Shriya Saran keeps her cool as fan requests for selfie, continues to… [Viral Video]
Known for her warm demeanor, Shriya Saran delighted fans and photographers alike at a recent event, where she paused to take a grinning selfie with an enthusiastic fan before heading inside.
Shriya Saran delighted a fan by agreeing to take a selfie with him. Recognized for her kind gestures towards those close to her, the actress also captured the affection of many through her open interactions with the photographers present. In an Instagram video, Shriya Saran is captured taking a selfie with a fan. She appears to be savoring the moment, while the man is seen grinning widely as he raises his phone to document the experience.
Shriya Saran opens up to her fan and the photographers
Later, when the paparazzi stepped in to capture some great photos of the actress, she burst out laughing. However, in spite of their numerous appeals, the diva entered the venue without doing her trademark pose. Nonetheless, her joyful and modest personality had her supporters cheering her on with grateful emojis in the comments area.
The video was labeled as “Shriya ji is excellent.”
At the event last night, Shriya Saran was spotted in a halter-neck, backless dress featuring a floral or abstract design in lighter shades. The ensemble seems to be tightened at the waist by a belt, enhancing the appeal of her overall appearance.
Her hair was tied back beautifully, and she had on a golden-toned necklace. Furthermore, she chose dewy glam makeup to complete her look.
Shriya Saran’s latest projects
In 2025, she made a notable guest appearance in the track “Love Detox” from the Tamil romantic action movie Retro, created and helmed by Karthik Subbaraj. Created by Stone Bench Creations and 2D Entertainment, the movie features Suriya and Pooja Hegde in the main roles.
Afterwards, she appeared as Ambika Prajapati in the Telugu fantasy action adventure movie, Mirai. Additionally, she was seen in the music video titled Aayiye Ram Ji. Last year, she also made her web series debut with Sumit Roy’s Showtime. The diva appeared as Mandira Singh in the drama series, produced by Dharmatic Entertainment and premiered on Disney+ Hotstar.
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Batista tries to get into a cat-and-mouse game with the Bay Harbor Butcher, only to get severely outclassed by Dexter. Photo: Zach Dilgard/Paramount+ with SHO
In my last recap, I wondered if Dexter Morgan had a favorite Taylor Swift song. This week, I’m questioning whether or not he’s seen Hamilton. I’m leaning toward no, but he does have enough cultural awareness to at least misquote it when he remarks, via voice-over, “I’m not gonna ruin my shot.” It’s a cute in-joke in an episode that’s at least partially indebted to Lin-Manuel Miranda — just look at the title, “The Kill Room Where It Happens.” While Dexter himself might not appreciate the reference I’m about to make, Batista is emerging as an Aaron Burr–like figure to the Bay Harbor Butcher’s Alexander Hamilton, a deeply devoted hater who doesn’t believe the world is wide enough for both men to exist.
As the episode opens, Batista is actively tracking Dexter thanks to his AirPod ruse, and he is in luck because Dex is preparing to strike. His next target is Al, the only other surviving member of Prater’s serial-killer club and an obvious fit for the Code after the real-life found-footage horror film he screened last week. Dexter will have to act quickly, though, because Al is leaving New York tonight. “It’s a little earlier than I planned, but to be honest, these little gatherings have lost their luster, what with all the deaths,” he confides. They agree to a good-bye dinner after Al sees Hamilton, but if all goes as planned, Al will end up with a knife in his heart instead of at a Times Square restaurant. (Personally, I can’t decide which sounds worse.) Dexter finds a temporarily closed wig shop that he’ll use to remind Al of his crimes — I guess there are enough ponytails to do the trick — and preps his kill room. When Batista observes Dex stepping outside of his usual routine, he follows the blinking dot to midtown. By the time he gets there, however, Dexter is already on the move again.
If he wants to be able to hoist Al onto his kill table, Dex realizes he needs to deal with his spiking shoulder pain, so he enlists Joy for some more acupuncture. She doesn’t seem very good at it — it’s not supposed to hurt when the needles go in — but she’s also distracted by the fight she had with Blessing about moving across the country with her boyfriend. Dexter points out that Blessing is in an especially tender state after losing his mother, particularly because she was the person who rescued him from being a child soldier. This is the kind of information I might hesitate to share, but not our Dexter. He’s surprised to discover that Joy had no idea about her father’s past in the Revolutionary United Front, and she ends up leaving in tears. Blessing made it clear he wanted to keep the darkness separate from his family, something that Dexter should have been more sympathetic to, since it’s been his own struggle for as long as this show has been on the air. While he contemplates his massive faux pas, Harrison calls to meet up. Dexter will be cutting it close if he still wants to kill Al, but he can’t say no to his son. “Keeping my killing life separate from my personal life is difficult when my personal life keeps calling asking for help,” he reflects.
Over a meal at the Times Square Applebee’s (literal hell on earth), Harrison expresses his own regrets about speaking out of turn. Confronting Vinny, the landlord, when he was babysitting Dante, didn’t do anything to fix the black mold situation. In fact, Vinny has turned the heat off in retaliation, and Elsa has nowhere else to stay because Prater’s upcoming police gala has the hotel booked solid. Dexter offers to try talking to Vinny, reasoning that his law-enforcement background might persuade the landlord to change his act. But although Dex swears that he has no intention of murdering Vinny, it’s pretty clear he’s looking for any excuse to do so. After dinner, he does some research on the landlord’s bad behavior, looking at reviews from his tenants. “While Al learns about Hamilton the statesman, I can learn about Vinny the landlord,” he reasons. And there’s plenty of bad out there — including a news story about a faulty railing giving way and causing a woman’s death. Killing him would still be a stretch, but it’s a delight watching Dexter try to talk himself into it. How many tenants has Vinny thrown out on the street in potentially deadly cold, he wonders. When Harry points out that he’s reaching, Dex responds with a very funny “eh.” I also laughed at his explanation that while, yes, he’s trying to separate his family life from his murder life, “Vinny fitting the Code would really streamline things.”
And Dexter is going to have to find someone to kill, because the Al plans fall through. Turns out Al didn’t realize Hamilton was a rap musical — this is the most unbelievable thing that’s happened all season, incidentally — so he bailed at intermission and is already driving back to Wisconsin. He turns down a desperate Dexter’s suggestion to meet on the road (perhaps in Weehawken?), and politely declines to share anything more about his real life before throwing his Prater-supplied phone out the window. Rapunzel will walk free, and Dexter now has no way to track him down. Plus, Dex is murder horny! Is it any wonder he decides to kidnap Vinny and take him to the wig-shop kill room he’d already prepared for Al? For what it’s worth, I wouldn’t call this a well-thought-out plan. Earlier in the day, Dexter did try to talk to Vinny sans violence, but being seen barging into the landlord’s office a few hours before his disappearance is only going to reflect poorly on Dex in the event of a police investigation. Let’s not forget that he also assured Harrison he would not be serial killing his way out of the Elsa apartment problem. Ah, well, nobody’s perfect.
Vinny wakes up on the kill table and immediately begins pleading for his life, but Dexter is going off script. “I’m here for your tenants,” he growls, his face obscured by a stocking. “This is the end of you ignoring their pleas.” It does seem like Dex really just wants to torture Vinny into being a better person instead of killing him, which I guess counts as progress? He holds a knife to the landlord’s neck and repeatedly suffocates him (just a little!) to mimic the feeling of not being able to breathe from a black-mold-induced asthma attack. “If you don’t start doing right by your tenants, I’ll be disappointed,” Dexter warns just as Batista begins to break in. Yes, Ángel has followed his AirPods back to midtown and finally clocked the wig shop as the perfect place for the Bay Harbor Butcher to assemble a kill room. Once inside, however, he’s knocked over by a fleeing Vinny, who shoves him with an “Out of my way, you cocksucker!” Sounds like a changed man to me. Dexter, meanwhile, is nowhere to be seen. After nearly being caught, he smartly searches his car and finds the AirPods, angrily crushing them to the tune of Danzig’s “Long Way Back From Hell.” In short, Batista has accomplished nothing, and he’s lost his only way of keeping tabs on Dexter.
But wait, there’s a kill room in the wig shop! This is exactly the proof Batista has been looking for to show that the Bay Harbor Butcher is still active, as he excitedly shares on a call to Wallace. When she and Oliva arrive on the scene, though, they’re not quite so convinced by the plastic-wrapped table and display cases. There’s no body and no Dexter. Besides, the Bay Harbor Butcher didn’t make a habit of letting his victims go free. Batista — who has already fessed up to tracking Dexter without a warrant — makes the added mistake of asking if the detectives think he put up all the plastic himself. “Strange that you should say that, is it not, Captain Batista?” Wallace replies. Perhaps Dex’s heavy implication that his former colleague was too unstable to be taken seriously actually worked. It certainly doesn’t help matters that Wallace’s investigation into the Bay Harbor Butcher leads her to Joey Quinn, who shares some startling information: Batista abruptly retired as captain, which means he’s no longer active law enforcement at all. Last week, I chastised Dexter for underestimating the Batista threat, but the ex-cop is now at a distinct disadvantage.
Of course, there’s another significant threat to worry about. Early in the episode, we see that the tension between Prater and Charley has not abated — he trusts “Red” completely, while Charley smells a rat. “It’s not just that everything went sideways when Red joined,” she explains. “I don’t have a good feeling.” Her employer snaps back, “I don’t fucking care about your feelings, Charley.” What could her theory possibly be, Prater demands? That Red somehow infiltrated the group he was invited to, murdered Lowell, got Mia arrested, and orchestrated a fight with Gareth? Well, yes, exactly, but Charley admits the real problem is she doesn’t know enough about Red and might have missed something. Her job is to keep Prater safe, and he coldly suggests that she do so. I’d almost forgotten about those two as the episode wrapped up with something close to a happy ending. Dexter and Harrison enjoy a steakhouse meal (a step up from Applebee’s), and Harrison reveals that Vinny had a change of heart and is making all the needed repairs to Elsa’s apartment. Dexter’s scared-straight program is more effective than I’d imagined! Just then, Prater approaches the table. “Red, I didn’t know you have a son,” he says to Dexter, who is stunned into silence. Outside, Charley looks pleased with herself. She’s very good at her job.
• It’s almost hard to express just how careless Dexter has been. I don’t even mean the Vinny situation, though I still think that was misguided. I’m talking about pretending to be Red while also living a public life and working in New York under his real name, as if a billionaire and his terrifying right-hand woman wouldn’t be able to put the pieces together easily.
• If we’re calling out carelessness, I’m also going to shake my finger at Blessing for sharing his deepest, darkest secret with someone he’s known for all of two weeks. “You betrayed me,” he tells Dexter, but I have to believe he’s mad at himself, too.
• Harrison and Gigi go on their first date and have sex, which would be cute if I could bring myself to trust a character who showed up in the seventh episode with a mysterious arm injury. I’m not sure what to make of Gigi yet, but I like this commenter theory.
• When Wallace is researching the Bay Harbor Butcher, she comes across news of Captain Aaron Spencer’s disappearance. Once again, I’m asking Dexter: Resurrection to stop referencing Original Sin so much, especially this particular plot point, which drove me crazy at the time.
• More great needle drops in this episode. Aside from Danzig, we hear “Personality Crisis” by the New York Dolls, and “Paper Trails” by Darkside. Nothing from Hamilton, sadly.
• I kind of love it, so please don’t read this as a complaint, but Harry has become such a bitch in his ghost old age. “Way to go, Dex,” he says after Dexter reveals Blessing’s secret. Later, he tells his son, “You’ve been irritable ever since Al got away. Is this your version of hangry?” Drag him, Harry!
Emraan Hashmi has been one of the most versatile actors in Bollywood. From romantic to negative roles, he has charmed audiences with a variety of performances. His last theatrical release Tiger 3 alongside Salman Khan and Katrina Kaif was widely appreciated. In a recent interview, Emraan talked about his experience of working with the Sikandar actor and recalled his first meeting with Shah Rukh Khan.
Emraan Hashmi breaks silence on rumors of Salman Khan reaching late on sets
While speaking to The Lallantop, Emraan Hashmi addressed rumors of Salman Khan being late on the sets. He stated that Salman has his own schedule and timing, but he is “the best people to work with,” further adding that they’re fond of each other. The actor also stated that he and Salman are “not friends”, but have “mutual respect” for each other.
Emraan Hashmi talks about his experience of working with Salman Khan
Reflecting on the experience of working with Salman Khan, he said, “When we were shooting together, sitting together on sets, it felt like I was talking to a friend. He is a lot more senior than me but we both have grown around the same neighborhood of Bandra, we also talk about fitness. It is easy to converse with me, there are times when you feel a certain kind of ease with some people, I feel that way with Salman.”
When Emraan Hashmi initially planned to decline Tiger 3’s offer
In addition to this, Emraan revealed when he was offered Tiger 3 for the negative role by Maneesh Sharma, he had ‘mentally prepared’ himself to decline the offer. However, when the director narrated to him the script and the graph of the character, he realized that his character of Aatish is not a “uni-dimensional role” but also has a point of view. He hailed his character more like an ”anti-hero” whose ideology didn’t match with the hero’s narrative.
Emraan Hashmi on meeting Shah Rukh Khan for the first time
During the same conversation, the Awarapan actor also recalled his first meeting with Shah Rukh Khan on the sets of Murder. He shared that the Pathaan actor had come to meet director Mahesh Bhatt.
He shared, “So I hadn’t actually met him, I was inside, giving my shot, and he waved to me and showed me a ‘thumbs-up’ sign and said something like, ‘You are doing well’. I don’t know if he had seen Footpath (a 2003 film) but that was very encouraging for me, because I am a very big SRK fan and that’s how my first meeting with SRK was.”
Emraan was last seen in Dharma-backed backed web-series, Showtime.
Paramount Global, the owner of CBS News, has made a multibillion-dollar deal to merge with the film production company Skydance Media. To make that possible, Skydance is buying another company, National Amusements, controlled by Shari Redstone, which owns the largest share of Paramount Global.
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Paramount Global said Monday that CEO Bob Bakish is stepping down from his role, a major management shift at the media and entertainment company as it considers a potential merger or sale.
Paramount said in a statement on Monday that it is creating an Office of the CEO to replace Bakish. The role will be filled by three Paramount Global executives: CBS CEO George Cheeks; Showtime/MTV Entertainment Studios and Paramount Media Networks CEO Chris McCarthy; and Paramount Pictures and Nickelodeon CEO Brian Robbins.
“I have tremendous confidence in George, Chris and Brian,” Shari Redstone, chair of the board, said in the statement. “They have both the ability to develop and execute on a new strategic plan and to work together as true partners.”
Paramount Global is the parent company of CBS News.
Bakish’s departure comes at a pivotal moment for Paramount, with the company exploring a merger and other deals with several potential partners. In recent weeks, the company has held exclusive discussions with Skydance Media, a media firm founded by David Ellison, the son of Oracle founder Larry Ellison, according to published reports.
The discussions are complicated by Paramount’s ownership structure, as Shari Redstone — the daughter of the late company founder Sumner Redstone — effectively controls 77% of its voting shares. Under a proposed deal with Ellison, Redstone would sell her voting stake to Skydance for $2 billion, while other Paramount shareholders would receive stock in a newly merged company, the Journal reported.
The company didn’t address its merger discussions in the statement, although the board of directors said it is looking “forward to working with George, Chris and Brian as they execute on key initiatives to enhance performance and value creation at Paramount Global.”
Bakish’s exit marks the end of a long career at Paramount that began in 1997 at Viacom, the movie studio’s predecessor company. He was eventually tapped to lead Viacom, and then oversaw the merger of Viacom and CBS in 2019. In 2022, ViacomCBS changed its name to Paramount Global.
In an email sent to Paramount Global employees, Bakish said, “When I was asked to serve as interim CEO in 2016, I thought it would be a month-long gig. Seven years later, I can truly say the opportunity to lead this incredible company has been an unexpected but most welcome gift, and the greatest honor of my professional life.”
Separately, Paramount reported a first-quarter loss of $554 million, significantly narrower than its $1.12 billion loss in the year-ago period. Revenue rose 6% to $7.69 billion, buoyed by strong advertising demand for CBS’ Super Bowl broadcast in February as well as the addition of 3.7 million new subscribers to the Paramount+ streaming service.
The company said Paramount+ ended the quarter with 71 million subscribers, while the service’s loss narrowed to $286 million, compared with $511 million in the year-earlier period.
Aimee Picchi is the associate managing editor for CBS MoneyWatch, where she covers business and personal finance. She previously worked at Bloomberg News and has written for national news outlets including USA Today and Consumer Reports.
During rehearsal, Miller also brought in a movement coach, a key figure in McGregor’s delicate but rigorous physical performance. “We did these extreme exercises of being very, very old and then very young, and thinking about our characters in different stages of their life,” he says. “I spent a lot of time, in his countly days at the beginning, being very upright in his amazing clothes and the way he moves. As I get older, all of that drops away and it becomes more loose—and so in a way, he de-ages physically.” Being able to shoot roughly chronologically allowed McGregor to sink deeper and deeper into the part. He didn’t initially realize the root of his profound investment in both the role and the story’s unique portrait of fatherhood. “In a loose way, he adopts somebody—and I am close to that,” he says. “I have an adopted daughter, and I almost didn’t notice the similarities until we were shooting it…. I felt very, very connected to the count.”
Another development deeper into filming: the romantic arc between the count and Anna, played by McGregor and Winstead—who are married in real life. In one early scene, Anna chides the count for tidying her room without permission—and snubs him for literal years. “To be in love and married to somebody, and then to get to play all those cold shoulder scenes, was just hilarious,” McGregor says. Near the shoot’s end, as the relationship took a tragic turn, the pair found the emotional intensity of their scenes following them home. “You just have to see what she’s done with this role—she’s such a brilliant actor, and the way Anna ages is absolutely heartbreaking at the end,” McGregor says. “We have a scene where we have to part, and we just were an absolute mess [after filming].”
“I had heard about it before I read about it,” recalled Seth Abraham, the former head of HBO Sports on its demise. He was president of Madison Square Garden at the time. “It was very, very sad to see that brand sort of go away.”
And away it did with all its great pugilistic memories.
HBO’s first big fight was Joe Frazier vs. George Foreman for the heavyweight championship in 1974, followed by classics like Foreman-Muhammad Ali, Ali-Frazier III, Sugar Ray Leonard-Thomas Hearns I and II, Mike Tyson-Buster Douglas, Oscar De La Hoya-Floyd Mayweather Jr., and the Arturo Gatti-Micky Ward trilogy to name a few.
Now Showtime Sports, HBO’s longtime rival in televising the sweet science, took a ten count.
The final “Showtime Championship Boxing” broadcast was Saturday, Dec. 16 featuring WBA “regular” super middleweight champ David Morrell Jr. vs. Sena Agbeko.
Their final pay-per-view bout was the David Benavidez vs. Demetrius Andrade bout on Nov. 25 for the WBA interim super middleweight crown won by Benavidez by sixth-round stoppage.
Showtime has had its own run of memorable events like: Marvelous Marvin Hagler-John “The Beast” Mugabi (debut 1986), Tyson-Donovan Ruddock I and II, Tyson-Evander Holyfield I and II, Pernell Whitaker-Julio Cesar Chavez, Mayweather-Canelo Alvarez, Mayweather-Conor McGregor, Deontay Wilder-Tyson Fury I, and Errol Spence Jr.-Terence Crawford.
HBO and Showtime even partnered up for Lennox Lewis vs. Tyson and Mayweather vs. Manny Pacquiao. Now they are both gone.
Boxing fans have always suffered withdrawals as they’ve seen staples like Gillette’s Cavalcade of Sports, USA Tuesday Night Fights and even the Daily News Golden Gloves tournament become extinct.
Just five months ago in a RingTV.com article, Stephen Espinoza, 12 years the president of Showtime Sports stated proudly:
“This is the healthiest boxing has been since I’ve been president of Showtime Sports. The sport is in a fantastic place.”
So, what happened to boxing that just 50 years ago was still a major draw for sports fans? The glory of the 1976 Olympic boxing team hadn’t come into fruition yet. George Foreman was the heavyweight champion of the world and Muhammad Ali and Joe Fraizer were still fighting.
Roberto Duran was still a force at lightweight and “No Mas” wouldn’t happen until 1980.
Closed circuit TV was booming, but now the sport has become the niche-iest of niche sports.
Boxing has done much of the damage to itself.
Take October’s freak show where the WBC heavyweight champion of the world — Tyson Fury — decides to take a non-title fight against the former UFC heavyweight champ who never had a pro boxing match.
Instead of fighting Anthony Joshua which would have been a mega-fight in the UK, or unifying the titles against WBA, IBF and WBO champ Oleksandr Usyk, (which is now a go for Feb. 17 in Riyadh, Saudi Arabia), he fights Francis Ngannou, gets dropped in the third round of a scheduled 10-rounder and wins a dubious split decision.
Tyson Fury, of England, the WBC and lineal heavyweight champion, fights with former UFC heavyweight champion Francis Ngannou, of Cameroon, during their boxing match to mark the start of Riyadh Season at Kingdom Arena, in Riyadh, Saudi Arabia, Sunday, Oct. 29, 2023. (AP Photo/Yazeed Aldhawaihi)
The biggest problem with boxing are the organizations. If you look at the ratings of the four organizations they have regular champs, super champs, interim champs, champs in recess and don’t forget the “Franchise” champ, whatever that is.
There are also too many weight divisions as two more have been recently added.
The WBC created the bridgerweight division for fighters weighing between 190-224 pounds. It was named after a six-year-old (named Bridger) who saved his sister from a stray dog. True.
Earlier this month, the WBA followed up by creating the super cruiserweight division (200-224) minus the canine hook.
Of course, sanctioning fees will be required for all fighting for these prestigious titles.
The WBC also showed their stupidity by not sanctioning undisputed featherweight champ Amanda Serrano’s October successful title defense against Danila Ramos.
The Brooklyn native was not allowed to defend the WBC portion of her title because she decided to fight, just like the men, in a 12-round, three minute championship contest. The women’s championship bouts are 10-rounds and two minutes.
“The WBC has refused to evolve the sport for equality,” she said to ESPN.com. “So, I am relinquishing their title.”
Then there are the “stripped” champs.
Terence Crawford defeated Errol Spence Jr. in July to unify the welterweight division for the first time in the four-belt era. Crawford added Spence’s IBF, WBA and WBC belts to his own WBO title.
Four months later, the IBF stripped Crawford of their strap and anointed Jaron “Boots” Ennis their new title holder, moving him up from his “interim champ” status.
Got it?
By the way, after Ngannou lost to Fury, the WBC, in its wisdom, installed him at No. 10 in the ratings even after a loss and with a record of 0-1.
Go figure.
Boxing can’t get out of its own way even when they have a good thing going.
This two-part series will take a look at why boxing had such a high broadcast kill rate for HBO and Showtime, and if the sport can be rebuilt.
Boxing, thy name is niche.
* * *
Showtime’s bottom line for 2023 should have made any bean counter flush with joy.
“This year the industry had its first million buy event in April with the Tank Davis-Ryan Garcia fight,” points out R. Thomas Umstead, Senior Content Producer, Programming for Multi-Channel News and Broadcasting and Cable. “Hadn’t seen that in a couple of years and that wasn’t even a fight where you would consider it being a million buy fight.
“There was a lot of marketing in there. It brought in a new audience that we hadn’t seen before in younger viewers.”
Boxing has a numbers problem not with the amount of viewers, but with their age, points out Abraham.
“One of the never ending problems [with boxing] is its audience dying,” he declares. “Men 60, 70, 80 and older who grew up with boxing, they’re dying. Young men [it’s] mixed martial arts. That’s what they’re interested in and the WWE.
“Boxing has failed to replace and replenish its audience.”
Showtime had been in the boxing business for 37 years and was highly successful, but then their parent company — Paramount Global — decided to go in another direction with scripted entertainment and not boxing.
“There will still be boxing,” predicts Abraham. “There’s no question that this sport will exist, but it will exist on a microscopic level, on a very small level, and it will continue to lose fans.”
And what of boxing’s long-term outlook?
“Smaller, smaller, smaller, smaller,” warns Abraham, “and one day pickleball will jump over it.”
Hopefully, that’s far off in the future but boxing better come up with new ideas — and fast.
* * *
The death of newspapers and the loss of boxing writers has also damaged the sport. Sadly, Keith Idec of BoxingScene.com and Mike Coppinger of ESPN.com are the only two full-time boxing writers left in the U.S.
Major newspapers have had no dedicated boxing writer for years and that medium helped grow the sport just like another did in the past.
“The first fight I ever heard on the radio was Joe Louis and Max Schmeling when I was seven-years old,” recalls former HBO boxing analyst Larry Merchant, now 92-years old. Besides working for HBO, Merchant covered sports as a columnist for the Philadelphia Daily News and the New York Post. “That made me want to hear other fights that were on the radio.
“I got interested in Henry Armstrong and Sugar Ray Robinson and others. That’s how it works in America because we do have so much competition.”
Pickleball, anyone?
* * *
For Stephen Espinoza, the head of Showtime Sports, it’s a bittersweet time.
“It’s been 12 years since I embarked on this pretty drastic career change going from an entertainment attorney who had never worked at a TV network before to being the head of a sports division responsible for programming and content,” he said, five weeks before the big shutdown. “I’ve never second guessed or doubted that decision once.”
But as the leader comes the tough decisions especially with layoffs during the holidays.
“It was brutal,” said Espinoza. “Anyone who does sports television makes tremendous sacrifice. We just did a pay-per-view (Benavidez-Andrade) on Thanksgiving [weekend] and to have to deliver this kind of news to people who have dedicated themselves personally and professionally to supporting the sport was absolutely brutal.
“We’ve got several employees who are in excess of 30 year employees and a handful who have been here since the very start of Showtime sports in 1986. That was truly the end of an era and the passing of something really important, not just in the sport of boxing but for televised media overall.”
In Part 2 of this series, boxing experts predict the future of the sport.
After 37 years of boxing action, Showtime Sports has signed off for the final time. Paramount Global confirmed in October that the network’s sports operation will be dissolved by the end of the year, with future sports programming falling under the CBS Sports banner. Sports chief Stephen Espinoza and his team will depart at the end of the year.
Now Showtime Boxing’s four decades chronicling the sport, the athletes involved and some of its greatest bouts has been documented in End of an Era, a 38-minute special produced by multi-time Emmy-winner Sam Shouvlin and Emmy-nominated All Access director Nick Manning.
Among those bouts are “Marvelous” Marvin Hagler’s defeat of John “The Beast” Mugabi, both of Mike Tyson‘s epic battles with Razor Ruddock, Evander Holyfield bouts with Buster Douglas and Michael Morrer, Tyson-Holyfield I and II, Pernell Whitaker vs. Julio César Chávez, Diego Corrales’ defeat of José Luis Castillo, Manny Pacquiao vs. Shane Mosley, the 2018 bout between Deontay Wilder and Tyson Fury, several Jake Paul fights and Floyd Mayweather Jr.’s bouts against Canelo Álvarez, Marcos Maidana, Manny Pacquiao Conor McGregor and Logan Paul.
End of an Era is available now on the Showtime Sports YouTube Channel. It is also embedded below.
End of an Era gives viewers a backstage pass to some of the greatest bouts in boxing history, including the “Bite Fight” between Mike Tyson and Evander Holyfield, the epic clash between Diego Corrales and Jose Luis Castillo, which many call the greatest fight of all time, and the exhilarating trilogy between Rafael Márquez and Israel Vázquez.
The special is set against the backdrop of the final Showtime pay-per-view event, Benavídez vs. Andrade in November, the special takes viewers behind the scenes with a group that is widely regarded as one of the leading boxing production teams in the world.
Showtime Championship Boxing debuted in March 1986, and was broadcast live on the first Saturday of every month. A sister program, ShoBox: The New Generation, occasionally aired on Friday nights, featuring fights between boxing prospects. It has exited the sport after nearly 2,000 bouts and five years after longtime rival HBO did the same in 2018.
The special chronicles the history of Showtime Boxing through interviews its broadcasters, including International Boxing Hall of Fame play-by-play man Al Bernstein and reporter Jim Gray aa well as legendary ring announcer Jimmy Lennon Jr. Also included are Showtime Boxing host Brian Custer, play-by-play announcer Mauro Ranallo, three-division world champion Abner Mares and Spanish language commentators Alejandro Luna and former world champion Raul Márquez, among others.
Exactly 20 years ago, Daniel Minahan directed his first episode of television for one of the most acclaimed series of its era, Six Feet Under—and on that set, he received an education in the rules of episodic guest-directing. “It had a very rigorous palette, very rigorous lens selection and ideas about blocking and tone,” he says. “You could turn on Six Feet Under at any point and you would recognize it.” It’s a lesson Minahan kept in mind as he stopped by dozens of major series over the next two decades—Deadwood, Grey’s Anatomy, The Good Wife, Game of Thrones, Homeland, and more. And it’s a mantra he’s carried more recently, at last, as the director in charge.
On Showtime’s Fellow Travelers, the director sets a strict template by helming the snappy first two episodes and executive producing the entire series. “I want you to be able to see the continuity throughout, so it feels like one long piece,” he says. In bringing his own sensibility and discipline, Minahan finds that this epic limited series—which examines a gay love story from the early days of DC McCarthyism to the apex of the AIDS crisis in San Francisco—marks a culmination point for his journeyman career. “It’d be hard to go back to being a director for hire on a show,” he says. “I put a lot of myself into this, and I had a lot to offer.”
Long a passion project of Oscar nominee Ron Nyswaner (Philadelphia), Fellow Travelers found Minahan also taking on a producer’s duties, working with the creator on matters of casting, location scouting, and, of course, visual storytelling. He’s been doing more of that of late: directing the Deadwood finale movie for HBO, closely collaborating with David Milch; working deeply on the second installment of Ryan Murphy’s American Crime Story; helming the entirety of their next collaboration, Halston, for which Ewan McGregor won an Emmy. Fellow Travelers marks a logical next step, then, for an accomplished director who knows TV inside and out—it’s an old-fashioned historical miniseries, realized with grand scope, but infused with frank depictions of queer sexuality drawn from Minahan’s own life.
“I came of age as a young gay person in the early ’80s, and moved to New York just at the moment when you’re supposed to be experimenting and falling in love,” he says. “I had firsthand experience of what that was like.”
Minahan on Fellow Travelers.
Ian Watson
Minahan’s first notable credit as a filmmaker actually came as a screenwriter, when he agreed to collaborate with friend Mary Harron on the script for I Shot Andy Warhol, a daring portrait of the feminist artist Valerie Solanas. A critical darling produced by Christine Vachon’s Killer Films and featuring a stellar Lili Taylor in the lead role, the film dropped Minahan into the ’90s American indie boom before production even began. “We had a friend that was remodeling the Chateau Marmont, and [Mary and I] moved in, which was the most unbelievable place—with people like Helmut Newton and Joni Mitchell walking in and out of our lives,” Minahan says. “We became friendly with Dominick Dunne as he was covering the Menendez trial. Christopher Walken lived there. It was just this exciting, vibrant place where people congregated.”
Minahan’s background to this point was in documentary filmmaking, but the strong reception of Warhol led to Series 7, a dark reality TV satire that marked his feature directorial debut. The producers of Six Feet Under were big fans of the movie, which had attained a kind of cult status, and brought him onto the landmark HBO show’s third season, at the height of its cultural impact. This then led to more robust opportunities in television. Two themes emerged within his work on dramatic series, where he could learn from big name creatives but had relatively little artistic autonomy. The first is that he found himself at the forefront of a major cinematic wave for the medium by contributing to many seminal HBO projects, including Deadwood and True Blood. The second—and there’s some overlap here—concerned Minahan dipping his toe into groundbreaking LGBTQ+ content for a mainstream American audience, itself a significant trend in the burgeoning prestige TV space.
“Maybe it was as simple as, Hey, get that gay guy, to work on the show—but I’d like to think that I was working with people who were being inclusive and trying to tell a broader story,” Minahan says. Whatever the reason—and it’s worth noting, the creators on these shows included gay men like Six Feet Under’s Alan Ball and Big Love’s Mark V. Olsen and Will Scheffer—he could spend stand-alone hours filming complex and surprising queer relationships, and learn the ropes of not just any kind of sex scene, but queer ones specifically. “In a series like True Blood, the was sex was extreme, and it was meant to shock, and it was transgressive,” he says. By contrast, “The way the gay characters were depicted in Six Feet Under was so fascinating. I hadn’t seen anything like that before then.”
But even the less racy, less formula-skirting work, like a few network TV gigs, provided an education. Minahan worked on Grey’s Anatomy, for example, in its glory days and absorbed a ton from watching Shonda Rhimes operate. “When you’re a documentary filmmaker, you look at the world in a certain way, and every experience is an opportunity to study human nature,” Minahan says. “This was a completely different kind of storytelling that she was doing, and from what I was doing at HBO.”
Ian Watson
Minahan developed a reputation as an efficient professional—crucial in TV—and his artistic ambitions never abated. His stamp is all over “The Assassination of Gianni Versace,” the American Crime Story season that moves in stylish narrative reverse, untangling sticky themes of queerness and murder with each episodic backpedal. After years of trying and failing to get a Halston movie made with Vachon, the chance for the limited series arrived with his newfound connection to Murphy and an open option for a book on the New York fashion icon. “It was a big milestone for me,” Minahan says.
Same goes for Fellow Travelers, which is already attracting strong reviews for everything from Nyswaner’s propulsive scripts to the red-hot lead turns from Matt Bomer and Jonathan Bailey to, yes, Minahan’s exacting and striking filmmaking. He weaves between several timelines, an ambitious gambit that stays clean through his steady stewardship. But coming into this historical drama, he felt aligned with Nyswaner on maintaining a certain emotional immediacy. “I didn’t want there to be a distance between what the characters were feeling and experiencing and the experience of watching it so that it wouldn’t be presentational, that it would have a rawness to it,” Minahan says. “Oftentimes the camera’s handheld, especially in the scenes of intimacy where they’re the most free.” He’d rehearse the more explicit sequences, for instance, exhaustively with his actors and an intimacy coordinator before letting go once calling action: “By the time we got to set, we knew the choreography, and then we could just kind of cut loose. They gave it life.”
The sex scenes between Bomer’s weathered political staffer and Bailey’s DC newcomer are graphic, extensive, authentic—and narratively essential. The main rule for Minahan was to give each a beginning, middle, and end, treating them like any other dramatic centerpiece. It’s in the bedroom—or, occasionally, slightly more public spaces—where Fellow Travelers’ fascinatingly queer-driven take on power finds its most compelling ideas.
Adapted by Oscar nominee Ron Nyswaner (Philadelphia) from Thomas Mallon’s 2007 novel, Fellow Travelers (premiering this fall on Paramount+ With Showtime) examines the volatile, passionate, deeply loving romance between Hawkins Fuller (Bomer), a charismatic if somewhat opaque war hero turned political staffer, and Tim Laughlin (Bailey), a religious idealist looking for his way into the DC grind. They meet at the dawn of the early-’50s Lavender Scare, in which Senator Joseph McCarthy and his chief counsel Roy Cohn purged whomever they deemed gay or lesbian from government roles—dubbing them communist sympathizers—and sparked a national moral panic around homosexuality. The series then builds into a kind of grand chronicle of queer American history, tracing the evolution of Hawk and Tim’s relationship through various eras before culminating in the AIDS epidemic of the 1980s.
The project came to Bailey at a serendipitous moment. For the first time in his life, the breakout star of Bridgerton was in demand and being asked what he wanted to do next. “My answer was always, ‘Well, I’d love to do a sweeping gay love story,’ but my experience actually was that I’d never really seen them,” Bailey says. “Or if I had, I hadn’t seen actors like me and Matt play those roles.” (Both Bailey and Bomer identify as gay.) That dream opportunity abruptly presented itself in Fellow Travelers, which Bailey joined after Bomer had already signed on as both star and executive producer. “The story had been marinating with Ron for a solid decade before I ever came on board,” Bomer says. “Ron had an almost religious zeal about this project, this world, and these characters that just washed over everyone involved, and made it the profound experience that it was.”
Couples Therapy finds authentic suspense in its structure—a credit to its cinematic bona fides. “We really don’t know what’s going to happen,” cocreator and executive producer Kriegman says. “There’s a formless reality to the process where we’re trusting our gut, and then really excited to see what comes of it. That’s the joy of this filmmaking.”
Having now gone through several seasons, Kriegman and his team have a better sense of what they need to work: They see hundreds of couples—the estimate in our interview for how many they saw and considered for this installment alone is 400—and rather than outsource the casting, do it all in-house themselves. Once the ensemble is finalized, the producers give Guralnik the space to conduct her sessions and progress the therapy without interference, but do speak with her regularly during production. She’s not isolated from the process.
As Kriegman puts it, “We have conversations about how the work is going, but very much through the lens of the therapy and less through the lens of the filmmaking.”
“Never in my life as a professional have I had such close scrutiny and supervision of my work as I’ve had in the last [several] years,” Guralnik says. “I did a PhD and then I did another 10 years of analytic training…. But in every [Couples Therapy] session I have people watching the session while I’m doing it, and I have then editors and directors peering over the material and trying to understand it—and talking to me about it later, both session by session and then period by period.”
This season, Couples Therapy brought on Joshua Altman, an award-winning documentary veteran (All These Sons, Minding the Gap), as a new director. He stepped into a well-oiled machine, but also imbued it with fresh perspective. “To find couples that I felt had this push and pull of genuine love for each other, and at the same time, this dynamic between them that as an audience you’re like, ‘Man, these two should split up’—those feelings are real things that all couples go through,” Altman says. “As I watched other seasons again, I was like, ‘Okay, yeah. How can we pull that out?’”
One way was through Guralnik directly. For the first time in the series, she’s confronted with a couple she believes, to some extent, she cannot work with, and agonizes over whether to terminate the treatment. The struggles between the pair resonate, initially, as a portrait of a couple in crisis. “But [Altman] was able to say, ‘Oh, no, the story here is as much Orna’s story as it is the couple’s story,’” Kriegman says. “That was a really great insight that took the season to a place that we’ve never been before.” Adds Altman: “We have the benefit of watching things and rewatching things and starting to look at patterns and offering those to her—not as a way to steer her, but to bring up questions and to raise ideas. Sometimes she shuts them down, and sometimes she’s like, ‘That’s really interesting.’”
Few saw things that way in 1993, when the public needed someone to blame. Some pointed fingers at the FBI and ATF. Others focused on the cultists and especially Koresh, who’d been preaching that the US government—which he called the forces of Babylon—would soon wage war against the Davidians, God’s chosen people. He’d been amassing weapons and training his flock how to use them in an imminent attack. They were not only ready, but eager to die in this battle, believing they would immediately be resurrected to lead God’s army. “David Koresh was manifesting the apocalypse,” says Russell.
But a growing collection of militant white-power groups were also expecting it. This loose movement launched in the late 1970s in response to the failure of the Vietnam War, which de facto white supremecist leader Louis Beam attributed to a corrupt American government. By the mid-’90s, the Southern Poverty Law Center estimated the coalition had ballooned to 5 million (a number including non-member sympathizers). Whereas earlier American white-power movements like the Ku Klux Klan purported to support and serve a stronger (white) state, this modern iteration of the white supremacist movement aimed its arsenal of weapons directly at the American government and the cabal of global elites allegedly using it as a puppet.
In 1983, Beam and the Aryan Nations World Congress formally declared war on the United States, but quickly the enemy shifted to the Zionist Occupied Government (ZOG), an alleged organization led by Jews that purportedly controls the governments of Western nations. It coalesced after the Berlin Wall fell, and George H.W. Bush made a couple of speeches referencing the “new world order” that would appear in the wake of the Soviet Union. Anti-government conspiracists heard proof in his words of that evil cabal they already believed was working behind the scenes.
This was the environment in which Waco occurred—in which the government demonstrated an unprecedented use of force, including military helicopters and armored tanks, against its own citizens. The year prior, US marshals and federal agents had killed the son and wife of white separatist Randy Weaver during a standoff outside his rural home at Ruby Ridge, Idaho, after he failed to appear in court on a weapons charge. “Ruby Ridge was the rallying cry,” Drew Dowdle explains, “and Waco was the act of war.”
Timothy McVeigh soon took the baton, detonating a fertilizer truck bomb outside the Alfred P. Murrah Federal Building in Oklahoma City tha tkilled 168 people. He intentionally made his attack exactly two years after the Waco fire; he also chose the same date as the birthday on his fake ID.
At the time of McVeigh’s arrest, he said he had worked alone—and law enforcement mostly accepted his claims. But in fact, as Showtime’s Waco series explores, McVeigh communicated with and moved among a variety of militias and cells across the country. The groups all collaborated, but hid their connections.
Koresh preached that the government was controlled by the biblical enemy Babylon, rather than the new world order. His theory about an evil and hostile government was strikingly similar to Beam’s, but the Branch Davidians were distinct in that they were a multiracial community. “One thing I find particularly heartbreaking is that the memory of those who perished at Mount Carmel [the name of Branch Davidians’ compound] has been so fully appropriated by a cause they didn’t even agree with,” explains Drew Dowdle. “To equate the Branch Davidians with a violent white-power ideology would be inaccurate, and the connection between [Waco and Oklahoma City] has added to the tragedy for those who survived.”
After Waco, the FBI became more judicious in investigations—a prudent move that nevertheless may have swung the pendulum too far. Law enforcement’s reluctance to move against the white-power movement contributed to its failure to ascertain and thwart McVeigh’s plans. By 1996, a year after the Oklahoma City bombing, the number of extreme anti-government groups had risen sharply to 858, according to the Southern Poverty Law Center. By 2008, the number was down to 149. But after the election of Barack Obama,it soared again to 1,360. QAnon adherents and Alex Jones—and countless other conspiracists—are still fearful of the new world order coming to enslave us all.
Documentarian Russell believes the tendency for “certain sectors of the public to completely disavow and disbelieve institutions is the biggest challenge we’re facing as a culture.” He places the ultimate blame for the events at Waco, though, on a “failure to communicate.”
John Erick Dowdle echoes the sentiment. “Communication and empathy,” he says, “will always be far more effective tools than force and violence.”
“Yellowjackets” just scored an early season 3 renewal. Announced on Thursday, the news comes months ahead of the Showtime hit series’ anticipated return with season 2 on March 26, 2023.
“With ‘Yellowjacket”s runaway success in season 1 and the pent-up anticipation for season 2, we wanted to maximize the momentum by fast tracking season 3 now,” said Chris McCarthy, President/CEO, Showtime and Paramount Media Networks.
He added, “The show’s ambition is only exceeded by its execution, and I thank the incredible creative team behind it, including Ashley [Lyle], Bart [Nickerson], Jonathan [Lisco], eOne and the Showtime team, for turning this into such a success.”
Season 2, meanwhile, is set to pick up as winter settles in the remote northern wilderness where a group of teenage soccer players have survived a harrowing plane crash and are struggling to stay alive as the elements and deep divides within the group start to challenge them.
The series also follows a smaller group of adults who were eventually rescued and are the only ones who know exactly what happened out in the woods and how they eventually got out.
“Yellowjackets” stars Melanie Lynskey, Juliette Lewis, Christina Ricci and Tawny Cypress among the adult cast, with Lauren Ambrose and Simone Kessell joining as series regulars and Elijah Wood recurring in season 2. The younger stars include Sophie Nélisse, Jasmin Savoy Brown, Sophie Thatcher, Samantha Hanratty, Courtney Eaton and Liv Hewson.
“Yellowjackets” season 2 premieres Sunday, March 26 at 9 p.m. ET/PT on Showtime, with new episodes available to stream on the Friday before on the Showtime app.
Inaugural IrelandWeek centerpiece, connect353 Conference, is an unparalleled success featuring leaders from Government, Trade, Film, TV, Animation and Technology sectors.
LOS ANGELES, October 23, 2017 (Newswire.com)
– In a week of firsts, the inaugural showcase celebration of Irish business and culture, IrelandWeek (https://www.IrelandWeek.com) brought a star-studded, powerhouse conference to its centerpiece, connect353.
Taking place at Los Angeles’ famed Regal Cinemas @LA Live, connect353 attracted an extraordinary group of industry leaders — from speakers to attendees. The exclusive presentations opened with Ireland and the World Economy: International Trade, Finance and the Brexit Effect with Irish Minister of State Michael D’Arcy TD and Irish Ambassador to the USA, Dan Mulhall. Minister D’Arcy noted, “Creativity links Ireland and Los Angeles closely,” a sentiment unanimously held by all connect353 speakers.
We had a great experience shooting Star Wars: The Last Jedi in Ireland. No matter where we went — Skellig Michael Island, Donegal and West Cork — the locals welcomed us, despite the inconvenience we were creating. I’m sure it would have been more economical to shoot on a soundstage, but it was so worth it to do it the way we did it.
Rian Johnson, Director, Star Wars: The Last Jedi
Director Rian Johnson and producer Ram Bergman then took the stage, sharing their experiences filming Star Wars: Last Jedi in Ireland. “We had a great experience working with the locals at every location,” said Johnson, while Bergman continued with, “the disruption we caused to these small towns on the #StarWarsTheLastJedi shoot was huge but the locals always supported us.”
The day continued with Tourism in Ireland; Ireland’s Innovation and Creativity; Gaming: Serious Game Play; the Cultural Reach: Arts, Music, Culture, and Education: Connecting the Dots; Ireland: Where Animation Happens; Making of The Breadwinner by Oscar-nominated Cartoon Saloon; and TV: Ireland’s Growing International Success Stories were shared by Showtime’s Melinda Benedek, VP Business Affairs on using Ireland as a location for the Tudors and Penny Dreadful. “A place stars want to visit and good infrastructure are key considerations when choosing a location. Ireland is strong in both.”
Hollywood Reporter’s Ten Rising Irish Stars rounded out the day with IT Crowd / Bridesmaids and the newly released hit series on Epix, Get Shorty star, Chris O’Dowd.
Additional guests and sponsors included: Ireland’s Department of Foreign Affairs and Trade, The Irish Film Board, Culture Ireland, Creative Ireland, IDA Ireland, Tourism Ireland, Enterprise Ireland, Aer Lingus, The Ireland Funds, The California Irish Legislative Caucus, Kensington Caterers, Bank of Ireland Global Payments, Grant Thornton, Silicon Valley Bank and the Irish Times Abroad.
ABOUT THE DEPARTMENT OF FOREIGN AFFAIRS AND TRADE The Department of Foreign Affairs and Trade focuses on serving the Irish public, both at home and abroad, by providing a range of services to Irish citizens and work hard to ensure the promotion and protection of Ireland’s interests in the world, contributing to international priorities such as peace, security and the eradication of poverty and hunger. For more information please visit www.dfa.ie.
ABOUT THE IRISH FILM BOARD The role of Bord Scannán na hÉireann/the Irish Film Board (IFB) is the national development agency for Irish filmmaking and the Irish film, television, and animation industry, investing in talent, creativity, and enterprise. The agency supports writers, directors and production companies across these sectors by providing investment loans for the development, production, and distribution of film, television and animation projects. For more information please visit http://www.irishfilmboard.ie.
ABOUT CULTURE IRELAND Culture Ireland promotes Irish arts worldwide by creating and supporting opportunities for Irish artists and companies to present and promote their work at strategic international festivals and venues. They develop platforms to present outstanding Irish work to international audiences, through showcases at key global art events, including the Edinburgh Festivals and the Venice Biennales. For more information please visit http://www.cultureireland.ie.
ABOUT CREATIVE IRELAND Creative Ireland is a culture-based programme designed to promote individual, community and national well-being. The core proposition is that participation in cultural activity drives personal and collective creativity, with significant implications for individual and societal well-being and achievement. For more information please visit https://creative.ireland.ie.
ABOUT IDA IRELAND Ireland’s inward investment promotion agency, the IDA, is a non-commercial, semi-state body promoting Foreign Direct Investment into Ireland through a wide range of services by partnering with potential and existing investors to help them establish or expand their operations in Ireland. For more information please visit http://www.idaireland.com.
ABOUT TOURISM IRELAND Tourism Ireland is responsible for marketing the island of Ireland overseas as a holiday and business tourism destination by delivering world-class marketing programmes in 23 markets across the world and reach a global audience up to 600 million each year. Targeted marketing activity includes advertising online, on TV and outdoor sites, in cinemas and in newspapers and magazines, eMarketing, overseas publicity, co-operative marketing with carriers and other partners and promotions to the travel trade and consumers. For more information please visit https://www.tourismireland.com.
ABOUT ENTERPRISE IRELAND Enterprise Ireland is the government organisation responsible for the development and growth of Irish enterprises in world markets by working in partnership with Irish enterprises to help them start, grow, innovate and win export sales in global markets. In this way, they support sustainable economic growth, regional development, and secure employment. You can find detailed information on Enterprise Ireland’s activities, strategy, and performance in our Reports and Publications. For more information please visit https://www.enterprise-ireland.com.
ABOUT MUSIC FROM IRELAND Music From Ireland is the Irish music export office run by First Music Contact in partnership with Culture Ireland which funds and presents the Irish showcases at large international music conferences. For more information please visit http://www.musicfromireland.org.
ABOUT THE O’NEILL GROUP The O’Neill Group Inc. (ONG) is a full-service Conference, Event and Meeting management company specializing in producing high-quality world-class events for corporations and nonprofits both in the U.S. and internationally with a particular emphasis on Ireland operating since 1999. For more information please visit www.the-oneillgroup.com.
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