Entertainment

For season four, composer Cristobal Tapia de Veer is stepping aside. He had suggested incorporating the distinctive ululating vocals into the season three theme song, stating to The Times, “I texted the producer and proposed that at some point we could offer them the extended version with the ‘ooh-loo-loo-loos,’ as people would be thrilled to discover it was part of the plan all along.” Unfortunately, this idea wasn’t taken up, leaving fans yearning for its return. Perhaps they opted for a clean start, but why not reintroduce those captivating, eerie vocals… in a yodeling format?

2025 marks the premiere of the sixth and last season of “The Handmaid’s Tale,” with the first three episodes airing on April 8, during Trump’s second term, a time that seems to bring the transformation of America into Gilead closer than ever. What audiences might find comforting is if June Osborne, the handmaid-turned-revolutionary (Elisabeth Moss), and her comrades could finally, after six seasons of struggle, overthrow the government that seized their freedom without a trace of remorse. However, “The Handmaid’s Tale” has never been a source of comfort, and the series, led by TV veteran Bruce Miller (ER, The 100) and currently managed by co-showrunners Eric Tuchman and Yahlin Chang, remains dedicated to making life difficult for its characters. Moreover, it’s already known that Gilead won’t fall easily: Hulu is developing a TV series based on “The Testaments,” a sequel following Atwood’s novel of the same name, set 15 years after its predecessor, a time when Gilead still persists. Thus, the final season of “The Handmaid’s Tale” won’t likely provide a satisfying conclusion to Gilead’s oppressive rule.

Schrader countered his ex-assistant’s claims by stating that her lawsuit is a misguided attempt to gain money quickly, rather than addressing sexual assault allegations. He asserted that the lawsuit distorts the truth about their relationship, which was professional and non-sexual for over three years. According to Schrader, the lawsuit seeks to portray him in a negative light and alter the facts of their interactions. He maintains that he never engaged in any sexual activity with his assistant, nor did he attempt to do so at any point. However, his assistant has accused him of forcefully kissing her in his hotel room and trying to prevent her from leaving. Schrader also denies exposing himself to her, which was another claim made by his assistant. He admitted to kissing her on two separate occasions, but he stopped after she expressed discomfort the second time and apologized, promising not to do it again. In the lawsuit, his assistant referenced emails where Schrader wrote about her being uncomfortable with his affections and fearful of his physical advances.

In a deeply touching two-part storyline, Molly’s life gradually concludes, focusing on the profound appreciation of human physique. Unlike many contemporary shows, Dying for Sex uniquely emphasizes the beauty of the body in various stages. Consequently, it is fitting that Molly encounters her initial shared, climactic experience just before her passing.

DeYoung came up with the concept for the film after bonding with a colleague, hoping their friendship would last beyond their job. However, when his coworker didn’t respond to his text for days, he became frustrated and started pondering over the situation, thinking it was pathetic. He elaborated on this during a Q&A, saying, “I texted him, and he didn’t reply for days, and I thought, What an asshole! and I began to brood about it, wondering, How sad is that?“. After converting his complex emotions about friendship into a movie produced by A24, he eventually managed to reconnect with his former colleague. “I bumped into him recently, and we spent some time together,” DeYoung shared, as the audience applauded. “They’ll never know they were the inspiration for this film. Definitely not.

The “Mission: Impossible” series has consistently been a platform for Tom Cruise’s on-screen daredevilry, and as anticipated, this trait is highlighted in the concluding trailer for “Mission: Impossible – Fallout,” the eighth installment of the franchise. As with any Mission: Impossible movie, it features action sequences performed without CGI, fistfights, knife fights, a catchy theme tune by Lalo Schifrin, skepticism towards Ethan Hunt despite his numerous accomplishments in the previous seven films, and Cruise’s signature fast-paced runs, such as the one past Big Ben. However, what makes this film unique is the introduction of character Tramell Tillman.

The initial trailer for “The Phoenician Scheme” suggests a story centered around a father and daughter, intertwined with much intense action. However, some parts of the plot remain unclear – at one point, a voiceover says, “Today, tonight, and tomorrow, we’ll meet every titan and pretend to agree on what we already agree, but in truth, we don’t, can’t.” This statement appears cryptic for now. Interestingly, contrary to Guillermo del Toro’s statement in Le Monde, it seems he does not appear in every scene of the trailer.

To put it simply, the initial part of this episode shows Kenya in a more peaceful, relaxed state, much like a sleeping bear. She’s radiating positivity as she prepares for her first filmed event at her spa and strengthening her bond with Kelli and Porsha. This shift is a nice break from the tension that Marlo had caused over the last two years. As Porsha rightly pointed out, Kenya may have a reputation for being confrontational, but in her current phase, she’s been less antagonistic than Brit is trying to portray. It seems like Brit acknowledges this, as her apologies to everyone except Kenya suggest a step back or retreat. She’s admitting her mistakes to others, blaming triggers and provocations, but denying that mentioning a gun in the heat of an argument doesn’t threaten someone. I find it hard to understand how she can think that, given her background, but perhaps she’s mixed up.

Spoilers follow for The White Lotus season-three finale, “Amor Fati.”

The revelation that Kate might have initially supported Donald Trump held significant implications. As Carrie Coon shared with Harper’s Bazaar, early in the series, Laurie disclosed that her child identifies as nonbinary. Coon stated, “You see Laurie grappling to explain it to her friends, struggling with using they/them pronouns, and dealing with the language, which was all intriguing.” This made Kate’s discussion about Trump “far more controversial and personally hurtful to Laurie,” according to Coon. However, White ultimately chose to eliminate the scene from the final edit because it was deemed “too political, too extreme, or too distracting,” as Coon explained to the Hollywood Reporter. White further clarified to the Hollywood Reporter that he didn’t want this detail to “dominate” his narrative. He explained, “It felt appropriate in March of last year. Now, there’s a change in atmosphere.