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Krispy Kreme, Hulu team up on doughnut collection inspired by movie theater snacks: See new flavors

Krispy Kreme, Hulu team up on doughnut collection inspired by movie theater snacks: See new flavors

USA Today17-02-2025

Krispy Kreme, Hulu team up on doughnut collection inspired by movie theater snacks: See new flavors
Krispy Kreme is teaming up with Hulu on a new doughnut collection with flavors inspired by popular movie theater snacks, the companies announced Monday.
The "Krispy Kreme x Hulu: Movie Snacks Doughnuts Collection" is "perfectly cast to provide all the 'snack-tion' of theater favorites like popcorn and slushies when you're streaming a movie at home," reads a news release announcing the promotion.
The collection will be available for a limited time beginning Monday, Feb. 17 and features four new doughnut flavors:
Blue Raspberry Slush Doughnut: An Original Glazed doughnut dipped in blue raspberry flavored icing and blue sanding sugar.
An Original Glazed doughnut dipped in blue raspberry flavored icing and blue sanding sugar. Caramel Popcorn Doughnut: An unglazed shell doughnut filled with caramel popcorn flavored Kreme filling, dipped in white icing and caramel popcorn and topped with red icing drizzles.
An unglazed shell doughnut filled with caramel popcorn flavored Kreme filling, dipped in white icing and caramel popcorn and topped with red icing drizzles. Cookie Dough Superstar Doughnut: An unglazed shell doughnut filled with chocolate butterkreme flavored filling, dipped in chocolate flavored icing and topped with gold glitter sprinkles and cookie dough bites.
An unglazed shell doughnut filled with chocolate butterkreme flavored filling, dipped in chocolate flavored icing and topped with gold glitter sprinkles and cookie dough bites. Candy Double Feature Doughnut: An Original Glazed doughnut dipped in white icing, topped with milk chocolate candy pieces and mini milk chocolate chips, and drizzled with chocolate flavored icing.
'This first-ever collaboration with Hulu lets our fans enjoy their favorite movie snack flavors with their favorite doughnut while streaming their favorite movie," said Dave Skena, chief growth officer at Krispy Kreme, in a news release. "That's a good night!'
The doughnuts are available in-shop and for pickup or delivery via Krispy Kreme's app and website, individually and by the dozen, according to the doughnut chain.
Customers can also enjoy a selection of the doughnuts in a Krispy Kreme 6-pack box delivered fresh daily to select retailers. Click here to find a shop or retailer near you.
Gabe Hauari is a national trending news reporter at USA TODAY. You can follow him on X @GabeHauari or email him at Gdhauari@gannett.com.

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Dan Fogelman and team on the making of ‘Paradise': ‘It only works if you have talented people who you trust'
Dan Fogelman and team on the making of ‘Paradise': ‘It only works if you have talented people who you trust'

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Dan Fogelman and team on the making of ‘Paradise': ‘It only works if you have talented people who you trust'

Coming up with a unique idea for a show is hard enough — bringing it to life is another challenge entirely. So when it came to making Hulu's Paradise a reality (or is it?), showrunner Dan Fogelman turned to his trusted team, many of whom he had worked with on This Is Us. Having that shorthand among his lieutenants — including executive producer John Hoberg, directors John Requa and Glenn Ficarra, composer Siddhartha Khosla, costume designer Sarah Bram, and make-up department head Zoe Hay — "it's everything," said Fogelman. "For me, speaking selfishly and personally, it allows me to focus on the more important part of my job, the part I'm good at, which is writing and editing and not worrying about how the show gets made. Because I know I have great people making it. As I've gotten further along in my career, I like giving my stuff to smart people to interpret it and see what they do with it." More from GoldDerby 'Thank you for dying': 'Squid Game' creator, cast share deeper meanings of hit Netflix series, reveal on-set flower ceremonies for 'killed' actors 'It's church with butt jokes': Kevin Smith looks back as 'Dogma' turns 25 Mariah Carey and Jamie Foxx steal the spotlight at 2025 BET Awards: Watch highlights and see the full winners list Here, those smart people reveal the inside secrets of the making of Paradise, from the biggest fights in the writers room to hiding the murderer in plain sight. Gold Derby: Dan, what was the mission you gave to the team to create the world of Paradise? Dan Fogelman: Almost everybody here worked with us on This Is Us, and John and Glenn and I have done multiple projects together. And so my thing is my job is done when I write the script, and then I turn it over to smarter people and say, 'Figure out how to make this thing.' We had a lot of conversations about how we were going to bury the secret at the end of the pilot. That was where a lot of attention went, and that involves every department here. The challenge was obviously obfuscating the world that you thought you were in versus the world you were [actually] in for 58 minutes of the pilot. And that was the biggest challenge, I think, of the entire undertaking. John Hoberg, how did you approach that with the scripts? John Hoberg: We have a great room of writers, and so there was so much discussion about it. How do you make this show post-apocalyptic, but also have this humanity in there? That was always in there, the flashing back and finding the heart and the origin where these people come from. There was always that goal of how do we dig deeper into these characters and find what motivates them. There was a lot of math, too — I can't tell you how much! You should see the writers room with the cards up [on the wall] trying to track a murder mystery, but also the emotional journey of all these characters. It was a lot of very passionate discussions with writers who really, really care about what fits into what pieces. Dan and John, what were some of the most passionate discussions? Fogelman: My God, we had so many debates! I always try and hire writers who don't just sit on their hands when they take issue with something. But they could also just send you in circles for days arguing and debating stuff. [We debated] any number of things, like the really technical stuff that lives underneath the show that we're really exploring in the second season right now, which is how the bunker is powered. There are conversations about geothermal and nuclear energy that boggle my brain — and I really kind of check out. Hoberg: If I hear the word 'systems level' one more time, I'm walking. Fogelman: And then it's just big picture questions like, 'Can we kill Billy Pace that quickly in the show?' which are more conceptual. 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And the thought behind it was if there was too much pop culture from before and not enough created down below, at a certain point it could devastate people because everything you're listening to and seeing is made by dead people ostensibly. And so the thought was that there was a certain amount of media in houses and in rooms and in programs. But if you wanted it, you sought it out at a special place in the library. You just see a kid listening to music in the library, in the listening section, and that's where Cal goes to make his final mixtape. Speaking of music, Sid, what themes did you want to evoke with your score? Siddhartha Khosla: I was just trying to make Glenn, John and Dan happy! The beauty of working with these guys is that they treat music like it's anything else we've just talked about, like discussing it early on before even shooting a frame of anything. Dan sent me a script and then I wrote this little melody off of that script. 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Occasionally a person would write on Reddit, I think they're in an underground bunker; once in a blue moon somebody would hit on something. But I don't think anybody ever saw him. We had a premiere screening months ago and his own mother and agent said, we just wish we could see one that you were in — and he goes, well, I was actually in that one. And his own family didn't realize that he was the guy that played the assassin after having watched the pilot. So that was very cool. because the whole thing would have fallen on its face if it hadn't worked. Was it always intended that it was going to be him? Fogelman: I didn't know who it was going to be at the very beginning when I wrote the pilot. But then right when we gathered the writers room, one of our writers said, I think it would be cool if it was someone hiding in plain sight. What if it was a librarian? And then we're like, how are we going to do that? Then we were casting with an eye on who could pull off the performance and also who could be malleable to what Zoe was going to do to him. Requa: Some faces aren't that hideable. There were so many conversations that ended with … 'and if this doesn't work, we're [screwed].' You really do like to write yourself into corners. Fogelman: Once in a while, I'll think to myself, God, it would be really nice to just write something linear. Ficarra: We always say that. What did you all learn from making the first season that you're bringing now to the second season? Ficarra: Cut the script down early. I still haven't learned. Hoberg: I haven't learned that. Fogelman: One of the things is, you learn by the response to show. And so obviously we end our first season with Sterling heading out into the world. And that was always part of the plan. But you start learning that people love our bunker and they love our cast down there and they love the dynamics of those folks. So for season two, we're going to be out sometimes with Sterling, but we're also going to make sure we live with the stuff people love in the bunker as well. And finding that balance. It was an exciting thing to discover that it's not just that people are tuning out when Sterling's not on camera on his A storyline. People love Sinatra and Sarah Shahi and Jon Beavers and James Marsden. They love all the storylines in the world that was created down below. Give me one word to describe Season 2. Fogelman: It's very ambitious. Hoberg: I was gonna say bigger. Requa: Subjective. Ficarra: Surprising. Khosla: It's incredibly cool. I've worked on the first couple already and it's awesome. This article and video are presented by Disney/Hulu. 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Who is Alex Cooper? What to know before watching 'Call Her Daddy' host's documentary
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Who is Alex Cooper? What to know before watching 'Call Her Daddy' host's documentary

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Natasha Rothwell and Sterling K. Brown Get Honest About ‘White Lotus' Rewrites, Doomsday and Being No. 1 on the Call Sheet: ‘For the Longest Time I Thought It Meant Something'
Natasha Rothwell and Sterling K. Brown Get Honest About ‘White Lotus' Rewrites, Doomsday and Being No. 1 on the Call Sheet: ‘For the Longest Time I Thought It Meant Something'

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Natasha Rothwell and Sterling K. Brown Get Honest About ‘White Lotus' Rewrites, Doomsday and Being No. 1 on the Call Sheet: ‘For the Longest Time I Thought It Meant Something'

Natasha Rothwell is seeking a friend for the end of the world. A beloved and fiery social media presence, the writer-actor-producer-showrunner hit a professional high this year with a triumphant return to HBO's 'The White Lotus.' She reprises her role as Belinda Lindsey, a masseuse trying to move on from the broken Season 1 promises of Jennifer Coolidge's flaky heiress. But in real life, she confesses to Sterling K. Brown that she's been researching underground doomsday vaults, given the state of global politics. 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This is the thing that I've conceived. Do you like it or do you not like it? If you don't, then I can move on.' Rothwell: 'Paradise' is so tonally different from 'This Is Us.' To have that kind of artistry expressed by the same man, were you kind of caught off guard by that? Or did you know he had the capacity? Brown: I knew he had the capacity for anything; he can write his ass off. He's done 'Crazy, Stupid, Love.,' 'Life Itself' — dude is all over the place. He, like me, is eager to have opportunities to show the diversity of what he can do. Rothwell: I was texting with Mr. James Marsden this morning. I asked him about his experience with you, or even for something innocuous that feels like it says a lot about your character. He told me a little anecdote about how you've passed up being No. 1 on the call sheet many times because for you it's not about the numbers but about the work. And so I'll just reflect that back to you. I think for me, for the longest time, I thought it meant something. After Season 1 of 'The White Lotus' wrapped, I pulled Mike White aside and I got emotional. I went to school for acting like you did — we contain multitudes — but my entry point into the industry was comedy writing for 'Saturday Night Live.' It's been so hard to get the industry to see all of me. And they can be really entrenched in 'She's the funny, fat Black lady. We're going to put her in this corner, and that's the box she's in.' For Mike to give me Belinda, it was like he opened a cage that I felt the edges of. Now I can imagine the freedom of being able to show all of yourself when you see a role that can unlock something in you. And as [a writer], I feel authorship I didn't have for a long time. I had relegated myself as No. 12 on the call sheet in my real life. Do you know what I mean? Brown: I do. I look at this acting thing as sort of controlled schizophrenia, in that there's so many people inside of me, and each character gives me an opportunity to let one aspect of myself out. Rothwell: I feel that when I write. The best quote is 'Writing is awful, but it's wonderful to have written.' The process can be painful — it feels like an exorcism of sorts, for me to be able to put pen to paper and to allow aspects of my personality to bleed in all the characters. It's also such an exercise in control, because you have to be restrained and not just be indulgent and make it all about you — it has to be about the subtext of what you're exploring. Brown: Is there joy in just acting, because you wear so many hats? And being on location so far removed from everybody? Rothwell: I was in post for [my Hulu series] 'How to Die Alone' when I went to Thailand. I felt like, 'I don't got to worry about nothing. Something wrong with catering? Don't care.' For Season 3 of 'Lotus,' I'm just protecting Belinda; I'm holding her safe. Brown: We are blessed. What is it like for you to be working? Because we all have friends that are in this business and not as blessed right now. There's been a contraction. How is your community reflecting that contraction back to you? Rothwell: The contraction is not just being observed, it's felt. 'How to Die Alone' only had one season. I see my friends who are caterers, costumers, makeup artists. I want to make sure they're going to survive this great contraction. I just got back from the TED conference in Vancouver, and it's terrifying about what we're up against as artists to protect our work and to make sure that AI isn't just generating versions of talents that have been curated over years and years of study and apprenticeship. Brown: I think we're made of strong stuff. I also remind myself that the industry is just 100 years old. When I first started, there was a thing called pilot season. There was many a network drama. There was many a serialized. There were 22 to 24 episodes. Now we're doing six or eight. And so much has left Los Angeles. Rothwell: There was a game show shooting near us in Thailand. Brown: I was just working in Australia, and there were seven other productions living in my hotel. Rothwell: There's a little bit of 'Molly, you in danger, girl' about it all. Brown: Speaking of Belinda and the last 'White Lotus,' she's in a moral conundrum because she's [avoiding] a man she knows by another name who was not good to his wife. You ultimately wind up approaching him, and he hits you with an indecent proposal. What would Natasha do in Belinda's situation? Take the money and run? Rothwell: I think that Belinda saw an opportunity to get something she fundamentally believed she deserved. She's a moral center for the show. I'm scared for her, because I do think karma is real and the money is blood money. That storyline was my pitch. Brown: Was it really? Rothwell: It was my pitch. Listen, this is why I love Mike White. Originally it was Belinda's son, Zion, running the show. I told Mike I really wanted to see Belinda have agency in this moment. Can she take over the negotiation in some way? What is an authentic way for her to show that she's pushing her chips in along with her son? Being able to show that turn, she sees that she has power over a white man — the kind of man that she's been rubbing the backs of for a long time. Brown: Is she breaking bad? Rothwell: I don't know that she's breaking bad, but I think she feels that there's an opportunity here. I also come from a place of great empathy. I remember when I was first able to not think about money 24/7. I used to carry around a check in my wallet when I was fucking broke. I wrote it for the amount of my student loans just to say, 'Someday I'm going to be able to [pay this].' Brown: Did the money Belinda got also quell her on the idea of going into partnership with Pornchai [played by Dom Hetrakul]? Rothwell: That pisses me off. People are just like, 'Oh, you just left Pornchai on the side of the road.' She fucked the dude one night. She had a one-night stand. She owed him nothing. Belinda had an opportunity to betray herself again, but no. Circumstances changed. For you, your performance contains so much vulnerability and selflessness in moments. How do you find that, when I think so often the really human default is fear and 'I got to save me'? Brown: My character is someone who's been without his best friend and partner for three years. He's incomplete. And he's raising two children by himself, knowing that this wasn't how it was supposed to be. When he's introduced to the idea that his family could be reunited — Rothwell: He paused when he was in that shower with your co-star Sarah Shahi. 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