How to have the best Sunday in L.A., according to Adam Devine
He's far less reticent when it comes to talking about things like the basketball-themed birthday party in the works for his son (he and wife Chloe Bridges welcomed their first child in February 2024), which 'Gemstones' co-star would make the best weekend wingman in the City of Angels ('Obviously it's going to have to be Danny,' he said. 'Danny knows how to have a good time') and his ideal Sunday itinerary in L.A., which starts with table pancakes and ends with a scroll through whatever garbage his Instagram algorithm is serving up.
This interview has been lightly edited and condensed for length and clarity.
9 a.m.: Snap into some table pancakes at Blu Jam CafeI would take a leisurely morning, get up, do my stretches — really limber myself up for the big day that I'm about to have — and then we're hitting the town. I think I'd probably go to the Blu Jam Cafe on Melrose [Avenue]. It's this cute little spot, and there's usually a line, especially on Sundays. But you can walk up and down Melrose and do some shopping while you wait for your table. I try to eat a little healthy, so I always get the protein scramble. But then I'm a naughty boy and I'll order blueberry pancakes for the table as well so everyone can have a pancake. But most of the time it's just me and my wife, so it's basically a stack of pancakes for the two of us, which is a perfect scenario. Maybe I'll have a mimosa or two.
10:30 a.m.: Grab some hot nuts at the Original Farmers MarketThen I love going to the Original Farmers Market and just walking around. When I first got to L.A. [from Iowa at 18], I didn't know what to do or where to go, and people said just go to the Grove and walk around. And that's how I found the Farmers Market. I thought I'd discovered this hidden jewel and was like, 'Does anyone know about this place?' Then I walked in, and yeah, people know about this place. I love all the little old little stands. I like getting habanero pistachios [from the Magic Nut & Candy Co.] so I'll do that and then walk around with my hot nuts.
I had my first-ever celebrity spotting here. He was the limo driver in the movie 'Blank Check,' and he was at that tiny little bar in the middle [Bar 326] drinking a beer. I don't even know the guy's name, but it floored me to see someone that I'd seen in the movies. I wanted to sit next to him and order a beer, but I was only 18 years old, so I couldn't do that. So I was just eating hot nuts from afar staring at the limo driver from 'Blank Check,' and he could have been George Clooney to me.
Noon: Make for a matinee at the GroveI'd [hang at the Farmers Market] for maybe an hour or so and then catch a matinee at [AMC the Grove 14]. Even though it's a big theater chain. I love the Grove, and I love that theater. It's one of those places where my wife and I have been going for years, and it was one of the first movie theaters I went to when I first came to L.A. — that and the ArcLight, RIP. The last movie I saw [at the Grove] was 'Gladiator II.'
3 p.m.: Enjoy a date with Ms. Pac-ManThen I might go to Barcade in Highland Park. It's sort of for my generation — the older millennials — who actually did go to arcades in the malls. Now we get to play all these old arcade games we remember from our childhood and have a couple beers while we do it. Embarrassingly, [the game I'm really good at] is 'Ms. Pac-Man.' It's the nerdiest game to play, but I'll go and spend 50 cents and play for an hour. And all my friends are like, 'Do you want to do something else or go anywhere else?' And I'm like, 'I'm good right here.' In fact, I'm such a dork about 'Ms. Pac-Man' that I have a tabletop version at my house, but when I go to Barcade I'll still play. Don't tell my wife, but Ms. Pac-Man is my mistress.
5 p.m.: Dip into a French dipThen I probably would go to Philippe the Original downtown. The straight [classic beef] French dip and the potato salad are my one-two punch. I get such a kick out of seeing the guys who have worked there for 40 years. It just goes to show how good they are to their people [and] what a good work environment it must be. They've worked at the same place for 40 years and they can still find happiness doing the same job they've done forever. It always just puts a smile on my face.
7 p.m.: Catch a Clippers gameI'd either stick around downtown — maybe there would be a Dodger game going on — or make the long drive over to the Intuit Dome and catch a Los Angeles Clippers game. Their stadium is really impressive; I've been four or five times already this season, and you just walk in and [the cameras] scan your face. Then you can go to the little store and you just grab a popcorn and a soda and walk right out. And it scans your face [and charges your credit card]. At first I was like, 'Oh, my God! I am so famous that they recognized me!' And then I realized my face was up on the screen. And [the biometric ticketing and concessions] allows you to spend more time in your seat watching the game.
This is a Lakers town, and I know that. But I bet on the Clippers maybe 15 years ago now, and I'm still riding with them. And I'll ride with them forever. I had season tickets for about eight years, and I loved it. But then I just was out of town so much working that I couldn't end up going to so many games. My [favorite] Clipper of all time would have to be Blake Griffin. When he joined, it turned the Clippers from a garbage basketball team into the Lob City days, which were the most fun. It was Chris Paul, Blake Griffin and DeAndre Jordan, and it was suddenly a show. And it was a better show than what the Lakers were doing at that time, so it was exciting to be a Clippers fan. Now we have Kawhi [Leonard] and James Harden, and it's a different type of show. And, honestly, it might be better basketball. But I miss those lobs.
9:30 p.m.: End the night where the career beganI think I would probably try to end my night at the Hollywood Improv comedy club. That was my first job when I moved to L.A. when I was just a kid. I would answer phones during the day, and at night, I would be the door guy. When I left — because my comedy and acting career was taking off — they told me I had been the worst door guy in what was then their 35-year history. I was 20, but I looked like I was 15. And my voice hadn't dropped yet. Anytime there were hecklers or someone was drunk and rowdy, instead of telling them to leave, I would have to go get someone else to tell them to leave.
But working there really was my big break because I got to see the best comedians in the world every night. And then the manager, Reeta Piazza, told me I should start carrying a change of outfits in case a comic didn't show. I did, and when a comic was running late, they'd ask me if I could kill five or 10 minutes. Eventually I started to kind of garner attention, and I got [invited to become one of the New Faces of Comedy at] the Montreal Comedy Festival because they'd seen me there. And then I got the attention of Comedy Central, which led to me getting my show 'Workaholics.'
[Before that,] we might try to squeeze in some sushi at Yamashiro. As kitschy as it is, it's got great views of the city, and the sushi is pretty good as well.
11 p.m.: Surf the Instagram algorithmI wish I would say that I just crack open the L.A. Times and get my news in or do anything useful [before bedtime], but I probably would just stare at Instagram and watch my algorithm feed me more garbage. [It's] a little embarrassing [because] it's all either babies giving their dads a little side eye or teenagers trying to fight their teachers, because my algorithm is all over the place.
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Los Angeles Times
an hour ago
- Los Angeles Times
The 21 movies we're most excited to see this fall
Hollywood put up decent numbers this summer and we'd be lying if we told you we didn't find much to like (even if it didn't always come in a cape). But just as inevitably as the warm months wane, ambitious actors will attempt to play rock icons. Accents will be summoned, some of them mastered. Epic musicals involving witches, wicked or otherwise, will find their conclusions. Oscar winners will play Nazis. Jared Leto will continue to do what only Jared Leto does. Pathos will be mined from the tale of a wrestler. These are the things we expect from a robust fall season and the upcoming one will not disappoint. Here's what our staff is most anticipating. In a near-future America ruled by a totalitarian regime (ah, the movies), several young men take part in a nationally televised endurance contest with one brutal rule: Stop walking and you die. Adapted from Stephen King's novel first published under his Richard Bachman alias in 1979, 'The Long Walk' is directed by 'Hunger Games' veteran Francis Lawrence, who knows his way around dystopian survival stories. The march heads toward an ending only one contestant can reach, with Cooper Hoffman ('Licorice Pizza') among the participants and Mark Hamill in villain mode as the implacable Major overseeing the ordeal. The contest unfolds in broad daylight as cameras and soldiers turn the asphalt into an arena. Adaptations of King books have been around for decades, but few promise the kind of slow, creeping dread this premise invites and the political overtones of militarized spectacle are hard to miss. Wear comfortable shoes and hydrate accordingly. — Josh Rottenberg The award for the most intriguing combo of Hollywood's fall season has to be Scarlett Johansson and June Squibb. Johansson had a hit this summer with 'Jurassic Park Rebirth' while the 95-year-old Squibb has repeatedly scored praise for her recent performances, including 2024's 'Thelma' in which she played a grandmother seeking revenge after being targeted in a scam. Both are winning accolades for 'Eleanor the Great,' which marks Johansson's debut behind the camera as director. Squibb stars as the lonely title character who falsely claims to be a Holocaust survivor, then privately frets as her lie snowballs into something unfixable. The film was an audience favorite at Cannes, ranking among The Times' 10 best films at the festival. — Greg Braxton Paul Thomas Anderson, who gave us the oil-soaked intensity of 'There Will Be Blood,' the sleazy excess of 'Boogie Nights' and the knotty elegance of 'Phantom Thread,' is not the obvious choice to direct a big-budget Imax action-thriller, which is exactly why 'One Battle After Another' feels like an event. Loosely inspired by Thomas Pynchon's 1990 novel 'Vineland,' the film transplants the book's tangle of political grudges to a modern-day context of former activists forced back together when their long-vanished enemy resurfaces. Leonardo DiCaprio plays a drug-and-booze-addled revolutionary trying to rescue his kidnapped daughter, with Teyana Taylor, Regina Hall and Alana Haim as his comrades, Benicio del Toro as his wild-card ally Sensei Sergio and Sean Penn as their white-nationalist antagonist, Col. Steven J. Lockjaw. Anderson last adapted Pynchon with the loopy, stoner-inflected 'Inherent Vice,' but here he's working on a grander scale. Shot on 35mm VistaVision, 'One Battle After Another' will be a rare chance to see Anderson bring his sly digressions, oddball humor and tonal whiplash to a canvas usually reserved for Bayhem. — Josh Rottenberg It's being described by early marketing as an exploration of bonds between fathers, sons and brothers through 'personal journeys and generational conflicts,' which honestly could describe 80% of all movies ever. Fortunately, though, plot is not the headline; casting is. 'Anemone' has apparently forced Daniel Day-Lewis out of the retirement he announced in 2017. And for a good reason: Day-Lewis co-wrote the film with his son, Ronan Day-Lewis, a New York-based painter who also directs. This will be the second time Day-Lewis the elder has come out of retirement — he left acting in the late '90s, only to return after Martin Scorsese convinced him to do 'Gangs of New York,' after which he won two more Oscars. (Not to put too much pressure on 'Anemone.') The film also stars Sean Bean, Samuel Bottomley, Safia Oakley-Green and Samantha Morton. — Mary McNamara What's the Rock cooking? Another crafty career pivot from face to heel: specifically, from being the face of too many franchises with too few critical hits, to teaming up with Benny Safdie, one of the beloved bad boys of indie cinema. 'The Smashing Machine' — Safdie's first film since 'Uncut Gems' (which he co-directed with his brother Josh) and Johnson's most intriguing release since 2013's underappreciated 'Pain & Gain' — stars the former wrestler as MMA fighter Mark Kerr, who won multiple gold medals in the '90s and early aughts while getting slammed by the painkiller addiction that enabled him to keep getting back in the ring. Kerr shared his story in a 2002 HBO documentary of the same name. It'll be interesting to see how (or if) the harsh truth of combat sports gets the manic Safdie treatment. Best-case scenario: No holds will be barred. — Amy Nicholson Italian director Luca Guadagnino ('Call Me by Your Name,' 'Challengers') likes erotic stories that flirt with disaster. He tweaks the audience's moral compass, and 'After the Hunt' sounds like a dangerous spin on his risque business. The #MeToo-adjacent thriller stars Julia Roberts as a college professor who freezes when her favorite student ('The Bear's' Ayo Edebiri) lodges an assault accusation against her favorite colleague (Andrew Garfield). Counter-accusations ensue, leaving Roberts' character unsure whom to believe and paranoid that this blame tsunami will cause her own ethically dubious past to surface. Guadagnino has hinted that he's interested in teasing out how different people (and generations) disagree on the definition of consent. The early buzz is that Roberts has seized onto the opportunity to deliver her richest performance in ages and it's worth noting that Guadagnino has yet to win his first Oscar. — Amy Nicholson Kathryn Bigelow, the Oscar-winning director behind 'The Hurt Locker' and 'Zero Dark Thirty,' is an expert at turning real-world crises into procedural pulse-pounders. In 'A House of Dynamite,' she trades the battlefield for the White House, tracking a team of officials scrambling to respond to an incoming-missile alert in near real time. The stacked cast includes Idris Elba, Rebecca Ferguson, Jared Harris, Greta Lee, Tracy Letts, Anthony Ramos and Jason Clarke. Shot with you-are-there immediacy by cinematographer Barry Ackroyd and edited by Fincher veteran Kirk Baxter ('The Social Network'), it's Bigelow's first feature in eight years, since her period crime drama 'Detroit.' This time, it's situation rooms, red phones and competing chains of command. The fuse is bureaucratic and the stakes are global. — Josh Rottenberg The most terrifying movie of the year, unsurprisingly, is about a mother just trying to get through a day — or maybe it's her whole life? Rose Byrne stars as Linda, a Montauk therapist in an emotional tailspin: she's tending to a sick daughter with a mystery illness that prevents her from eating normally, there's a hole in her ceiling that's gushing water, her husband is MIA and she's desperate for counsel from her own aloof therapist (Conan O'Brien). Mary Bronstein's sophomore feature skillfully takes a darkly funny look at the harrowing isolation and chaos of motherhood, often zooming in on Byrne's face as she's pushed to the brink. It's also worth mentioning that rapper ASAP Rocky plays James, an unlikely partner-in-crime with a gnarly internet browser history whom Linda comes to know when her water disaster forces her to move into a motel. The A24 film, which counts Josh Safdie among its producers, earned raves out of this year's Sundance and critics are already heralding Byrne's performance as Oscar-worthy. — Yvonne Villarreal AI continues to evolve onscreen — for every Entity threatening the end of civilization in 'Dead Reckoning,' there's a M3GAN 2.0 ready to come to our aid with an eye roll. 'Tron: Ares' looks to split the difference: Mean-looking skyscraper-sized machines face off against Jared Leto. Never mind. You didn't watch these movies for the plots anyway. Besides the welcome return of a cameoing Jeff Bridges from the 1982 Atari-era landmark, the new movie brings on Trent Reznor and Atticus Ross doing a proper industrial-rock score under their old moniker Nine Inch Nails, a soundtrack they've called 'grittier' compared with their other stuff like 'Challengers.' That's reason enough to go, head-bobbing your way through lightcycle race sequences to the groove. A summer movie smuggled into the fall? Fine, we'll need a few of those, especially as the awards drumbeat gets deafening. — Joshua Rothkopf Do you remember comedies? Do you remember the experience of going to a movie theater and laughing with a room full of complete strangers? Do you remember Aziz Ansari? 'Parks and Recreation,' yes. But also the charming rom-com Netflix series 'Master of None,' the one that Ansari starred in and co-created, often writing and directing as well. It's been a minute. Ansari was set to make his feature film directorial debut in 2022, but production was halted and never resumed due to a complaint of inappropriate behavior lodged against Bill Murray. Now we finally have Ansari's first feature, a comedy about a guardian angel (Keanu Reeves) swapping the lives of a struggling gig worker (Ansari) and his wealthy boss (Seth Rogen). Think of it as 'Trading Places' with a dash of Wim Wenders. It could be sublime. It could be a train wreck. But it's an original story from a multi-hyphenate who was viewed, not that long ago, as a major talent. I'm interested. — Glenn Whipp At their boldest, movies can demand a reckoning, a reconsideration. Iran's Jafar Panahi swept into Cannes with this sad and furious political thriller, about the lingering aftermath of a torture master's abuses, taking the Palme d'Or in an almost cosmic reversal of fortunes for a filmmaker who has often suffered in prison or under house arrest, his art forbidden. 'It Was Just an Accident' has revealed more to me in thinking about it, especially about the precarity of everyday manners. Without ruining it, the closest comparison is to something like 'Death and the Maiden.' When the tables are turned, is revenge itself a moral dead end? Based on an especially tough-minded piece of writing, this is a film that will get you contemplating pettiness and righteousness both. There's no fall movie season without the Palme winner and last year's 'Anora' went all the way. — Joshua Rothkopf There is still something astonishing that Greek-born filmmaker Yorgos Lanthimos has become as commercially successful and awards-friendly as he has, given that his work tends to be abstract, allegorical and at times willfully off-putting. Nothing if not unpredictable, Lanthimos now offers up a remake of the 2003 South Korean film 'Save the Green Planet!' in which a pair of activists kidnap a pharmaceutical executive they believe to be a space alien, with Jesse Plemons as one of the plotters and Emma Stone as their target. Lanthimos' work often combines dark comedy and an unexpected romantic streak with a potent political charge and his latest film looks to tap into the volatile energy of conspiracy theories and radical anti-corporate sentiments. Stone, who won an Oscar for her performance in Lanthimos' 'Poor Things,' continues to use her Hollywood star power to champion challenging filmmakers. This is their fifth film together. — Mark Olsen The cynical take would be: This is a naked attempt at the same commercial success as music-themed dramas like 'A Complete Unknown' and 'Bohemian Rhapsody.' But Bruce Springsteen and the raw, stripped-down recordings of his 1982 'Nebraska' album seem earnestly in opposition to such artless gamesmanship. Adapted and directed by Scott Cooper, the film stars Jeremy Allen White (perfectly suited for a post-'The Bear' step into movie stardom), along with Jeremy Strong as Springsteen's faithful manager Jon Landau and additional supporting turns from Paul Walter Hauser, Stephen Graham, Gaby Hoffmann, Odessa Young and Marc Maron. A soulful, searching '70s-style character study on the making of a now-classic '80s album with some of the most exciting performers of 2025 is both slightly counterintuitive and something that makes total sense. — Mark Olsen That title seems to have lost a comma since Cannes, but who cares? Director Lynne Ramsay has no patience for grammatical formalities and her latest burns with the punk ferocity of her finest film, 2002's 'Morvern Callar.' Ramsay has found a fellow traveler in Jennifer Lawrence, who, these days post-'Causeway,' is reinventing herself in a focused, fearless register. It's impossible to watch 'Die My Love' and not be hypnotized by its swampy psychodrama: the violent postpartum death throes of a marriage that has little reason to continue. Lawrence and her co-star, Robert Pattinson, play a city couple who move to Montana only half-believing in their own future together. Ramsay teases out something delicate and distracted in both of them. You'll hear about these sex scenes. There's more to the movie than that. — Joshua Rothkopf In November 1945, two dozen high-ranking officials of the Nazi Party were charged with crimes against peace, war crimes and crimes against humanity. At their center was Hermann Göring, Adolf Hitler's second-in-command. Not surprisingly, Göring is a central character in the upcoming James Vanderbilt film 'Nuremberg.' Based on Jack El-Hai's 2013 book 'The Nazi and the Psychiatrist,' 'Nuremberg' focuses on the relationship between Göring, played by Russell Crowe, and Douglas Kelley (Rami Malek), the psychiatrist tasked with determining if Göring and the other Nuremberg defendants were capable of standing trial. Though in hindsight Göring's conviction seems inevitable, many of the Allied leaders had initially preferred summary execution to prevent the Nazis from gaining any kind of sympathy. Bombastic, unrepentant, with a ribald sense of humor and a defense that leaned heavily into his desire to make Germany great again, Göring came out swinging. It is difficult to imagine an actor better suited to this role than Crowe, just as Malek seems a perfect fit for Kelley, who never recovered from his discovery that the Nazis 'were no different from a group of intelligent executives anywhere.' — Mary McNamara Director Dan Trachtenberg rejuvenated the 'Predator' franchise with his 2022 prequel 'Prey,' a period piece that pitted a ferocious young Comanche warrior (Amber Midthunder) against a new iteration of the iconic alien hunter while also weaving in conflict with terrestrial interlopers. I've been ready for Trachtenberg's next offering from this world ever since. While 'Prey' was set during Earth's past, 'Predator: Badlands' moves the action to a remote planet in the future. There are no human protagonists needed to outmaneuver a deadly alien foe this time around. 'Badlands' centers a young Predator outcast (Dimitrius Schuster-Koloamatangi) who encounters an android (Elle Fanning) created by the 'Alien' franchise's Weyland-Yutani Corp. while on his quest to hunt the deadliest of beasts. The idea of a Predator and a synthetic's odd-couple team-up was intriguing even before the visual of an alien warrior carrying half an android on his back grabbed this 'Star Wars' fan's attention. — Tracy Brown As the follow-up to their breakthrough collaboration on 'The Worst Person in the World,' Norwegian filmmaker Joachim Trier and actor Renate Reinsve return with 'Sentimental Value,' which won the second-place Grand Prix award when it premiered at Cannes earlier this year. In a richly layered study of family, legacy and nothing less than the purpose of art, Reinsve plays an emotionally fragile actor whose filmmaker father (a galvanizing Stellan Skarsgård) has written a part for her. After she refuses to even consider it, feeling that the baggage between them is too fraught, he moves on to casting an American ingenue (Elle Fanning), who may not be up to the demands of the role. (Inga Ibsdotter Lilleaas as Reinsve's sister is also something of the film's sneaky secret weapon.) Able to switch moods and tones with a stylish, skillful ease, Trier brings out the best in all the film's performers, mixing a knowing, bittersweet humor with deep insights. — Mark Olsen Did we dream it at Sundance? A classically proportioned drama about the building of the American West, mostly seen from the eyes of one logger, that approaches the quiet grandeur of a Terrence Malick movie? Nope, 'Train Dreams' is here and there's something about its poise and intimacy that makes it feel, finally, like Netflix has a big awards winner, provided viewers can get beyond Joel Edgerton's bushy beard. The performance is taciturn and nonverbal; he's got a mouthpiece in Will Patton's folksy narration, but what Edgerton is doing is worth leaning in for, complex and fascinating. Co-written by Clint Bentley and Greg Kwedar, the team behind 'Jockey' and 'Sing Sing,' and adapted from Denis Johnson's 2011 novella, this gorgeous movie could put you in mind of a less frenetic era and also, via its piney fog-shrouded exteriors, of the country that still exists beyond all our noise. — Joshua Rothkopf An aging movie star reflects back on his life and career, contemplating what it was all for as he heads to Europe to receive a lifetime achievement award. The new 'Jay Kelly' stars George Clooney but is also in some ways about George Clooney — or at least the kind of existential crisis that only someone like George Clooney could truly understand. The latest film directed by Noah Baumbach, who co-wrote the screenplay with Emily Mortimer, 'Jay Kelly' may also be full of the filmmaker's own inner ruminations following the dismissive response to 2022's 'White Noise,' his previous film, and the overwhelming success of 'Barbie,' which he co-wrote with Greta Gerwig. The stacked cast of 'Jay Kelly' includes Adam Sandler, Laura Dern, Billy Crudup, Riley Keough, Stacy Keach, Jim Broadbent, Mortimer and Gerwig. Baumbach's signature serio-comic touch, in which the humor lacerates as much as the drama, should be in full effect here. — Mark Olsen Seven years ago, a movie fan tweeted at director Edgar Wright to ask if he'd ever helm a remake. 'The Running Man,' Wright replied — and now he's done just that. Prescience has always been part of this action-thriller's hold on the imagination. Stephen King dreamed up the idea of a deadly TV competition in 1982, years before 'Survivor' brought the thrill of watching real-life desperation into our living rooms, and set his dystopian story in the then-distant future of 2025. Today, King's grim satire doesn't seem quite as far-fetched, so Wright's challenge will be making sure his update still packs a wallop. Glen Powell has stepped into Arnold Schwarzenegger's running shoes as a gritty, hardscrabble contestant who flees for his life, with Josh Brolin, Colman Domingo, Lee Pace, Michael Cera and Katy O'Brian rounding out the cast. Here's hoping this long-awaited project makes it across the finish line with panache. — Amy Nicholson It feels like I've been holding space for Part 2 of Jon M. Chu's musical extravaganza for as long as film star Cynthia Erivo stretched out that final 'aaaaaaaaaaahhh' battle cry in the showstopping 'Defying Gravity' number. Adapted from the long-running Broadway musical, the bifurcated epic is mostly set before 'The Wizard of Oz' and explores the origins of green-skinned Elphaba (Erivo) before she became known as the Wicked Witch of the West and her complex dynamic with rival-turned-friend Glinda (Ariana Grande). The first movie, which introduced the young women as students at Shiz University who developed an unlikely friendship after being forced to bunk together, ended with Elphaba learning about the dark realities of oppression within Oz's Emerald City and launching onto a path of resistance, quite literally, by taking flight on her getaway broomstick and fleeing the city. This second half will explore the diverging roads the two friends take as they become the adversaries we originally came to know through Dorothy and Co.. It's hard to say which will be more entertaining, the promotional tour or the actual movie. — Yvonne Villarreal
Los Angeles Times
an hour ago
- Los Angeles Times
The best movies and TV shows to watch this fall
While this was a summer of box office sequels and 'Love Island' Season 7 watch parties, the fall landscape for movies and TV feels much crisper. Sure, there are repeats on a form, but there's a unique direction to the wind. While 'The Paper' is a loose spinoff of 'The Office,' lead actor Domhnall Gleeson tells The Times the mockumentary about a struggling newspaper has its own feel. Then there's drama 'The Lowdown' from Sterlin Harjo, co-creator of 'Reservation Dogs,' starring Ethan Hawke. One of our critics intriguingly calls it Tulsa noir. On the big screen, Paul Thomas Anderson's 'One Battle After Another' brings wild energy, while Scarlett Johansson makes her directorial debut with 'Eleanor the Great,' a Cannes audience favorite. And as an extra special treat, we got the guys from 'Spinal Tap II: The End Continues' to dish in character — animal print pants and all. The movie and TV offerings here are just the beginning of our fall preview coverage. In the wings for after Labor Day: what's new in music, books, dance, theater and museums. Bookmark this page to stay in the know. — Brittany Levine Beckman, Entertainment and Features editor
Vogue
an hour ago
- Vogue
Ahead of Kim Cattrall's Birthday, Samantha Jones's 7 Best Moments on ‘Sex and the City'
And Just Like That… may officially be over, but I'm still finding it hard to forgive the Sex and the City reboot series for the original sin of not bringing back the show's best character, Samantha Jones. (Yes, it's objectively true that Kim Cattrall did not want to return, but still, didn't Sam's legacy deserve more than becoming the text friend?) Well, this week just so happens to mark Cattrall's 69th birthday, and in her honor, we've rounded up Sex and the City's very best Sam-centric plotlines—from her breakup with Richard (and ensuing flyer-posting spree) to her brief stint as Brady's babysitter, as well as more serious moments, like Samantha's experience with cancer. Find them all below. Samantha babysitting for Brady I love the Sex and the City episodes that give us a little glimmer of Samantha's compassionate side, and that's exactly what we get when she sends a majorly stressed-out postpartum Miranda to take her hair appointment with a highly coveted stylist and volunteers to keep an infant Brady alive for an afternoon (with aplomb, it must be said). Who'd have thought that that baby would eventually have a baby? Samantha sticking up for Charlotte (and Shayla)
