry who get threatened by others, who want to populate their piece with opinions who won't threaten their own, but he never did that. He did that, from the very first day I walked in his office, and he did that with the audience as well. So don't ever for a second assume you're smarter than the audience. These people more likely are going to be every bit as intelligent as you, if not more so. How were you lucky enough to find your way to Stephen Bochco so early in your career? I was a practicing lawyer in Boston, and I knew I liked to write. I had done a little bit in college, but it wasn't something I really thought I was going to make a living at. I was a young litigator and it was motion practice for the most part, which means you sit in a courtroom with a zillion other lawyers and you wait for your case to get called, and it's a long day in court with not much to do. So I started writing a script while in court, and over the course of a year, at the end of that year, I had a script of a young lawyer who was bored with his practice because all he did was go and sit in motion session and never got to argue. Gee, how did you ever come up with that idea? (Laughs.) There was someone in my law firm who was getting into the movie production business from the producing side that I knew, and they were getting bottom of the barrel scripts. They heard I was writing one, and he said, let me read it. And he said, by comparison, it looks good, and he optioned it. The script found its way to Stephen Bochco, who at that time was hatching L.A. Law and he was looking for lawyers/writers, hybrids of people because he really wanted the series to be as authentic as possible. He invited me out, and I had no idea what a fluke it was. I met him, we got along quite well, and he gave me a script assignment. How did he respond to the script? I remember the first couple of weeks were a bit strange because there's a writing staff of about eight to 10 people, and we would get script assignments. I had script number eight, so there were seven that came before me. And I was noticing people walking by with their belongings leaving the office, and I heard, "Oh, these are the writers who have turned in their scripts." Steven would weed them out pretty quickly. When it came time for my script, I walked into the office and sat down, and he looked across the table and he just said, 'You can do this.' And I remember, oh my god. It was like when I had taken the bar exam and opened the envelope and it said that I'd passed the bar. I'm not the complete fraud that I'd convinced myself that I was. When someone like Stephen Bochco says that, that can really fuel the tank. How did his writers' room work? Steven Bochco did his best work in a room with other writers. The more people, the more the heightened his acuity would be. In fact, when he would write himself, and he could not break a story or solve an ending, he would call all the writers into the room to talk about it. We quickly realized he really wasn't calling us in to get our ideas, he was calling us in because he did his best thinking with an audience. I could not do that at all. Where Steven's process was if he's stuck, bring everybody into the room, my process is I can't really do my best work unless I get everybody out of the room because I want to be in the room with the characters. It's probably a more schizophrenic way to work, but I immerse myself into the world. I've always been more of a solitary writer. I've gotten better about working with staffs, and it's easier to share the load. But at the early part of my career, it was actually harder because I didn't really know what I wanted in some of the storytelling until I immersed in the world myself and got in the trenches with the characters. How then do you get your head though into a character that is not you, like Ally McBeal, a single working woman? I'm not really sure. That's probably the schizophrenia part. I just focus on who he or she is, and I listen to that voice. My process in every episode of every series is that you listen to the story and you listen to the characters. And at the beginning, you are crafting the story and you're creating the characters, but at some point the characters are telling me where they want to go and the story is now becoming the boss and dictating which direction it should go in. Do you prefer creating your own shows or adapting preexisting material as you've been doing lately? I've loved both. I would say creating was the biggest high. In fact, I never really wanted to adapt because I thought the process of writing is twofold. There's a huge intoxication when you come up with an idea and when you break an idea and there's an adrenaline that comes with that and that adrenaline applies the fuel when you set sail and you go and and write it. And my fear of an adaptation process was, well, someone else has been the architect. The story breaking is done, the idea has been hatched, now you're just kind of the contractor to execute it. I thought that's the work without the high of breaking the story. The first one I tried was Big Little Lies and I actually quite loved it because, first of all, the book was great, the characters were so fun to write. The book was very internal, the characters were thinking things but not voicing them. So there was a great deal of challenge of how do we take what's going inside the characters' minds and convey them? So there was real hard work to be done there. The adaptation process occasioned me to go in directions that I might not otherwise have ventured into. I did Mr. Mercedes, the Stephen King thing, and that was horror. I had never gone into the horror genre before. I said, "OK, I'll try this," and went down that path and there was a lot of discovery in it, and I ended up quite enjoying it. So, at this point in my career I've been lucky. I've worked with Stephen King, Liane Moriarty with Big Little Lies, Scott Turow has always been one of my favorites with Presumed Innocent, Tom Wolfe with Man in Full. So that's pretty cool when you get these kinds of authors trusting you with their babies. How much collaboration do you do with them? Well, Tom Wolfe was unavailable. (Laughs.) I was probably the most daunted with Stephen King because, you know, it's Stephen King, and, there are things that he writes that logistically and from a production standpoint are going to be hard to do, so I knew I was going to have to make changes. And oh man, he may make me a victim in his next book! But he blessed everything. He says he loved it. I think he even said that Mr. Mercedes was one of his favorite adaptations, because I knew he hated The Shining. SEE'Presumed Innocent' producers J.J. Abrams and David E. Kelley on teaming up, 'contemptible' characters, and season 2 What about Scott Turow with ? Scott Turow's the same with Presumed Innocent. Again, I loved that book. I also loved the movie. I was daunted. This has been done well twice — in book form and in movie form — and I didn't want to be the one to screw it up. The series offered an opportunity to dig deeper into characters, especially the ancillary characters, so I was really excited about that opportunity and it was the love for the characters that that made me dive in. And Scott Turow said OK. He understood the difference in the process. A book is a book, a television series is a series. It was my baby, it's now it's your baby. You've been on a run of limited series; would you ever go back to continuing drama again? I do enjoy the limited series, but right now I'm beginning to miss series again. I tend to mourn characters when series are over. You live with them for a year or two years, and they become a little too real, and then when they're gone, it's sad. Big Little Lies, I still miss them. With series television, you live with the characters for longer. Also, you're really building a community. I am looking to do less amount of projects and get back to a series where it can go on for a long time and maybe we can get that community that I missed back. There was real currency in it. The studios now are looking for shows that aren't going to be over and done with in one, two, or three years, and I think that's going to be good for the consumer. And I look forward to it as a writer too because when, again, when you spend so much time working with these characters, they tend to become real, they tend to become like your family, and you want to hold on to them. But not the Mr. Mercedes family. I was happy to say goodbye to that family. Is there any other family in your library you would revisit for a reunion or a revival? I'm not a reboot kind of guy. I feel I've done that once, and I'm not opposed to someone else taking something I've done if they've got a new idea on it. But I feel it I just want to go forwards not backwards if I can. And do you still write longhand? I do, although my hand sort of runs out of gas now. (Laughs.) I actually do believe that there is a hand-brain connection. Because when I try to dictate or type, the brain doesn't fire as well as when I write with my hand. You heard it here. 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‘One of the things that made it so special was that it wasn't for everyone': ‘The Leftovers' EPs and cast on the show's legacy
‘One of the things that made it so special was that it wasn't for everyone': ‘The Leftovers' EPs and cast on the show's legacy

Yahoo

time27 minutes ago

  • Yahoo

‘One of the things that made it so special was that it wasn't for everyone': ‘The Leftovers' EPs and cast on the show's legacy

Damon Lindelof is the first to admit that The Leftovers was a bit of a hard sell for mass audiences. The critically acclaimed show, which ran for three seasons from 2014 to 2017 on HBO, attracted a devoted, passionate but relatively small fan base, who were drawn in by the haunting exploration of grief and its aftermath. More from GoldDerby David E. Kelley on the secret of his prolific career: 'Don't ever assume you're smarter than the audience' 'I'm glad I'm still alive': Jon Hamm and John Slattery on 'Mad Men,' 10 years later 'King of the Hill' cast and creators on revival: 'Bobby's got a little bit of fame and a little bit of swagger' Lindelof reunited with executive producers Tom Perrotta (whose novel inspired the series) and Mimi Leder and cast members Carrie Coon (Nora), Amy Brenneman (Laurie), and Ann Dowd (Patti) at the ATX TV Festival in Austin to "reheat" The Leftovers, sharing their first impressions of each other and the series, the most 'terrifying' scene, and the show's lasting legacy. Lindelof revealed he was nervous before his first meeting with Perrotta. 'It was a job interview in a lot of ways, but you just completely and totally put me at ease, and by the end of the meeting, that was the beginning of the next five years of our lives,' said Lindelof. As a fan of Lost, Perrotta said he felt like it was a 'blind date' — 'because what does he think of me?' he recalled wondering. 'And then what I remember feeling was, this guy has the quickest mind that I have encountered and I'm going to have to really be on my toes.' ('Somewhere my wife and son are laughing,' quipped Lindelof.) SEERemembering 'The Leftovers': Why do Emmy voters hate TV's best show so much? Dowd said she wasn't impressed when she first read the script. 'I thought it was ridiculous,' she said. 'And I can tell you I have never loved a character more. I thought, 'Well, what's gonna happen if I'm not talking?' I can't believe the power you have in your room when you're not speaking. Everybody is waiting for you to do what you're going to do. I loved her. It took me a minute but only a minute.' Brenneman said she had 'whiplash' from the transition from her far more glamorous role on Private Practice. 'Damon said, 'Here are the reasons you shouldn't take this job: It shoots in New York, you can't wear any makeup, and you have no lines,' she recalled. laughing. But she said yes because 'I like new things. I don't think I've ever seen this, and you seem to be making it up on the fly.' For Coon, she said it was her first 'real job,' having done mostly theater and some commercials at that point in her career. 'I had no idea what was going to happen and I remember learning several years after the show ended that because I come from the theater and you respect the writer, I was the only actor on the show who wasn't constantly emailing and asking questions,' she said. 'I would just get the script and then I would do it. I still don't do it.' Joked Brenneman, 'That's why you work a lot.' Leder was brought on for the fifth episode, which happened to be the stoning episode. 'How am I going to direct this and not kill the actor?' she worried. (The answer: CGI rocks.) From there, though, she came on board as an executive producer to pursue 'the meaning of life, miracle of life. And I'm still in search of it.' 'You can make a TV show or a movie and it can be really good. But this was making this big beautiful baby that touched everybody's soul,' she said. 'If there's a theme it's that there is so much loss and we continue on. And we live with our loss and our grief we have beautiful lives sometimes.' Lindelof credited Perrotta with the idea of moving the show to Texas for the second season. 'Tom had the initial idea for a town where no one departed in Season 1,' he said. 'And when he pitched the idea, all the writers were like, that idea is so good, we can't burn out the four-week story. So it just sort of sat there in the back of our heads. And when the first season ended, we all sort of really good about this. This was the ending of the novel, we could just end it here. Let's not double down' But then HBO ordered a second season, and the ideas that had been percolating came to the forefront, including Perrotta's pitch for a place that had been protected from the Departure. 'The show ended up dealing with so many different ideas, and it's ultimately, I think, about faith,' said Perrotta. 'But I think for me, it was about randomness and the way people make sense of a random universe. What meaning does Nora derive from what happened to her? What kind of meaning do they derive from their protected status as they perceive it? What does it mean for Nora and her family to show up there?' For her part, Dowd was thrilled about Season 2 — because 'Patti got to talk,' she said. But when she asked Lindelof why, he gave an elliptical answer. 'I think ghosts are more interesting when they're annoyed,' he told her. (Dowd would go on to earn the show's lone Emmy nomination for guest actress in the show's third and final season.) The second season also allowed more joy and warmth and humor to infiltrate the show, recalled Brenneman. 'What I always loved about this premise was something unexplained happens and people have all sorts of responses,' she said. 'Some people go to a faith place, some people go to a nihilistic place, some people crack jokes, some people weep. It gives you a range of things that I feel like we accessed more and more.' Coon recalled her pivotal Season 2 episode, when she went face-to-face with Regina King, administrating the questionnaire. 'I've often said I've only been intimidated two times and that's Holly Hunter and David Thewlis,' she said. 'But that's not true because I was scared of Regina. I was scared of Regina because she's so uniformly excellent. But then you work with her and you realize that the work she has done to get there is in her bones. She's one of the best listeners I've ever worked with.' The scene 'was extraordinary and it was terrifying,' said Coon. 'And it was really a scene that people call back to it a lot when they talk about the show. My makeup artist remembers just the eyelash on my face,' she said. 'But they didn't want to stop the scene.' And the other famous scene that they all debated was Laurie's near-suicide. 'When Laurie went into the water, scuba diving, we as writers were absolutely and totally convinced at the time that we wrote that episode that she was dead,' recalled Lindelof. 'But then everybody was super depressed, and we couldn't generate ideas. 'Finally I walked into Tom's office and I said, 'I think Lori is still alive.' And he was like, 'Thank god, because we've all been talking about it.' That was a case of the show just out and out rejecting something that we were trying to force onto it.' Finally, Lindelof grew emotional talking about the audience's response in the packed Paramount Theater in Austin. 'All I ever wanted to do for a living was tell stories because I was inspired by the stories that were told to me,' he said. 'As proud as I am of the collaborative efforts that remain on other things that I've worked on, this is the one that is the closest to my heart. And one of the things that made it so special was that it wasn't for everyone. So much of the work that we all do and are asked to do is to make it as accessible to as many people as possible. And that isn't to say that we were purposefully trying to exclude people, but what we were after was going to be challenging. The first season in many ways is like, 'Stop f--king watching. You have to lean in. This is going to be a show that's about suffering, and then it's going to be about what people need to do to overcome it or live with it.' And so the idea that there is a theater filled with human beings who understand that and tolerate that and appreciate that, it truly means the world to us.' 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