Latest news with #Chernobyl
Winnipeg Free Press
20 hours ago
- Entertainment
- Winnipeg Free Press
Category confusion mirrors shifting definition of ‘TV'
The 2025 Emmy nominations were announced this week. There were predictable results, such as 23 nods for Seth Rogen's The Studio, partly because this series about anxious movie execs is funny, knowing and nicely crafted and partly because the entertainment industry just loves shows about the entertainment industry. There was the usual scattering of snubs (justice for Diego Luna!) and surprises (so good to see the 77-year-old Kathy Bates getting attention for Matlock — and for network TV!). And as always with the Emmys, there was a certain amount of category confusion. The contentious debate over what qualifies as comedy and what qualifies as drama continues this year. But there are other questions raised by our increasingly complex, overwhelming and overlapping viewing universe. What exactly is a 'television movie' these days? What does 'limited series' even mean anymore? The Emmys started way back in 1949, when nominees included titles like What's the Name of that Song? The Television Academy's awards continued through decades when folks watched three TV channels on a box in their living room. Now we have entertainment being delivered by multi-platforming, vertically integrated global conglomerates, with options spread across broadcast TV, cable TV and proliferating streaming services. Then there's the simultaneous-release model, in which movies debut on big screens and small screens at the same time. The Emmys are ostensibly a way to award excellence in television, but they have also become a way to track the seismic shifts in what we watch, how we watch, and even why we watch. Emmy categories have always modified as viewing patterns have changed. In the early 1950s, for instance, the drama side was divided into 'Best Dramatic Series,' 'Best Mystery or Intrigue Series' and 'Best Western or Adventure Series.' Overall, though, the lines between comedy and drama have remained clear-cut. From the '60s onwards, comedies were generally 30 minutes long, while dramas expanded magisterially to an hour. Comedies often involved catchy theme songs, laugh tracks, running jokes and wacky neighbours. Dramas often meant hospitals, courtrooms, police precincts, serious talk and big issues. Lately, those lines have blurred to the point the straight-up binary of drama and comedy doesn't really work anymore. Partly, it feels as if we're living in a tragicomic era, an 'if you don't laugh, you'll cry' world, and our pop culture reflects that. But TV writing has also evolved, becoming more hybridized, more in-between. There are now feel-bad comedies, cringe comedies and trauma-coms that can be as difficult and draining to watch as Chernobyl. Think Fleabag, a hilarious story about grief. Then there are dramedies where gruelling emotions and big ideas get peppered with jokes. Think Succession, a drama about family dysfunction and late-capitalist crisis that sometimes plays like a foulmouthed sitcom. In this year's Drama noms, The Pitt feels the most like an old-school Emmy drama, covering life-and-death stakes in an underfunded, overcrowded Pittsburgh ER. But The White Lotus? With its uniformly ghastly characters, it probably works better as sharp, nasty eat-the-rich satire. Certainly, its most memorable beats were comic in this latest season. ('Piper, nooooooo!') Or Severance? While the show's continuing examination of the impossibility of work-life balance reached astonishing moments of poignance, the story still retains its core of super-stylized, deadpan absurdist humour. Can a series that features Burt G.'s head carved from watermelon ever really class as drama? Then there's Slow Horses. Because it's a spy series and a lot of people die (like, a lot), it's viewed as a drama. But its titular screw-up spies spend more time wrangling with their crosstown colleagues than they do on proper espionage. And honestly, Gary Oldman as their shambolic but shrewd leader has never been funnier. I laughed more at Slow Horses than I ever did at Season 3 of The Bear. And that brings us to issues in the Comedy category. The Bear was already facing backlash for submitting in the comedy category before its mopey third season. Meanwhile, other shows are testing the limits of comedy, often in intriguing ways. This season of Nathan Fielder's wildly uncomfortable docu-comedy The Rehearsal, which was nominated for comedy writing and directing, was funny — provided you didn't have any plane travel booked. But as Fielder's experimental and deliberately awkward comic approach took on real-life issues in air safety, it was also terrifying. Partly what determines Emmy categories is not subject matter or even tone but strategy on the part of the production studios. This year, there were 126 submissions in the drama category, making for the most crowded and competitive classification, 69 in the comedy and 33 in the limited series category. The limited series category is for shows with a predetermined number of episodes that tell a complete, non-recurring narrative. It's exemplified this year by the British series Adolescence, which felt brilliant, dark and absolutely unrepeatable. But sometimes the studio approach is to make a supposedly limited series and then see what happens. If nobody tunes in, well, it was definitely limited. If the show is a hit, though, then perhaps that self-contained story can be stretched out a little. Downton Abbey started as a limited series — which the Emmys were calling a miniseries at the time — and then just kept going. (And going and going.) This year The Penguin, starring Colin Farrell (and his prosthetics) and Cristin Milioti, makes for an interesting case. It leads the Limited Series pack, but its 24 nominations have created such a buzz, there are already rumours about a possible Season 2. There's a lot going on, then, with this year's Emmy nominations, and in September we'll see how this all plays out. In the meantime, nominees might want to take some advice from those nervous characters in The Studio, who can tell you that awards shows don't matter at all. (Except they do.) Alison GillmorWriter Studying at the University of Winnipeg and later Toronto's York University, Alison Gillmor planned to become an art historian. She ended up catching the journalism bug when she started as visual arts reviewer at the Winnipeg Free Press in 1992. Read full biography Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. Our newsroom depends on its audience of readers to power our journalism. Thank you for your support.
Economic Times
4 days ago
- Entertainment
- Economic Times
HBO CEO reveals what Craig Mazin is planning for The Last of Us Season 3: Release date, cast changes and more
Synopsis HBO CEO Casey Bloys has confirmed that The Last of Us Season 3 is slated for a 2027 release. Showrunner Craig Mazin is deciding whether to structure the season as one long installment or two separate parts. While Neil Druckmann steps back to focus on Naughty Dog, Mazin will lead the series forward, with HBO expressing confidence in his vision. While Bloys didn't narrow down the timeline beyond 2027, he confirmed that production planning is underway. HBO CEO Casey Bloys has offered a significant update on The Last of Us Season 3, including its likely release window and behind-the-scenes changes. In a recent interview with Variety, Bloys confirmed that the hit series is 'definitely planned for 2027,' though several creative decisions are still in revealed that showrunner Craig Mazin is still determining how to structure the next chapter — whether it will unfold over one extended season or span two more. 'It hasn't been decided yet, and I'm following Craig's lead on that,' Bloys said, indicating that the future format remains open. Series co-creator Neil Druckmann will not be involved in the upcoming season, as he focuses full-time on his role as head of Naughty Dog and ongoing game development. 'Neil has a full-time job creating video games and running Naughty Dog,' Bloys explained. 'But I believe he's given us a good blueprint with the show. Craig is a pro, so I think we'll be in excellent shape.'Despite Druckmann's exit, Bloys expressed full confidence in Mazin's ability to carry the story forward: 'The reason I greenlit The Last of Us in the first place was because Craig was passionate about it after Chernobyl. That creative drive is what mattered most.'With shifts in character arcs — including Pedro Pascal's reduced involvement and uncertainty around Bella Ramsey's role — some fans have speculated about challenges in continuing the story. But Bloys dismissed those concerns: 'Not from a marketing perspective. The video game gives the show a strong foundation, and the first two seasons have firmly established the brand.' While Bloys didn't narrow down the timeline beyond 2027, he confirmed that production planning is underway. No casting updates or episode counts have been announced Last of Us remains a cornerstone for HBO, which received 142 combined Emmy nominations across HBO and Max this year. The show alone earned 16, underscoring its critical and commercial success.'We're proud of the team and thrilled with the recognition,' Bloys said, acknowledging executives like Francesca Orsi (Drama), Amy Gravitt (Comedy), and Sarah Aubrey (Max Originals) for their roles in the network's success.
Local France
7 days ago
- Entertainment
- Local France
French word of the Day: La cata
Why do I need to know la cata? It's a slight slangy abbreviation, but very commonly used in everyday conversation, especially if you're feeling a bit theatrical about things. What does it mean? Cata - pronounced as cat-ah - is an abbreviation of catastrophe (cat-as-troff) which translates exactly as you would expect. While you can use la catastrophe in everyday conversation, la cata is a bit punchier and more casual. You can use it to describe something genuinely catastrophic, but it's more commonly used to be a bit sarcastic about something that's not actually that big a deal. Advertisement If you are referring to something that was a genuine catastrophe, like the Chernobyl disaster, using la cata might seem a little flippant, so we would suggest sticking with the full version la catastrophe for something like that or alternatively une drame - a tragedy. Use it like this In its more sincere sense you could - if begging for a wronged lover to take you back - say C'est la cata sans toi - I'm a disaster area without you. Or in its more colloquial sense, you could say Je me suis cassé un ongle. La cata ! - I've broken a nail. Disaster! You will also frequently hear quelle cata - what a catastrophe. La boulangerie n'a plus de pain au raisin? Oui, quelle cata - The bakery's out of pain au raisin? Yeah, what a disaster.
RTÉ News
09-07-2025
- Politics
- RTÉ News
'Hero or villain' - Recap of turbulent presidential races
With the race for Áras an Uachtaráin heating up, a number of names are being touted to succeed Michael D Higgins as president of Ireland. Reports range from potentially strong runners to complete speculation and celebrity candidates, yet the race is still waiting on its first candidate to officially declare that they will be running. However, campaigns are likely to start gathering momentum ahead of the Irish public hitting the poles in November. RTÉ reporter Edel McAllister spoke to a previous candidate on the turbulence of the campaign trail and the public and media's role in challenging those that put their names forward. "While it was a heart-thumping, totally terrorising, and awful experience on one level, it was also the best thing I ever did," said former Senator Joan Freeman of her 2018 presidency campaign run. The former CEO of Pieta House ran on a mental health platform as an independent candidate. "I thought that by running it would allow me and the people of Ireland to look at mental health with compassion...a gateway for everyone to open up and speak about it," Ms Freeman said. She said she knew the campaign would be tough after the 2011 race. "Everybody that goes into it knows that they are up against it," she added. In that turbulent 2011 campaign, a false tweet broadcast on a TV debate derailed the campaign of Sean Gallagher, resulting in an apology and damages being paid by RTÉ to the businessman. Another early front runner, former Senator David Norris blamed elements of the media for sabotaging his campaign and spoke of the detrimental effect it had on his health. Other independent candidates such as Dana, Chernobyl campaigner Adi Roche and Special Olympics organiser Mary Davis also faced bruising campaigns. Speaking on the News at One, Joan Freeman said while it is "absolutely correct that the media should challenge candidates and make them accountable". She said they should also "hear their not slash their character". There's a lot of names in the current mix to succeed Michael D Higgins as president. Political parties are beginning their selection process but so far no candidates have formally declared. The 1997 presidency was the first time independents used four local authorities to nominate them. Although some parties selected candidates outside the party, such as Mary McAleese who went on to win the 1997 race and serve two terms. Ms Freeman says she understands why some candidates are maybe waiting to see who else will run. "I declared fairly early on because I thought Michael D Higgins wasn't going to run for the presidency again. "If I had known he was sounds as if I am a little bit bitter but I am not one bit. I absolutely get why candidates don't put their names forward because they are exposing themselves to be bruised and brutalised," she said. She added at the time that she wanted the chance to travel the length and breadth of the country to talk about mental health. She said while she would not be running again, she would advise anyone thinking of running "not to be afraid" but to "stay away from social media." "Online you are either a hero or a villain, there is no allowance for nuance," Ms Freeman said. But even long before the days of social media, the race was a tough one. "Presidential campaigns have always been intensely personal. If we look back to the early ones, these were often replays of the Civil War and you had very divisive campaigning and personalised attacks on candidates," said Professor of Politics at University College Cork Theresa Reidy. "One of the reasons why presidential elections are so personalised is because this is a position where powers are many cases the president is selling a narrative about who they are and how they can represent Ireland so it's very much about their personal story and as a consequence the focus comes in quite intensely on who the candidates are," Prof Reidy said. Those used to the rough and tumble of party politics might be slightly better prepared for the nature of the campaign, but even seasoned independents appear to be thinking twice before putting their heads above the parapet.
Telegraph
08-07-2025
- Entertainment
- Telegraph
Actors must take parts just to pay the bills, says Chernobyl star
Jared Harris has said that actors needed to take parts they don't love because they 'have bills to pay'. The Bafta winner, 63, said it was 'quite rare that something comes along that ticks all the boxes' as he discussed taking a role in Marvel's Morbius for money to pay off his mortgage. Speaking to the Radio Times, Harris said: 'You've got bills to pay. You've got people you have to look after. You say yes to things because they tick certain boxes.' The Mad Men star explained that in rare circumstances roles ticked 'all the boxes,' which he described as a 'great part with a great director', well-written, well-paid and something that will be 'seen by lots of people'. 'Maybe three times in your whole career it's going to be something like that, if you're lucky,' he added. Harris, who is the son of Irish Oscar-nominated actor Richard Harris, added that he could still 'walk down the street and not be bothered' by anybody recognising him. He has played prominent roles in the popular miniseries Chernobyl and the first season of The Crown – as King George VI – as well as well-known supporting roles in The Curious Case of Benjamin Button and Sherlock Holmes: A Game of Shadows. 'My take on fame is that it's a hall of mirrors, like at a funfair,' he said, explaining that it 'distorts the way people look at you and how you see the world.' 'It's extremely difficult to deal with,' he added. Asked if he had learnt any lessons about handling recognition from his late father, the actor said it was to have a place to 'get away to'. 'He was always pretty resolutely himself,' Harris added, explaining: 'He didn't hang around Hollywood and do the Hollywood things.' He has previously told The Telegraph that his parents – his mother was the actress Elizabeth Rees-Williams – never expected him to go into the same industry, saying 'they thought I'd be something like a lawyer or teacher' because of his shyness. Discussing whether he ever felt he was in his father's 'shadow', Harris told Radio Times: 'I mean, he was my dad. I couldn't compare it to something else. 'Sometimes I'd be aware…[but] the biggest difference about him was that he lived by his own rules.'
