Casting News: Blue Bloods Vet to Dexter Spinoff and More
The Blue Bloods and Sopranos vet will recur in Paramount+ With Showtime's Dexter: Resurrection as Vinny, a greedy slumlord, our sister site Variety reports.
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The sequel series will see Michael C. Hall reprise his role as serial killer Dexter Morgan, with franchise vets David Zayas (as Detective Angel Batista), James Remar (as Harry Morgan) and Jack Alcott (as Harrison Morgan) returning as well. New cast members include Neil Patrick Harris, Uma Thurman, Peter Dinklage and Krysten Ritter.
In other recent casting news…
* Bobby Moynihan (SNL) will star opposite Tracy Morgan in NBC's untitled comedy pilot from 30 Rock team Tina Fey, Robert Carlock and Sam Means, our sister site Deadline reports. The project centers around Reggie (Morgan), a disgraced former football player on a mission to rehabilitate his image, with Moynihan playing his loyal former teammate. Also boarding the potential series is Erika Alexander (Living Single) as Reggie's ex-wife, who is still his agent and business manager.
* Kai Caster (Yellowstone) has been cast in Prime Video's upcoming Marvel series Spider-Noir in an undisclosed role with a special connection to a previously announced character, per Deadline.
* Janet McTeer (The Old Man, Ozark) has joined Guy Ritchie and Paramount+'s Irish crime-family drama MobLand, starring Tom Hardy, Pierce Brosnan and Helen Mirren, per The Hollywood Reporter. McTeer's character, Kat, is 'as charming as she is violent' and someone whom crime bosses 'are anxious never to cross swords with,' reads the official description.
Hit the comments with your thoughts on the above castings!
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USA Today
a few seconds ago
- USA Today
Denzel Washington reveals that he doesn't care about cancel culture
Denzel Washington is canceling cancel culture. While promoting "Highest 2 Lowest" alongside Spike Lee, the Hollywood icon was asked if he cared about cancel culture in a recent Complex News interview with host Jillian Hardeman-Webb – and he had a surprising answer. "Do you guys consider being 'canceled'?" the host asked before Washington replied, "What does that mean, being canceled?" She responded, "It means you lose public support." "Who cares? What made public support so important to begin with?" Washington said. Hardeman-Webb responded that it was "because followers now are currency." Washington wanted none of that, claiming, "I don't care who's following. You can't lead and follow at the same time, and you can't follow and lead at the same time." Cancel culture is defined by Merriam Webster as "the practice or tendency of engaging in mass canceling as a way of expressing disapproval and exerting social pressure." It typically affects celebrities and public figures during widespread backlash over controversies. A post shared by Complex Pop (@complexpop) After adding that he only follows his faith, Washington later insisted that "you can't be canceled if you haven't signed up, don't sign up." Another thing Washington doesn't care about? The Academy Awards. The two-time Oscar winner – who boasts 10 total nominations – admitted to entertainment reporter Jake Hamilton during a recent "Jake's Takes" interview that the sought-after trophies aren't that important to him. "I don't do it for Oscars," Washington said. "I really don't care about that kind of stuff. I've been at this a long time. There's times when I won and shouldn't have won, and shouldn't have won and won ... Man gives the award. God gives the reward." "I'm not that interested in Oscars," he continued. "You know, people will ask me, well, where do you keep it? I say, next to the other one. I'm not bragging. I'm just telling you how I feel about it. On my last day, it ain't gon' do me a bit of good." Washington won his first best supporting actor Oscar in 1990 for his role in "Glory" and the 2002 best actor in a leading role award for his performance in "Training Day." His latest nod came in the best actor category in 2022 for his portrayal of the title character in "The Tragedy of Macbeth."

Elle
4 hours ago
- Elle
Emma Stone Says Working With Ex-Boyfriend Andrew Garfield Was a 'Special Time'
THE RUNDOWN On Thursday, Emma Stone offered some rare comments on her former relationship with actor Andrew Garfield, who she met on the set of The Amazing Spider-Man. The pair dated for about four years beginning in 2011 and seemingly remain good friends. Stone shared insight into their connection during her Vogue's Life in Looks interview, looking at former ensembles and reflecting on where she was in life during that time. In the Spider-Man films, Stone played Gwen Stacy, the love interest of Garfield's character, Peter Parker, otherwise known as Spider-Man. One photo presented to Stone was from the 2014 London premiere of The Amazing Spider-Man 2, in which she is wearing a bright yellow Versace dress. After seeing the outfit, Stone said, 'I mean, I really loved doing Spider-Man. I loved everyone I worked with. I met Andrew there. I met Sally Field and Marc Webb was wonderful. It was really a special time in my life.' She continued, 'The recurring theme is the people, more than kind of like the film itself, is what sticks with me for so long. And so I have only like the fondest memories of this whole experience.' She did add that the press tours were not her favorite part of doing the movies. 'I don't really know how people do it,' she said. 'I remember it being like nine countries in maybe two weeks, and you're functioning in a state of jet lag never previously known to you. I felt truly psychotic the entire time.' Garfield has also talked warmly about Stone and his time as Spider-Man, telling Variety in 2021, 'It was only beautiful. I got to meet Emma [Stone] and work with her and Sally Field.' In Josh Horowitz's Happy Sad Confused podcast in 2022, Garfield also talked about how Stone guessed he would make a surprise appearance in the Tom Holland-led film, Spider-Man: No Way Home. 'Emma kept on texting me. She was like, 'Are you in this new 'Spider-Man' film?' And I was like, 'I don't know what you're talking about!' Garfield claimed. 'She was like, 'Shut up, just tell me,' And like, I honestly… I kept it going, even with her, it's hilarious. And then she saw it and was like, 'You're a jerk!'' Garfield is currently dating Monica Barbaro and Stone went on to marry husband Dave McCary.
Yahoo
10 hours ago
- Yahoo
Americana is less of an indie homage than it is an annoying imitation
Americana is very much the brainchild of the showrunner of Poker Face. Both Poker Face and Americana wear their influences proudly on their sleeves: Serialized crime dramas like Columbo paved the way for Natasha Lyonne's Charlie Cale, just as the impact of '90s neo-noir can be felt blatantly on Americana. The feature debut of writer-director Tony Tost, about five character threads all brought chaotically together by a single crime and the priceless artifact at the center of it, simultaneously embraces its status as a copy of a copy while also attempting to satirize that very product—the kind of movies made by countless young filmmakers who want to be the next Tarantino while only possessing the ability and desire to emulate. The irony is that Tost doesn't have the finesse to execute such an endeavor either, so Americana falls in the mundane middle between satire and sincerity. The neo-Western kicks off with a chapter title and a non-chronological opening sequence (both very Pulp Fiction), in which abusive father and career criminal Dillon MacIntosh (Eric Dane) is knocked unconscious by his much younger wife Mandy (Halsey), who then peels off in their car knowingly carrying stolen goods while promising their young son Cal (Gavin Maddox Bergman), that she's doing what's best for the two of them. After Mandy disappears and Dillon wakes up enraged, Cal, a classic Western obsessive who believes he's the reincarnation of Sitting Bull, shoots his father in the neck with a toy bow and arrow, killing him. There's no real reason for this scene to be presented out of sequence, other than to jumpstart Americana with a narrative jolt—more confusingly, the scene is eventually repeated verbatim, as if to remind feeble-minded viewers of what happened 40 minutes prior. Aside from this, Americana plays out entirely chronologically, following disparate factions who are all connected by one central crime—a narrative layout more aligned with Fargo the TV show than Fargo the film. Penny Jo (Sydney Sweeney) and Lefty Ledbetter (Paul Walter Hauser), a stuttering waitress and her mawkish patron who eyes marriage with his girlfriend after three dates, forge a friendship through shared feelings of alienation. After he murders his father and is abandoned by his mother, Cal gets kidnapped by a militant group of Native American revolutionaries led by Ghost Eye (Zahn McClarnon), who are bemused by Cal's Native 'minstrelsy.' Mandy seeks shelter at the home of her estranged, violently traditionalist, Mormon-adjacent family. All of this is incited by Roy Lee Dean (Simon Rex), a crooked artifacts dealer, who employs Dillon to steal a priceless Native American 'ghost shirt' from the home of a wealthy art collector. Every faction has its own reason for wanting to get their hands on the shirt, whether it's for money (Roy), freedom (Mandy, Penny Jo), or a genuine claim to cultural ownership (Ghost Eye). But Americana's rote, underwhelming screenplay doesn't earn any emotional investment in its story or characters. Rather, viewers are supposed to buy into what it's selling on the basis that it's copying recognizable hallmarks. If the film is trying to lampoon them, it doesn't do a very good job. Instead, everything old is supposedly new again: A heist gone awry, half-baked plans, and a gaggle of eclectic characters—all leading to a climactic shootout and bargain for money that doesn't quite go as planned. Penny Jo and Lefty Ledbetter are basically Kirsten Dunst and Jesse Plemons from Season 2 of Fargo. The film is explicitly inauthentic, attempting to coast on a superficiality which couldn't be more aptly visualized than by Sweeney's Party City wig and fake freckles. Like its spiritual predecessors, Americana is more of a character actors' film anyway. The only problem is, this great ensemble—including Hauser, McClarnon, Rex, and a criminally underused Harriet Sansom Harris—is not given much to work with. Distractingly bad dialogue and milquetoast characterizations make for forgettable performances, and giving Sweeney a schoolgirl stutter doesn't count as giving her genuine color. If anything, Americana firmly finds the limits of Sweeney's range. Her showing as the meek Penny Jo is laughably insincere; despite not being particularly exceptional herself, pop star Halsey, in only her second live-action venture, manages to out-act Sweeney. Much like its cast filled with solid bit players left to their own devices, Americana's delicate dance with neo-Western tropes also requires a better film in order to actually work. Cal's appropriation of Native American stereotypes seems meant to convey the film's metatextual self-awareness, but like most of the film's other elements, its potential satire is lost in a muddy haze of genre repetition. Besides, isn't satire supposed to be funny? Americana isn't funny, and it's also not engaging or exciting. It certainly isn't unique. The clichéd, forgettable work neither succeeds as a spoof nor as an earnest genre exercise by a wannabe indie-phenom wannabe. Director: Tony Tost Writer:: Tony Tost Starring: Sydney Sweeney, Paul Walter Hauser, Halsey, Zahn McClarnon, Gavin Maddox Bergman, Simon Rex Release Date: August 15, 2025 More from A.V. Club 3 new songs and 3 new albums to check out this weekend Americana is less of an indie homage than it is an annoying imitation Nearly 800 Looney Tunes shorts have now landed, free, at Tubi Solve the daily Crossword