Latest news with #OneFlewOvertheCuckoo'sNest
Tom's Guide
01-08-2025
- Entertainment
- Tom's Guide
Netflix teases new psychological thriller show that looks seriously intense — and I'm adding it to my watchlist already
I often find myself frustrated at how spoiler-filled trailers are these days. Fortunately, the new teaser for Netflix's upcoming thriller series 'Wayward' is a great example of a trailer that does just enough to pique your interest, but without giving away the show's biggest secrets. 'Wayward' is set to premiere on Netflix on September 25, and this first trailer is a great mood-setter. It introduces viewers to the town of Tall Pines, a place that looks quaint and idyllic on the surface but is hiding a very sinister underbelly. Consider me very intrigued to learn more. The minute-long trailer suggests a show that runs the gamut from psychological thriller to surrealist nightmare, and it's all set to a haunting rendition of 'In the Pines' sung by series star Toni Collette. In fact, Colette's involvement is another reason I'm particularly interested in this series, because she's great in just about everything. And I get the feeling we're in for another show-stealing performance from Colette, the unnerving final shot of the trailer is all the evidence I need of that. 'Wayward' comes from Canadian comedian Mae Martin, who serves as creator, co-showrunner, executive producer, and also plays the lead role. But 'Wayward' is unlike anything Martin has done before, so even longtime fans might be surprised to see this new side of them. Martin's elevator pitch for the series is an eye-catching one: 'It's like if you took the kids from 'Booksmart' and put them in 'One Flew Over the Cuckoo's Nest,'' they explained to Netflix Tudum. The streaming service also notes that while the show mixes tones and aims to be 'scary,' Martin's signature humor and heartfelt outlook have been retained, creating an interesting blend of genres. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. The show is partially inspired by Martin's childhood, as well as the experience of a friend who was sent to a troubled teen institute at the age of 16. So, "Wayward" appears to be a thriller with something real to say. The eight-part limited series is set in the seemingly perfect town of Tall Pines, and centers on police officer Alex (Martin) and his pregnant wife (Sarah Gadon) who have recently moved to the area to start their family.. But when unusual incidents occur, Alex is drawn to investigate, and it becomes clear that the local school for 'troubled teens,' and its mysterious leader, Evelyn (Colette), are at the heart of the darkness that is spreading across the town. I can't wait to begin unraveling this mystery. The show also stars Sydney Topliffe, Alyvia Alyn Lind, Brandon Jay McLaren, Tattiawna Jones, Isolde Ardies, Joshua Close and Patrick J. Adams. Ryan Scott is co-showrunner, while Euros Lyn, Renuka Jeyapalan and John Fawcett will direct. 'Wayward' looks to have all the ingredients for a surefire Netflix hit, and the recently-released teaser trailer has taken it from a show barely on my radar to one I'm very eager to add to my watchlist as soon as possible. Fortunately, I won't have to wait too long to take a trip to Tall Pines myself because, as noted, the show will be streaming on Netflix from September 25. In the meantime, if you need something to keep you busy until then, here's a guide to everything you can stream on Netflix in August 2025, including movies and TV shows.
The Age
24-07-2025
- Entertainment
- The Age
Kristen Stewart was warned not to make this film. She almost blew it
When Kristen Stewart read Lidia Yuknavitch's cult memoir The Chronology of Water, she immediately felt herself to be part of the writer's tribe. 'There are certain pieces that unlock you, whether it's a book or a movie or a relationship you have or just a conversation you have with someone, that can lead you to understand you aren't listening to yourself the way you should be,' she says. Yuknavitch's book surges forward from her childhood with an abusive father and permanently sedated mother, through youthful addiction and tortured relationships, to her realisation – guided by her mentor, One Flew Over the Cuckoo's Nest author Ken Kesey – that she is a writer. Stewart was only halfway through reading it when she contacted Yuknavitch to ask if she could make it into a film. Speaking in Cannes, where her adaptation was screening at the annual film festival, she calls the book 'a lifesaving piece of material'. 'This book is like the keys to your own castle. And I thought when I read it that if I had this relationship to it, I couldn't be alone. It's such a personal interaction you have with reading a book, but I wanted to do it out loud and with other people.' Stewart, 35, has been famous – and famously uncomfortable with it – since playing a young woman in love with a vampire in the $US3.3 billion Twilight saga. Being Bella Swan made her reportedly the highest-paid actress in the world. Since that franchise wrapped in 2012, however, she has worked largely outside the mainstream, with independent directors including Olivier Assayas (Clouds of Sils Maria in 2014, for which she won a French Cesar), Kelly Reichardt (Certain Women in 2016) and Pablo Larrain (the 2021 film Spencer, an extraordinary performance that earned her Golden Globe and Oscar nominations). For a good chunk of that time she was also working on The Chronology of Water. Loading It was a formidable challenge, but nothing could dissuade her. 'I've been associated with [producer] Charles Gillibert since I was 20. He told me when I sent him this script years ago, 'You should not do this: it's too big; it's too expensive; find something more personal'. And I said, 'Honestly, if you say that to me again, we're not going to be friends any more'.' There were screaming matches but, in the end, he backed her. 'And he didn't believe in it. I know that. I know him! But he did it anyway because I wanted it so much.' In Cannes, it seemed the gamble had paid off: reviews were glowing. Stewart always brings a kinetic energy to her performances. In person, she is intense, agitated, fiercely alive and not a little unnerving. The Chronology of Water shares these qualities. What could be made as a conventional biopic – albeit of a fictionalised figure, since Stewart says The Chronology of Water isn't actually a literal document of Yuknavitch's life – is chopped about, shuffled and fractured, so that we must actively piece it together. There are scenes that flash backward and forward in time, like a metronome swinging between what just happened and what is about to happen. Simple actions are sliced up with jump-cuts; random sounds stream in from past scenes. 'Time,' says Stewart, 'is so non-linear.' At the heart of the melee is Imogen Poots, now 36, but playing Lidia from her teenage years as a high-school swimming champion to middle age. It is a vast span of years for any actor to try to cover, but she manages it by sheer force of conviction. Loading 'She really had skin in the game,' says Stewart. 'She's been acting as long as I have – and therefore I know there are roles and safeguards and ways she has figured out how to protect the more tender parts of herself. 'And that actually doesn't make for a good performance. But there is a whole cycle of holding back and letting go – and I just got her in the perfect moment. We looked at each other and she said, 'I think I just want to let it all out, lay it all on the line'. 'Then we made it like a sports movie. She got two hernias making this movie, Literally, two! But she didn't tell me 'til afterwards. And I was like, 'You're out of your f---ing mind, why didn't you tell me?' And she said, 'I didn't want you to pull the leash. I didn't want you to think I couldn't do it.' I love her so much.' The production was fraught in other ways. Stewart's scattered description suggests that her long-gestating script, written with Andy Mingo, was binned almost immediately they began shooting. 'The movie was a total shipwreck,' she says. 'I had constructed what I thought was this unsinkable Titanic. And immediately it became a paper boat on the ocean. We were looking at death every day' – of her perfect script, of her careful preparation, of her treasured images – 'which is totally what the movie is about, a rebirth after losing something.' Loading People told her that first films always felt like that. No, she says. This was worse. 'It was a precarious situation.' She and the cinematographer, Corey Waters, 'free-jazzed' the movie she had in her mind's eye. In Waters, she says, she discovered a brother. Other department heads were sacked and replaced during production. That was risky, obviously, but 'essential to protect the movie and create the life that it has'. 'And it's such a lucky thing the movie was getting f---ed. When I got back from the shoot, I realised I was opening all these gifts. The movie had a life of its own, so it had a memory. And once we had created all of the pictures, they had an emotional connectivity and sense memory that you could see.
Sydney Morning Herald
24-07-2025
- Entertainment
- Sydney Morning Herald
Kristen Stewart was warned not to make this film. She almost blew it
When Kristen Stewart read Lidia Yuknavitch's cult memoir The Chronology of Water, she immediately felt herself to be part of the writer's tribe. 'There are certain pieces that unlock you, whether it's a book or a movie or a relationship you have or just a conversation you have with someone, that can lead you to understand you aren't listening to yourself the way you should be,' she says. Yuknavitch's book surges forward from her childhood with an abusive father and permanently sedated mother, through youthful addiction and tortured relationships, to her realisation – guided by her mentor, One Flew Over the Cuckoo's Nest author Ken Kesey – that she is a writer. Stewart was only halfway through reading it when she contacted Yuknavitch to ask if she could make it into a film. Speaking in Cannes, where her adaptation was screening at the annual film festival, she calls the book 'a lifesaving piece of material'. 'This book is like the keys to your own castle. And I thought when I read it that if I had this relationship to it, I couldn't be alone. It's such a personal interaction you have with reading a book, but I wanted to do it out loud and with other people.' Stewart, 35, has been famous – and famously uncomfortable with it – since playing a young woman in love with a vampire in the $US3.3 billion Twilight saga. Being Bella Swan made her reportedly the highest-paid actress in the world. Since that franchise wrapped in 2012, however, she has worked largely outside the mainstream, with independent directors including Olivier Assayas (Clouds of Sils Maria in 2014, for which she won a French Cesar), Kelly Reichardt (Certain Women in 2016) and Pablo Larrain (the 2021 film Spencer, an extraordinary performance that earned her Golden Globe and Oscar nominations). For a good chunk of that time she was also working on The Chronology of Water. Loading It was a formidable challenge, but nothing could dissuade her. 'I've been associated with [producer] Charles Gillibert since I was 20. He told me when I sent him this script years ago, 'You should not do this: it's too big; it's too expensive; find something more personal'. And I said, 'Honestly, if you say that to me again, we're not going to be friends any more'.' There were screaming matches but, in the end, he backed her. 'And he didn't believe in it. I know that. I know him! But he did it anyway because I wanted it so much.' In Cannes, it seemed the gamble had paid off: reviews were glowing. Stewart always brings a kinetic energy to her performances. In person, she is intense, agitated, fiercely alive and not a little unnerving. The Chronology of Water shares these qualities. What could be made as a conventional biopic – albeit of a fictionalised figure, since Stewart says The Chronology of Water isn't actually a literal document of Yuknavitch's life – is chopped about, shuffled and fractured, so that we must actively piece it together. There are scenes that flash backward and forward in time, like a metronome swinging between what just happened and what is about to happen. Simple actions are sliced up with jump-cuts; random sounds stream in from past scenes. 'Time,' says Stewart, 'is so non-linear.' At the heart of the melee is Imogen Poots, now 36, but playing Lidia from her teenage years as a high-school swimming champion to middle age. It is a vast span of years for any actor to try to cover, but she manages it by sheer force of conviction. Loading 'She really had skin in the game,' says Stewart. 'She's been acting as long as I have – and therefore I know there are roles and safeguards and ways she has figured out how to protect the more tender parts of herself. 'And that actually doesn't make for a good performance. But there is a whole cycle of holding back and letting go – and I just got her in the perfect moment. We looked at each other and she said, 'I think I just want to let it all out, lay it all on the line'. 'Then we made it like a sports movie. She got two hernias making this movie, Literally, two! But she didn't tell me 'til afterwards. And I was like, 'You're out of your f---ing mind, why didn't you tell me?' And she said, 'I didn't want you to pull the leash. I didn't want you to think I couldn't do it.' I love her so much.' The production was fraught in other ways. Stewart's scattered description suggests that her long-gestating script, written with Andy Mingo, was binned almost immediately they began shooting. 'The movie was a total shipwreck,' she says. 'I had constructed what I thought was this unsinkable Titanic. And immediately it became a paper boat on the ocean. We were looking at death every day' – of her perfect script, of her careful preparation, of her treasured images – 'which is totally what the movie is about, a rebirth after losing something.' Loading People told her that first films always felt like that. No, she says. This was worse. 'It was a precarious situation.' She and the cinematographer, Corey Waters, 'free-jazzed' the movie she had in her mind's eye. In Waters, she says, she discovered a brother. Other department heads were sacked and replaced during production. That was risky, obviously, but 'essential to protect the movie and create the life that it has'. 'And it's such a lucky thing the movie was getting f---ed. When I got back from the shoot, I realised I was opening all these gifts. The movie had a life of its own, so it had a memory. And once we had created all of the pictures, they had an emotional connectivity and sense memory that you could see.
India.com
16-07-2025
- Entertainment
- India.com
This superstar was once rejected from a Sridevi film, was betrayed by a close friend, left with lifelong regret over one role, his name is...
He's been the villain you feared, the father you wept with, and the friend you rooted for. But even after five decades in cinema and over 500 films, one legendary role slipped right through Anupam Kher's fingers, thanks to betrayal cloaked as friendship. Who was originally cast as Mogambo? In a revelation that stunned fans, Anupam Kher recently shared on a podcast that he was the original choice for Mr. India's dreaded villain, Mogambo. Director Shekhar Kapur had even begun planning the role with him in mind. But fate and friendship had other plans. How did he lose the role? Despite initial plans and partial shoots, Kher was abruptly dropped from the film. The reason? His close friend and co-star Anil Kapoor allegedly had a role in the recasting decision. Amrish Puri was brought in instead, and what followed was history. 'Mogambo khush hua' became an immortal line. How did Anupam react to being replaced? 'I felt jealous. I felt small,' Anupam confessed. 'It wasn't just about losing a role — I had already shot scenes. It shook me.' He shared how he and Kapur had envisioned Mogambo as a more cunning, calculated antagonist, rather than the larger-than-life tyrant Puri portrayed. Was it all for the best? With time, perspective changed. Kher admitted, 'Looking back now, I realise it was the right decision for the film.' Despite the professional setback, he continued to build an extraordinary body of work, but the 'what if' still lingers. Interestingly, Kher also revealed he once watched One Flew Over the Cuckoo's Nest five times back-to-back at FTII, proof of the intense passion he's always held for storytelling and character depth. This tale isn't just about a missed opportunity — it's about ego, betrayal, and the kind of heartbreak that doesn't make it to the big screen. And yet, like every great performer, Anupam Kher turned even rejection into a masterclass in resilience.
Indian Express
16-07-2025
- Entertainment
- Indian Express
‘Was kicked out of Mr India and replaced by Amrish Puri; felt belittled, hurt, jealous', says Anupam Kher: ‘I wouldn't have played it so stiff'
Actor Anupam Kher said that he was fired from the hit film Mr India and replaced by the legendary Amrish Puri, whose performance as Mogambo has gone down in Hindi cinema history as one of the greatest villainous acts ever. In an interview, Anupam said that he and director Shekhar Kapur had a different idea for the character, and that his performance wouldn't have been as stiff as what audiences eventually saw in the movie. He admitted in a new interview that being kicked out of the project made him feel belittled and jealous. 'Arrogance, if used in the right manner, is not a negative quality… Jealously is also very healthy if used in the right manner,' he said in appearance on Raj Shamani's podcast. Asked when he felt jealous, the actor said, 'When I was removed from Mr India and replaced as Mogambo by Amrish Puri. I felt small. After watching the film, I knew that I wouldn't have played the character so stiffly. Me and Shekhar had a different idea for the character, he would've been more Machiavellian.' Also read – Anupam Kher recalls shutting down Aamir Khan on Dil He Ke Manta Nahin sets 'with an English phrase': 'He complained to Mahesh Bhatt' Explaining further about what he felt at the time, Anupam said, 'I felt belittled. I wondered why I had been replaced, why I had been fired. It's natural to feel small. They did it for themselves. But that I understand now. Back then, I felt inferior, hurt, and jealous. 'How could he get the role?'' Anupam said that he watched Jack Nicholson's One Flew Over the Cuckoo's Nest five times in a row when he was studying at the FTII. 'Professional jealously makes you want to push yourself,' he said. In an earlier interview, Anupam had revealed that he was replaced after having filmed a large portion of the movie. 'Mogambo's role was offered to me before Amrish Puri. However, after one or two months, the filmmakers replaced me. When you are dropped from a film then generally an actor feels bad, but when I watched Mr India and saw Amrishji's work as Mogambo then, I thought that makers of the film took the right decision by casting him in their film,' Anupam had said earlier. In his autobiography, Amrish Puri admitted that he was apprehensive about taking on the role after so much of the movie had already been shot. 'I thought to myself, 'inhe ab jaakar meri yaad aayi (Now they remember me?)'' he wrote.
