Latest news with #GoodAmericanFamily
Yahoo
19-05-2025
- Entertainment
- Yahoo
‘Suits LA': How Series Finale Wraps Up Important Threads From Season 1, Focusing on Eddie's Murder
SPOILER ALERT: The following reveals major spoilers from the NBC series finale. Aaron Korsh's latest Suits spinoff, Suits LA, took its final bow tonight with the episode 'Freedom,' an appropriate title as the show wrapped up every important storyline from Season 1. Not every canceled show ends this way, but at least for fans who gave Suits LA a go, you have been given your freedom, knowing who killed Eddie Black (Carson A. Egan) and why, the future of Ted Black (Stephen Amell) and Stuart Lane's (Josh McDermitt) friendship and business partnership, and a couple of central love triangles were resolved. More from Deadline 'Suits LA' Canceled By NBC After One Season Rick Hoffman Teases 'Suits LA' Return As Louis Litt Deals With Anger Management Issues 'Good American Family' Star Imogen Faith Reid On Natalia Grace's "Relatable" Fight For Control Over Her Own Life In Hulu Series: "She Just Wants To Be Seen And Heard" At the center of Suits LA is Ted, a former federal prosecutor in New York City, who rebooted his career as an entertainment lawyer in Los Angeles. While Ted was the focus, viewers met the people in his orbit, the good, the bad, and a lot of the grey area, where most of us linger. The show's heart was Ted's relationship with his brother Eddie, one that was cut short, as was revealed early in the season that he was murdered. What Korsh and the writers did beautifully was to use this as a jumping point to show the complicated relationships between men. These guys who pride themselves on being the baddest and the best can also be vulnerable. When Ted is introduced, he's cocky and prideful, and only lets down his guard in the scenes he shares with Eddie. Amell excelled in shaping Ted beyond being Mr. Lawyer with a chip on his shoulder. He had something horrible that traumatized him, something his father, Edward Brooks (Matt Letscher), played a role in, willingly. Ted confirms this by the end of the series, and is validated in his hatred for him, who mattered less than zero to Ted by the time he dies. Troy Winbush was a standout as Ted's old friend Kevin, and I look forward to seeing more of his talent on his next big thing. Kevin knows where the bodies are buried and is one of the only people who brings the real Ted out. The finale reveals that Kevin lost his dream job as an FBI Agent after getting caught beating up Pellegrini's subordinate, Vinnie Santoro (Alexander Bertrand), on the night of Eddie's murder. Following those events, Santoro blew up Ted's apartment, thinking that's who would be there, and on the order of Pellegrini (Anthony Azizi). The hit was meant for Ted. Before the explosion, Edward Sr. showed up and made an excuse about why he needed to take his son out for dinner expeditiously. Eddie, the trusting and loving son, told his sibling they should go out to dinner, and he would stay home watching TV and eat pizza. At dinner, Ted gets a call from Kevin telling him to leave home immediately. He heard Pellegrini was out for blood, and he was the target. Ted instantly freaks out knowing Eddie is there, and that he won't be able to save him in time. He also figures out that his sperm donor is behind this, and that he was right in blowing him off when he needed him the most: on his deathbed. That lunatic even gives Eddie a little cuddle before leaving for dinner, knowing he was sitting bait. Letscher, so unlike his character, played the baddie so well: cold, calculated, and heartless. I spoke to him at the show's premiere party and discussed how cool it would be if, in a future season, there could be a Halloween flashback to when Ted and Eddie were children. He would dress up as Reverse Flash and Amell as Arrow, bringing them together for the first time. I guess it was not meant to be. I also chatted with Egan, who played Eddie perfectly and lovingly, and told me how closely he had been working with Amell and how he treated him like family. People can say what they will about representation in media, but Suits LA proves the industry has an untapped community of actors ripe for the picking. Egan's casting and successful turn must have made many people proud, especially those in the Down Syndrome community. For every Eddie and Egan out there, I hope you felt seen. Growing up, I watched Life Goes On, the first show to feature a major character with Down Syndrome, Corky Thatcher, played by Chris Burke. There have been others to follow, but hopefully, Suits LA will help inspire future writers and creators to write and cast authentically. In the final beats of the series, Ted sees his father in a flashback and confronts him for not going to Eddie's funeral. Senior plays coy about why he opted not to, but Ted calls him out for never viewing Eddie as his son. Ted, frustrated, shoves this dirtbag into a parked car waiting to take the coward to prison, and finally gets the confession he wanted. 'I did it to protect you,' Senior said to a stunned Ted. He continued, 'They were going to set that bomb off. If I hadn't done what I did, you both would've died… They weren't going to stop until they killed someone. I had to make a choice.' Ted is FURIOUS, and things get even more intense when Dad admits he has no regrets. As Eddie's beloved brother, he tells Senior that he is dead to him, and he never wants to hear from him again. This scene takes viewers back to the beginning, when his father is on his deathbed, and Ted shows no mercy. This left viewers feeling a certain way about Ted, because a 'normal person' would show up for their dad. The finale shows Ted had every right to treat Edward like the scum of the earth because that's what he was. Ted is redeemed in ways most wouldn't have expected, a credit to Amell's talent. It's the lesson we've all been taught about judging a book by its cover. Fans also loved his moments working with Gabriel Macht, with whom he bonded over bears and whiskey. Macht as Harvey was exactly what the fandom wanted and needed. He played Ted's old buddy back to help him with a case. I know viewers found the flashbacks a little confusing, but they needed to lock in the connection between the shows. Everyone wanted to check in with Harvey, and his chemistry with Tedd was off the charts. I think Suits LA would've been better suited (pun not intended) as a binge because viewers would've seen the evolution of the characters faster and understood what Korsh and the writers were working toward. The casting on this felt good, like in the old Suits, although a bit large for a first season. First seasons are hard, especially when the gap between shows is narrower, thanks to the show's explosion on Netflix. Those who had just gotten to know the original cast were dying to hear more from them, which would mostly be impossible since they've all moved on. And for anyone who needs reminding, Suits, when it aired originally on USA Network, was close to cancellation nearly every year, if not all. Other hit shows almost canceled after one season include Cheers, The Office, Seinfeld, The Big Bang Theory, MASH, and Star Trek: The Original Series, to name a few. The business of TV has changed so completely that shows are not given the time to breathe and find their audience. Okay, let's wrap the rest quickly. Stuart and Ted have come a long way from the early episodes, and were a new season away from merging their firms. McDermitt also showed dramatic and comedic range as Stuart—in the episodes where he interacted with Yvette Nicole Brown and Suits legend Rick Hoffman, who returned as Louis Litt, exactly as we remember him— to the dramatic arc between him and Ted that shows how family can also be the people that you meet along the way. Not as a replacement for Eddie, but someone who knew them both and could hold space for Ted when he needed it. When Ted shows up for Stuart at the latter's client's house and saves his life, you know these two are true blue. Rick (Bryan Greenberg) finally puts all his cards on the table. He tells Erica Rollins (Lex Scott David) exactly how he feels about her after a client gets between them, leaving them both in a tizzy. Erica reciprocates, leading to a steamy scene in her kitchen. Ted and Amanda (Maggie Grace) are finally headed somewhere new and exciting in their relationship. All was clear after Ted had a tête-à-tête with his ex Samantha Railsback (Rachelle Goulding), when the plans for a merger between firms were revealed. Only Korsh can tell me Ted and Amanda weren't endgame. Goulding, David, and Grace, alongside Sofia Pernas, Azita Ghanizada, and Alice Lee, showed just how bad ass women can be. They're all professionals confident in who they are and what they offer. They won't accept anything less. I hope these baddies live on in the Suits Universe through our imaginations infinitely. May they all find new roles that will serve them as well. Suits LA will always be a special series for a variety of reasons, including being the legendary John Amos' final series. He appeared in the premiere episode and was later memorialized in 'Good Times,' in tribute to the series of the same name, in which he starred in the 70s as the patriarch of the Evans family. Here's to Suits and what it could've been, if only. Best of Deadline Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds 'Nine Perfect Strangers' Season 2 Release Schedule: When Do New Episodes Come Out? Everything We Know About Ari Aster's 'Eddington' So Far
Yahoo
17-05-2025
- Entertainment
- Yahoo
A ‘roller coaster' of perspectives: ‘Good American Family' creator on the show's unique structure and breakout star Imogen Faith Reid
Good American Family, Hulu's gripping limited series about Natalia Grace, a Ukrainian-born orphan who becomes the center of controversy after being adopted — and later abandoned — by her American family, aired its final episode on April 30. The ripped-from-the-headlines drama stars Ellen Pompeo and Mark Duplass as Natalia's adoptive parents, Kristine and Michael Barnett, alongside newcomer Imogen Faith Reid as Natalia, with supporting performances from Christina Hendricks, Sarayu Blue, and Dulé Hill. More from GoldDerby 'Buena Vista Social Club,' 'Death Becomes Her,' 'Maybe Happy Ending' lead 2025 Tony Awards nominations - see the full list 'Genius: MLK/X,' 'Out of My Mind,' and 4 other shows win at the 2025 Television Academy Honors Ruth Negga will submit in lead at the Emmys for 'Presumed Innocent' - see the show's entries in 19 categories "Hulu came to me with the idea of doing a narrative version of this story back in 2020," creator Katie Robbins (who also served as showrunner alongside Sarah Sutherland) tells Gold Derby. "I'd heard vaguely of the story, and it was a little bit in the public consciousness, but not as deeply rooted as it is now. I went on a deep dive expedition reading as much as I could get my hands on — articles, watching interviews — and I was struck by how [your perspective would change] depending on who was being interviewed. It was like a roller coaster. I was constantly changing my mind about what had happened." "Thinking about that gave me the sense that I would start the story in the perspective of the Barnetts, in the ways that this story was actually told in real life, and let that be the baseline," she continues. "Then, disrupt that at a certain point as a way of allowing audiences to grapple with their own biases in this unexpected way." Robbins recently spoke to Gold Derby about the creative decisions behind the show's unique structure, the casting of its breakout star Reid, and the powerful storytelling choices that left viewers questioning their own perspectives. SEE Casting 'Good American Family': Ellen Pompeo, Mark Duplass, Imogen Faith Reid discuss joining Natalia Grace-inspired Hulu series Gold Derby: The series begins with Kristine and Michael's perspective, and we don't learn until later episodes that we're going to see Natalia's perspective as well. Did you want to give that away or surprise audiences? Katie Robbins: It was something we talked a lot about. What is the right balance there? And knowing that different audiences were going to come in with different levels of familiarity with the story. There would be people who were coming in with a very strong perspective of wanting justice for Natalia, and so for them, watching the first four episodes from the perspective of the Barnetts was going to be really painful and triggering. Some people who didn't have the same kind of background, and who would come in really with fresh eyes, and buy into the story that is being told in those first four episodes, have the rug pulled out from under them in Episode 5. On some levels, that's sort of the idea. You really are being forced to question why we believe the things that we believe. Why is it that certain people's stories are more believed than other people's stories? We wanted to try to achieve that, but also give little breadcrumbs for the people who already knew where the story ends in real life, so that they would feel like they were in good hands. It's been fascinating watching people's reactions on social media. I do think that there were a lot of people who leaned in, and were along for the ride in those first four episodes, and were very much afraid of Natalia. Then suddenly were like, "Oh my gosh, I was wrong! Oh my gosh, she's a child! How did this happen? What's going on?" I think it's a really rare thing in this moment in history for people to admit to having misunderstood something, and to admit being wrong about something. And to do that in public on social media particularly, people don't do that. That's been really extraordinary to watch, and has made us feel like, "OK, there was a reason to tell this story in this way." There was a DNA test done that ultimately proved Natalia was a child when these events took place. That's why the show ends where it does. This is a show that plays around with a lot of tropes of the horror genre. We've got Natalia standing at the foot of a bed with a knife, and we've got all of these kind of creepy elements. But at the end of the day, the thing that is the scariest is that, just as you say, there is DNA evidence, there is some kind of biological evidence here saying one thing, but because that narrative was so strongly drawn, that DNA evidence doesn't actually end up mattering in the court of law. You can have a fact, and that fact ceases to have any meaning. That's something that we should all be worried about. Her coming out of that final court case, having that not matter, I think really lands the punch of what we were trying to say. What did it mean to have Ellen Pompeo take the lead as Kristine and also executive produce? I adore Ellen. When she was first suggested to play Kristine, I was like, "OK. Yes, please." My best friend is a doctor because of Ellen Pompeo. I love Grey's Anatomy. In those first four episodes, you want to lean in and start really empathizing — and believing the story that they're telling. We worry about Kristine and Michael. To have somebody who's as beloved an actor as Ellen was such great luck in terms of those first four episodes. Getting to watch her play this role that takes her to these very dark places that we haven't seen her go before was such an amazing opportunity. It's really hard for any actor to go to the kinds of dark places. I think she delivers a performance that's really extraordinary. The entire series hinged on finding the right person to play Natalia Grace. How did you find Imogen Faith Reid? I mean, the whole thing hung on casting this role, both figuratively, but also literally. After I'd written the pilot, Hulu was like, "We'll pick it up, but it's cast contingent on casting Natalia. We have to make sure we can find somebody to play this part." And so we had an incredible casting team that I can't say enough about, who did an international search. They sent us tons of tapes. There were lots of great people, but when we got Imogen's tape we were just like, "OK, the search is over." It was like a star was born. You watch it, and you know immediately how good she is. She's British, she'd never been to the States before, she had never [had a spoken role before]. You would know that because of how excited she is every day to be working. You can feel the magic of it all for her. But otherwise, you would never know that she hasn't been doing this for ages. She would come so prepared, so thoughtful, so emotionally available, and with a real deep desire to do justice to this person. Can you talk about Episode 5, when Natalia is left to fend for herself in the apartment? I had a vision for what I wanted that episode to be from the very beginning. I knew I wanted to end Episode 4 with Kristine and Michael wiping the sweat off their brows, and being like, "Thank God we got the hell out of dodge" — and leaving — and then start Episode 5 on the other side of that door. It would be the first time —whether audiences know it consciously or not — we've ever been in a room alone with Natalia. We've always been in scenes with her and either with Kristine or Michael, because those first four episodes are from their perspective. So it's the first time we're with her. She doesn't have any reason to be acting or pretending to be something that she's not, because she's all alone. I really wanted to land that idea [that she was a child]. I have two daughters, and one of them just turned eight, and so is the same age as Natalia in those episodes. I watched her a lot, and thought about her, and thought about the things that she could or couldn't do. Kids still figure out how to play. It became about — if a child is in a house by themselves, how would they play? They would make faces at canned goods, and they would talk into a fan, and they would eat too much junk food, and watch too much television, and do the kinds of self-soothing that we see Natalia do there. Was it difficult to shift from family drama to a courtroom drama? Yeah. We were very lucky in that we had an insanely good research team who was on the ground in Indiana, was there for the trials, and so we had a lot of those documents. We had court transcripts, we had depositions, we had Facebook messages, we just had all of this extraordinary research to be building on. But yeah, I'd never written anything in a court before, so we had to talk to some lawyers about language and try to figure out how to craft it. topped the Hulu streaming charts. How does it feel when your show is a success? It's scary, it's exciting, it's been incredible. You always want people to see the things that you're trying to create. There are these themes within the show that I really care about: bias, disability, and the elusive nature of truth. Who gets to tell stories? To be able to talk about those themes within a show that people want to watch because it also has an addicting kind of propulsive quality to it — and have people having conversations about why they believed what they believed, and why that's changed is — that was always the dream. It's a real testament to Hulu for wanting to do it, and to our incredible team of actors, and crew, and designers, and writers, and editors, and all the people who put a lot into this — who took a risk in telling a story this way. All episodes of Good American Family are currently streaming on Hulu. SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby How one 'obsessive' reality TV fan created 'Crypto: The Game,' an emerging media contender that's poised to shake up the Emmys 'I felt my blood boil': Nicholas Alexander Chavez on playing Lyle Menendez in 'Monsters' 'I've gotten a high from the gavel': Melissa Rauch on bringing 'Night Court' back to life and crafting Judge Abby Stone Click here to read the full article.
Yahoo
17-05-2025
- Entertainment
- Yahoo
‘Running Point': Kate Hudson and Jeanie Buss swap stories on being ‘a woman in a man's world'
There's being a team player, and there's playing a member of the team. That's the singular synergy that developed between Kate Hudson and Jeanie Buss, the inspiration behind Isla Gordon, Hudson's character on Netflix's Running Point. The comedy (created by Mindy Kaling and Ike Barinholtz, among others) follows Gordon, as she takes over running her famiy's basketball team — much as Buss runs the Los Angeles Lakers. More from GoldDerby Why we may be underestimating Hulu's 'Good American Family' at the Emmys Film reviews trash the Weeknd's 'Hurry Up Tomorrow' as 'self-indulgent' and a 'feature-length ego-stroke' 'It was just so seemingly unbelievable': 'Earnhardt' director reflects on Dale Earnhardt's NASCAR fame, quest for greatness, and tragic death 'I couldn't be more proud,' says Buss of seeing herself — or a likeness thereof — portrayed on screen by Hudson. 'I love the sense of humor and the friendship and camaraderie between Brenda Song and Kate — it's inspiring.' Here, the two women — who first met when Hudson was just 14 — share their experiences in working together on the series, being women in the spotlight, and wanting to shoot their brothers with a paintball gun. Gold Derby: What has the response to the show been for you? Jeannie Buss: The commissioner of the NBA sent me little blurbs about how popular the show is, and so he's proud of it. We're bringing more and more people to watch the game that we're trying to promote, so I think it's been good for our business. But the response that I feel most proud of is women who talk about working in a man's world and what they've had to put up with. Kate Hudson: I'll ditto that. From just the standpoint of television and making funny art, we didn't know where this show would sit. For Netflix, there was no algorithm for the show, and they really got behind it. And we ended up hitting every demographic. It completely brought everyone in from young kids to grandmas and grandpas and all walks of life. [Women tell me] I've been a huge sports fan, and it makes me feel like there's a place for me in sports. And that's also just an amazing thing to hear that a show can inspire women like that. Why did you both agree to do the show? Hudson: I knew before I even read the script, "Oh, I'm going to do this show!" Because it hit all the things that feel very personal to me — just the dynamic between the siblings, having three brothers, being the only girl, loving the world of sports. And then with Mindy at the helm, I knew before I read it. I was just praying that when I read it, I'd like it. And then I more than liked it, I loved it. I got so excited when I sat with Mindy. I was like, "Is this the show you're gonna make?" Because I sometimes feel like I get a bit of bait and switch in comedy. They go in with the risks, the hard jokes, and then they always pull back. But she promised me, and she delivered. Buss: I've been spoiled my entire life being surrounded by amazing talent like Magic Johnson and Shaquille O'Neal and Kobe Bryant. And the idea that I get to work with so much talent in a whole other industry, I'm the luckiest girl in the world. I think that Mindy nailed it. I just can't get over how quickly Kate and the crew, everybody just grasped onto really happens. Some days, I just want to take a paint gun and shoot my brother, just to get some laughs out of things. And they just nailed it. Kate, what questions did you have of Jeanie so that you could accurately portray her or at least create a character that was your own? Hudson: Jeanie's approach, which was actually kind of surprising to all of us, was go, have fun, enjoy it, I'm hands-off. She just was all trust. It was a great lesson. When you give trust, we all want to honor what it is that she gifted us, which was this awesome place to tell amazing stories in so many different ways about family, about women, about high stakes sports. That allowed me to be able to create Isla and not do Jeanie. It isn't a biopic. It really allowed it to take on a life of its own, which gives us freedom in comedy to separate it from the insanely high stakes world that Jeanie lives in. Jeanie, what gave you the confidence to give them that creative freedom? Buss: I'm such a fan of comedy. And if I didn't have a sense of humor, I would not have lasted in this business. Comedy allows you to process tough situations. It helps you approach problems in a different way to defuse them. I work with a lot of big egos, and you have to be able to get everybody on the same page. It is not my life story, but you put somebody in a situation like the situation I was put in, and you make the best of it, and you can't lose your sense of humor. I'm the first one to laugh at myself. I love the nuances that they've put in the character — how she's flawed, but she's lovable and she's determined. She's a strong role model, and that's important for young women because I know what it meant to me watching Mary Tyler Moore when I was growing up and seeing a single woman move to a city and take a job and work in an office. And I was like, wait, you can do that? So I think a strong female lead is really important at this time. Kate, what did it mean to you to play a strong female lead? Hudson: I grew up with a mom who whose whole thing from the very beginning when I first started auditioning, she'd ask why I was auditioning for it, what did I like about it, and what was the greater purpose of the movie — what was I trying to achieve with my art. And of course, for me, the first thing was I'd like to get a job as an actor! [Laughs.] But it did make me say no to a lot of things. It made me realize that the things that I put out in the world can be and hopefully will be meaningful to someone. And so that's always been a drive for me. And how did this comedy fulfill that for both of you? Hudson: I think we sometimes don't give enough weight to how important and healing laughter is. It's not like it's a message show, but there's a lot of positivity to it too. She's a woman in a man's world, and she's doing it on her own terms. We've all, at some point, have experienced that thing of whether it be feeling underestimated, whether it be feeling like you're not being heard, whether you're being drowned out by male relationships and their connections to each other, whether it be you're not invited into the locker room because you're a girl. We're hitting on all these fun things, and then we're being hilarious while we're doing it. And then like Jeanie said, sometimes you just wanna take a paintball gun and shoot your brothers. I've been there. I think I've actually done that — I'm not gonna lie! Buss: Every time there's a new coach or a player — well, one time, I actually did date the coach [laughs] — but if they get a new contract or whatever, all of a sudden, I'm sleeping with them. I'm like, are you serious? I'm old enough to be their grandmother! It can't be because she has a good eye for talent or she knows what she's doing. It always comes down to, oh, she must be blowing the guy. Hudson: It's so true! You walk into a coffee shop, and next thing you know, you're dating a the barista because you smiled. It's unfortunate but you just can't let it deter you. Just like all the other things that try to pull you off the journey. You've just got to keep going. I wouldn't trade it for the world. I power through things. But one day when I get older, I am going to write a book. I love being a girl, and I love the challenge of it. I've taken it on, and I won't back down. Best of GoldDerby How Natasha Rothwell helped Belinda get her groove back in 'The White Lotus' Season 3 Making of 'The Lord of the Rings: The Rings of Power' panel: Bringing the Balrog to life was 'like doing a slight of hand card trick' TV Animation roundtable panel: '#1 Happy Family USA,' 'Secret Level,' and 'Arcane' Click here to read the full article.
Yahoo
17-05-2025
- Entertainment
- Yahoo
Why we may be underestimating Hulu's ‘Good American Family' at the Emmys
Unlike its real-life subjects in the news, Good American Family has not exactly made a big splash in Gold Derby's Emmy charts. Following a mixed-to-negative critical and audience reception and muted online buzz throughout its eight-episode run, the Hulu limited series isn't expected to land any major nominations, according to the odds, which currently account for the series and top acting races. But people may be writing off the show too quickly. It's a top priority for Hulu in limited this year, and if the past few years have taught us anything, it's never to underestimate the streamer in this field. Since becoming the first streaming service to win a series prize, with its flagship drama The Handmaid's Tale in 2017, Hulu has only been growing stronger at the Emmys, particularly in the limited series categories. It finally broke into the Best Limited Series race with Little Fires Everywhere in 2020, and it has since fielded three additional nominees in the category in Dopesick, The Dropout, and Pam & Tommy, all of which were nominated in 2022. Since 2020, it's also notched an impressive 19 acting bids and one win, for Dopesick's leading man Michael Keaton. Much like Netflix, it's a streamer to which the majority of Emmy voters now likely have access and whose titles therefore benefit from visibility. More from GoldDerby Film reviews trash the Weeknd's 'Hurry Up Tomorrow' as 'self-indulgent' and a 'feature-length ego-stroke' 'It was just so seemingly unbelievable': 'Earnhardt' director reflects on Dale Earnhardt's NASCAR fame, quest for greatness, and tragic death 2025 Drama League Awards winners announced: Nicole Scherzinger takes Distinguished Performance Of the streamer's combined 23 series and acting nominations from the past five years, the following 12 were not predicted by the odds: — Under the Bridge (2024): Lily Gladstone, Best Limited Series/TV Movie Supporting Actress (eighth place in the odds) — Tiny Beautiful Things (2023): Kathryn Hahn, Best Limited Series/TV Movie Actress (11th), and Merritt Wever, Best Limited Series/TV Movie Supporting Actress (10th) — Welcome to Chippendales (2023): Kumail Nanjiani, Best Limited Series/TV Movie Actor (12th); Annaleigh Ashford (41st) and Juliette Lewis (40th), Best Limited Series/TV Movie Supporting Actress — Dopesick: Mare Winningham, Best Limited Series/TV Movie Supporting Actress (20th), and Will Poulter, Best Limited Series/TV Movie Supporting Actor (13th) — Pam & Tommy: Best Limited Series (14th) and Sebastian Stan, Best Limited Series/TV Movie Actor (seventh) — Little Fires Everywhere: Kerry Washington, Best Limited Series/TV Movie Actress (sixth) — Normal People (2020): Paul Mescal, Best Limited Series/TV Movie Actor (sixth) Good American Family has a lot in common with these under-predicted titles. Like Under the Bridge, Welcome to Chippendales, Dopesick, and Pam & Tommy, it's an accessible drama based on true events with an emotional hook that makes it stand out within its genre. Created by Katie Robbins, the series tells the story of Natalia Grace (Imogen Faith Reid), a Ukrainian-born orphan with a rare form of dwarfism who is adopted by a Midwestern couple, Kristine and Michael Barnett (Ellen Pompeo and Mark Duplass), just to be abandoned by them once they suspect she's lying about her identity. After telling Kristine's version of events, which paint Grace as an evil con artist trying to drive a wedge between Kristine and her family, the show switches to Grace's POV halfway through its run, forcing viewers to question whether the adoptee has actually been an innocent girl who was abused and neglected by her American family all along. Disney/Ser Baffo Though perhaps not as divisive as Good American Family, none of these other ripped-from-the-headlines series were big critical and audience darlings themselves, nor did they, with the exception of Pam & Tommy — an attention-grabbing retelling of the turbulent marriage between actress and model Pamela Anderson and drummer Tommy Lee — elicit a ton of online chatter. But that's also not uncommon for shows of this genre, especially those inspired by more obscure and/or grievous true events, as these rarely lend themselves to memes, theorizing, and other conduits for online conversations. What mattered most for these shows was that they were watched by voters — and there's no reason to believe Good American Family hasn't been. Boosted by Pompeo's star power, the miniseries consistently ranked in the top five on Hulu's Top 15 Today list throughout its six-week run and drew in record numbers for its finale across Hulu and Disney+. Within the first six days of its release, the finale, which dropped on April 30, became the most-viewed one of the year across the two streamers, as well as the third most-viewed one ever for a Hulu original. SEE A 'roller coaster' of perspectives: Good American Family creator on the show's unique structure and breakout star Imogen Faith Reid Per Gold Derby's odds, the show's best shot at a nomination is Best Limited Series/TV Movie Actress for Pompeo, who sits just outside the top five, in sixth place. Despite being the face of one of the longest-running scripted shows in prime-time history and one of the most defining series of the past few decades, the Grey's Anatomy star has never been nominated for an Emmy. But on Good American Family, her first major TV project since Grey's that she also executive-produced, she gets to show new sides of herself as an actor that might impress her peers in the TV academy. Plus, though a typically unsentimental bunch, Emmy voters may finally want to give the TV vet a pat on the back after overlooking her for so long. What further helps Pompeo's case is that her category is fluid outside the predicted top three, Cristin Millioti (The Penguin), Michelle Williams (Dying for Sex), and Cate Blanchett (Disclaimer), who are all safe bets for nominations. In fourth place is Renée Zellweger for Bridget Jones: Mad About the Boy — a theatrical release internationally that went straight to streaming, on Peacock, in the U.S. — but she would have to overcome the apathy voters have recently shown toward performances in TV movies. The last person to be cited for one in this category was Laura Dern for The Tale in 2018. Rounding out the top five in the odds is Kaitlyn Dever for Apple Cider Vinegar, an Australian production that was liked by both critics and audiences but was only a modest success for Netflix and is currently not listed among the streamer's priorities in limited. If Pompeo makes the cut, there's a good chance she could bring along one of her co-stars in supporting, who could similarly capitalize on their races being rather unsettled. Particularly formidable are Reid, who's in 18th place in her category's rankings, and Duplass, who's in 22nd place in his. Though still a relative unknown as Good American Family marks her first-ever speaking role in a project, Reid, 28, is not just the heart of the miniseries by its end, but she's also essentially a co-lead next to Pompeo, especially in the back half. And Duplass is a previous winner (for producing the docuseries Wild Wild Country in 2018) who has surprised before — not once but twice — for The Morning Show in drama. Should the acting branch of the TV academy turn out for Good American Family, their support may also be enough to carry the show to a Best Limited Series nomination, seeing as that field, too, is largely wide open. Outside the top two in the odds, Netflix's spring breakout hit Adolescence and HBO's guild juggernaut The Penguin, both of which are shoo-ins, the predicted nominees all have strikes against them. Dying for Sex is in third place, but despite receiving glowing reviews, the eight-episode FX cancer dramedy debuted to little noise on April 4 on Hulu. Next in line is Apple TV+'s star-studded Disclaimer, which has also fizzled out since its fall release and was shut out of several of the top guilds, including the Producers and Writers Guild of America Awards. In fifth is Netflix's Monsters: The Lyle and Erik Menendez Story, which was an audience hit for the streamer but may lack in industry support, having missed at all of the major guilds save for the Screen Actors Guild Awards, where it nabbed a single bid for supporting actor contender Javier Bardem. Having premiered with two episodes on March 19, Good American Family also came out at the perfect time: early enough to give voters time to catch up with it before voting begins on June 12, but not so early that it risks being forgotten by then. So at the very least, you may want to rank the show a little higher than it is in Gold Derby's odds, where it sits in a distant 25th place at the moment. Best of GoldDerby How Natasha Rothwell helped Belinda get her groove back in 'The White Lotus' Season 3 Making of 'The Lord of the Rings: The Rings of Power' panel: Bringing the Balrog to life was 'like doing a slight of hand card trick' TV Animation roundtable panel: '#1 Happy Family USA,' 'Secret Level,' and 'Arcane' Click here to read the full article.
Yahoo
17-05-2025
- Entertainment
- Yahoo
‘Murderbot,' ‘The Brutalist,' ‘A Minecraft Movie,' ‘Duster,' and the best to stream this weekend
Welcome to , your VIP guide to the best of pop culture for the weekend ahead, curated by the Gold Derby team of experts. (May 16-18) More from GoldDerby Making the 'Mission: Impossible' franchise, ScarJo vs. AI, catching up with the Gosselins, and what to read this weekend: May 16, 2025 'Running Point': Kate Hudson and Jeanie Buss swap stories on being 'a woman in a man's world' Why we may be underestimating Hulu's 'Good American Family' at the Emmys No one loves anything as much as Apple loves science fiction. But who's complaining? The streaming service's latest addition to its sci-fi heavy library is Murderbot, a 10-episode series adapted from All Systems Red, the first book in Martha Wells' award-winning Murderbot Diaries series of novels. The show — the first two episodes of which are now streaming on Apple TV+ — hails from Oscar nominees Chris and Paul Weitz and stars Emmy winner Alexander Skarsgård as a self-aware cyborg. Having dubbed itself Murderbot, its purpose is to protect a group of scientists led by the empathetic Mensah (Olivier Award winner Noma Dumezweni) as they explore the surface of an uninhabited planet. If you'd ask Murderbot, however, its mission is to watch every episode of the long-running space opera The Rise and Fall of Sanctuary Moon without anyone realizing it has free will. Unfortunately, this very important work is regularly interrupted by the fragile beings it's meant to protect, who treat it like one of their own, a baffling decision Murderbot doesn't understand. With easily digestible 25-minute episodes, a well-deployed sense of humor, and a strong performance from Skarsgård, Murderbot is the awards contender to watch this weekend. However, if you're not interested in exploring other worlds and/or the human condition, other contenders include: Welcome to Wrexham: FX's Emmy-winning docuseries following the triumphs of the third-oldest professional football club in the world returns this week. For three seasons, viewers have celebrated alongside the Welsh team, owned by Ryan Reynolds and Rob McElhenney, as it's beaten the odds and successfully climbed through the tiers of the English football league system. Now Season 4, which features appearances from Tom Brady and Channing Tatum, takes fans back into the locker room and onto the pitch as the cameras chronicle yet another incredible season on the way to the team's historic back-to-back-to-back promotions. The premiere is now streaming on Hulu. Duster: Welcome back to TV, Josh Holloway! The Lost star teams with Emmy winner J.J. Abrams and showrunner LaToya Morgan for this action-packed 1970s-set drama with an appropriately rockin' soundtrack. Holloway stars as Jim Ellis, a fearless driver for a crime syndicate who begins to question everything he thought he knew about the powerful man at the top (Keith David) once a young but determined FBI agent (Rachel Hilson) comes to town and sets her sights on dismantling his growing empire. The series premiere is now streaming on Max. Overcompensating: Created by and starring Benito Skinner, Amazon's newest series is a college-set comedy following Benny (Skinner), a closeted freshman who had it all in high school — we're talking star athlete, homecoming king, and the valedictorian — and Carmen (Wally Baram), an outsider who just wants to fit in. After becoming fast friends, they embark together on a wild journey to find out who they are. Guest stars include everyone from Andrea Martin, Connie Britton, and Kyle MacLachlan to Megan Fox, Charli XCX, and James Van Der Beek. All eight episodes are now streaming on Prime Video. After a brutally long wait, is finally streaming on Max. The $10 million epic won three Academy Awards in March — Best Actor for Adrien Brody (his second win), Best Cinematography for Lol Crawley, and Best Original Score for Daniel Blumberg — and was nominated for 10 in total, including Best Picture and Best Director for Brady Corbet. It's one of the most acclaimed films of 2024. The historical drama tells the story of László Tóth (Brody) a (fictitious) Hungarian Jewish architect who comes to America after World War II in search of the elusive American Dream. Alongside Brody, the cast includes Felicity Jones, Joe Alwyn, and Guy Pearce, who gives a towering, terrifying, career-best performance. You can now stream the three-and-a-half-hour film with a Max subscription home, where you can hit pause and take a bathroom break if you need one before the intermission. If you saw it already, here are some other movies to stream or buy on-demand: : A landmark protest for the Deaf community is the subject of this rousing Apple TV+ documentary from Deaf activist Nyle DiMarco and Academy Award-winning filmmaker Davis Guggenheim. In 1988, students at Gallaudet University, America's only institute of higher learning specifically for Deaf students, staged a protest demanding a Deaf university president over a hearing one. It started small and evolved into a Deaf rights movement. Here, the activists tell their stories. DiMarco is a Gallaudet graduate himself, and the film is his directorial debut, while Guggenheim won the Academy Award for Best Documentary Feature in 2006 for An Inconvenient Truth. The Quilters: This documentary short tells the story of a group of incarcerated men in a maximum security Missouri prison who make beautiful, personalized quilts as birthday gifts for foster children in the surrounding area. It's a moving portrait of redemption and meaning that made the Academy shortlist for Best Documentary Short last year. It's now available to watch on Netflix. A Minecraft Movie: Minecraft is not a good movie, but if you live in a house with children, you're probably going to have to buy it on Amazon, because they're going to want to watch it over and over again. The blockbuster video game adaptation stars Jack Black as Steve, a man trapped in the cube-based Minecraft universe, who teams up with new visitors to the world — played by Jason Momoa, Emma Myers, Danielle Brooks, and Sebastian Hansen — to defeat the piglins (pig goblins) who have been holding him captive. With the home release, you can let a live chicken loose in your living room when Steve says, 'Chicken jockey!' if you want, and no one can tell you to leave. Snow White: Disney's ill-fated live-action version of the studio's very first animated feature. While Snow White and the Seven Dwarfs is one of the most important movies ever made, Snow White is not, and the endless string of controversies surrounding its production and its star, Rachel Zegler, overshadowed a film that wasn't guaranteed to succeed with audiences anyway. But now that the furor around Snow White has died down, you can watch it in a less charged climate on VOD platforms like Amazon and decide for yourself how you feel about it. Your kids might like the songs. Best of GoldDerby How Natasha Rothwell helped Belinda get her groove back in 'The White Lotus' Season 3 Making of 'The Lord of the Rings: The Rings of Power' panel: Bringing the Balrog to life was 'like doing a slight of hand card trick' TV Animation roundtable panel: '#1 Happy Family USA,' 'Secret Level,' and 'Arcane' Click here to read the full article.
