For fans of the actor Jeremy Allen White — our guest on this episode of The Hollywood Reporter’s Awards Chatter podcast, which was recorded in front of 500 film students at Chapman University’s Dodge College of Film and Media Arts — it may be time to retire “Yes, Chef!” in favor of “Okay, Boss!”
That’s because the 34-year-old actor, who shot to stardom playing Carmy Berzatto, a cook, on FX’s The Bear — for which he personally has won two Emmys, three Golden Globe Awards and three SAG Awards — is now garnering rave reviews and awards buzz for his portrayal of Bruce Springsteen in Scott Cooper’s film Springsteen: Deliver Me from Nowhere. In the dark drama, White depicts the singer/songwriter during the years between the releases of his hit albums Born to Run in 1975 and Born in the USA in 1984, when he was grappling with personal demons and making 1982’s Nebraska.
Over the course of this conversation, White reflected on his entire life and career, including how he seriously pursued dancing as an adolescent, and why he walked away from it to focus instead on acting; how his 11 seasons on the Showtime dramedy Shameless shaped him as an actor; and just how close he came to taking another project instead of The Bear.
Speaking of The Bear, he addressed the long-running debate about whether the show should be classified as a comedy (the category in which it has been submitted for awards shows) or a drama (the category in which many feel it belongs, given that it’s not exactly a barrel of laughs) by putting forth an interesting suggestion: “I think it’s a dramedy. You have to choose one Movie News when you’re in this in-between space, and I think there should be another category at a certain point. Television has changed so drastically in the last few decades, and the structure of the awards system has remained the same, and that feels strange to me.”
White also dished about the future of The Bear. Will its recently-announced fifth season be its last? And will he remain a part of the show if it continues beyond that? “The fourth season was going to be the last,” he explains. “Chris [Storer, the show’s creator and co-showrunner] called me on Christmas Eve last year and was like, ‘We’re gonna do some more.’ And, I don’t know, that could happen again around this holiday time. There’s no plans for it to be the last. There’s no plans right now for us to do more. I think it’s just all dependent on what Chris wants to do. But if it was up to me? I just feel so lucky to read Chris’ words, and also to work with these actors who’ve become some of my best friends, so I’d do it for a very long time.”
As for Springsteen, specifically, he discussed why the offer to play the iconic music artist in a big studio film wasn’t an immediate “yes” for him; how he learned to sing and play guitar over just six months; why he was thrilled to get to meet and question Springsteen, but wasn’t always excited to see him on set; what he makes of Springsteen’s reaction to the film; plus more.
White also teased a little about another high-profile film project, one for which he has been traveling to Vancouver quite frequently of late: Aaron Sorkin’s The Social Reckoning, which he describes as “a sort of continuation of the story of The Social Network” that is “more about the effects of Facebook on us.” The latter project reunites him with his Springsteen costar Jeremy Strong. Strong plays Mark Zuckerberg, while White plays a journalist.
You can hear the entire conversation via the audio player near the top of this post or any major podcast app. Please also take a moment to leave us a rating and review, which helps other to discover the podcast.
“The Studio” made Emmy history Sunday night with its 12th trophy as the AppleTV+ movie-business romp became the winningest comedy series ever in a season.“Studio” co-creator Seth Rogen won for acting, directing and writing. Along with nine wins claimed at last weekend’s Creative Arts Emmys, it broke a record set last year by “The Bear” with 11.“I could not wrap my head around this happening,” said Rogen after winning best comedy actor at the beginning of the CBS telecast. “I’ve never won anything in my life.”Rogen shared the directing Emmy with longtime collaborator and “Studio” co-creator Evan Goldberg, shared the writing Emmy with Goldberg and others. He’ll get his fourth if “The Studio” wins best comedy. The show rode blockbuster buzz into the Emmys for its breakout first season.Netflix’s acclaimed “Adolescence,” the story of a 13-year-old in Britain accused of a killing, won four Emmys in the limited series categories. Owen Cooper, who played the teen, became the youngest Emmy winner in more than 40 years with a win for best supporting actor.Cooper said in his acceptance that he was “nothing three years ago.”“It’s just so surreal,” Cooper said. “Honestly, when I started these drama classes a couple years back, I didn’t expect to be even in the United States, never mind here. So I think tonight proves that if you, if you listen and you focus and you step out your comfort zone, you can achieve anything in life.”Best supporting actress went to Erin Doherty, who played a therapist opposite Cooper in a riveting episode that like all four “Adolescence” episodes was filmed in a single shot.Cristin Milioti won best actress in a limited series for “The Penguin.” It was the first win of the night for the HBO series from the Batman universe after it won eight at the Creative Arts ceremony.Britt Lower and Tramell Tillman each won their first Emmy for “Severance,” the Apple TV+ Orwellian workplace satire that is considered the favorite for best drama. Lower won best actress in a drama and Tillman won best supporting actor in a drama.“My first acting coach was tough, y’all,” Tillman, wearing an all-white tuxedo, said from the stage. “But all great mothers are.”He looked out to his mother in the audience and told her, “You were there for me where no one else was, and no one else would show up.”His win had been widely expected but Lower’s was a surprise in a category where Kathy Bates was considered a heavy favorite, for “Matlock.”Jean Smart won best actress in a comedy for “Hacks” for the fourth time, at 73 extending her own record for the oldest woman ever to win the category.Every acting winner other than Smart was a first timer.A night of surprise winnersSmart’s castmate and constant scene partner Hannah Einbinder, who had also been nominated for all four seasons but unlike Smart had never won, took best supporting actress in a comedy.She said she had become committed to a bit where “it was cooler to lose.”“But this is cool too!” she shouted, then ended her speech by cursing the U.S. Immigration and Customs Enforcement agency and saying “Free Palestine!”Katherine LaNasa won best supporting actress in a drama for the “The Pitt,” a surprise in a category where most expected one of the three nominees from “The White Lotus” to win.“I am so proud and honored,” LaNasa, looking emotional and shocked, said.In perhaps the biggest upset in a night full of them, Jeff Hiller won best supporting actor in a comedy for “Somebody Somewhere,” over Ike Barinholtz of “The Studio” and others.How the 2025 Emmys openedStephen Colbert was the first person to take the stage to present the award during the CBS telecast at the Peacock Theater in Los Angeles despite the recent controversial cancellation of his show by the network. He was greeted by a rousing and lengthy standing ovation.“While I have your attention, is anyone hiring?” Colbert said.In an unusual show order, host Nate Bargatze delivered his opening monologue only after the first award was handed out.The show opened with a sketch where “Saturday Night Live” stars Mikey Day, Bowen Yang and James Austin Johnson joined Bargatze, who played television inventor Philo T. Farnsworth opining on what the future of TV will be like.Bargatze-as-Farnsworth mentions that there will be a Black Entertainment Television. When asked if there will be a network for white people, he replied, “Why, CBS of course.”
“The Studio” made Emmy history Sunday night with its 12th trophy, becoming the winningest comedy series ever in a season.
With victories for comedy acting, directing and writing Seth Rogen’s Apple TV+ movie-business romp eclipses the record of 11 set last year by “The Bear.”
“The Studio” came into the night with nine Emmys from last weekend’s Creative Arts ceremony, making it a virtual lock to break the record. And it could keep adding to its total before the evening’s done.
It was the third straight year the record was broken. Last year, “The Bear” – whose dramatic presence in the comedy category irked some competitors – broke its own record of 10 set the year before.
“I could not wrap my head around this happening,” said Rogen after his win for best comedy actor, the first award of the night. “I’ve never won anything in my life.”
Rogen shared the directing Emmy with his longtime collaborator and “Studio” co-creator Evan Goldberg, and he can still win two more before the night’s done.
Britt Lower and Tramell Tillman took trophies for “Severance.” Lower won best actress in a drama for “Severance” and Tillman won best supporting actor in a drama. It was the first career Emmy for each.
“My first acting coach was tough, y’all,” Tillman, wearing an all-white tuxedo, said from the stage. “But all great mothers are.”
He looked out to his mother in the audience and told her, “You were there for me where no one else was, and no one else would show up.”
His win had been widely expected but Lower’s was a surprise in a category where Kathy Bates was considered a heavy favorite, for “Matlock.”
A night of surprise winners
Jean Smart won best actress in a comedy for “Hacks” for the fourth time, at 73 extending her own record for the oldest woman ever to win the category.
Her castmate and constant scene partner Hannah Einbinder, who had also been nominated for all four seasons but unlike Smart had never won, took best supporting actress in a comedy.
She said she had become committed to a bit where “it was cooler to lose.”
“But this is cool too!” she shouted, then ended her speech by cursing the U.S. Immigration and Customs Enforcement agency and saying “Free Palestine!”
Katherine LaNasa won best supporting actress in a drama for the “The Pitt,” a surprise in a category where most expected one of the three nominees from “The White Lotus” to win.
“I am so proud and honored,” LaNasa, looking emotional and shocked, said.
In perhaps the biggest upset in a night full of them, Jeff Hiller won best supporting actor in a comedy for “Somebody Somewhere,” over Ike Barinholtz of “The Studio” and others.
How the 2025 Emmys opened
Stephen Colbert was the first person to take the stage to present the award during the CBS telecast at the Peacock Theater in Los Angeles despite the recent controversial cancellation of his show by the network. He was greeted by a rousing and lengthy standing ovation.
“While I have your attention, is anyone hiring?” Colbert said.
The show opened with a sketch where “Saturday Night Live” stars Mikey Day, Bowen Yang and James Austin Johnson joined Bargatze, who played television inventor Philo T. Farnsworth opining on what the future of TV will be like.
Bargatze-as-Farnsworth mentions that there will be a Black Entertainment Television. When asked if there will be a network for white people, he replied, “Why, CBS of course.”
Apple TV+ is poised to have a breakout Emmy year with the two most nominated shows, “Severance” and “The Studio,” which are the favorites to win the two biggest awards.
What to expect from the 2025 Emmy Awards
“The Studio,” with co-creator Rogen starring as the new head of a movie studio, came into the evening the top comedy nominee with 23 and blockbuster buzz for its breakout first season.
“Severance,” the Orwellian office drama about people who surgically split their psyches into workplace “innies” and home “outies,” was the top overall nominee with 27 nominations for its second season. It won six at the Creative Arts ceremony and now stands at eight.
Along with best drama — which would be a first for Apple — star Adam Scott could win his first Emmy, for best actor.
Its top competition for best drama could be “The Pitt,” HBO’s acclaimed drama about one shift in the life of an emergency room.
Its star Noah Wyle could be both the sentimental favorite and the actual favorite for best actor. He was nominated five times without a win for playing a young doctor on “ER” in the 1990s, and now could finally take his trophy for what is in many ways a reprise of the role.
Many perceived the end of the show as punishment of Colbert and placation of President Donald Trump after Colbert was harshly critical of a legal settlement between the president and Paramount, which needed administration approval for a sale to Skydance Media. Executives called the decision strictly financial.
How to watch and stream the Emmys and its red carpet
The Emmys are airing live on CBS at 8 p.m. Eastern and 5 p.m. Pacific time.
Paramount+ with Showtime subscribers may stream the show live. Standard Paramount+ subscribers can stream it Monday through Sept. 21.
With the 2025 Emmy Awards airing on Sunday, many television shows are being talked about and rewatched as people prepare for the big night.“The Bear” has been widely discussed recently because, while it has little to no comedic elements, it is in the comedy category at the Emmys. Why?Simply put, “The Bear” is labeled as a comedy at the Emmys simply because it can be. The Emmys and Television Academy have no rules about how shows are chosen and placed into each category. In fact, the Television Academy does not even pick which categories they believe each television show should compete in. Instead, the network picks the category for each show. In the case of “The Bear,” FX decided they wanted to submit it to the comedy category, and since there are no rules against it, it will be considered a comedy. FX could have decided to put “The Bear” in a comedy category for a few reasons. The first reason is that comedy categories are often less competitive than the drama categories when it comes to Emmy Awards. When FX first nominated “The Bear,” if it were in the drama category, it would have been up against “Succession” in its final season. Knowing that “Succession” would potentially sweep, the network gave “The Bear” a better chance in the comedy category.The second reason pertains to the 2024 Emmy Awards. This year, FX also nominated its show, “Shōgun,” for the Emmys’ drama category. If “The Bear” was also in the drama category, it would be competing with another FX show. To maximize the network’s hopeful wins, FX can put both shows in separate categories.
With the 2025 Emmy Awards airing on Sunday, many television shows are being talked about and rewatched as people prepare for the big night.
“The Bear” has been widely discussed recently because, while it has little to no comedic elements, it is in the comedy category at the Emmys.
Why?
Simply put, “The Bear” is labeled as a comedy at the Emmys simply because it can be. The Emmys and Television Academy have no rules about how shows are chosen and placed into each category.
In fact, the Television Academy does not even pick which categories they believe each television show should compete in. Instead, the network picks the category for each show.
In the case of “The Bear,” FX decided they wanted to submit it to the comedy category, and since there are no rules against it, it will be considered a comedy.
FX could have decided to put “The Bear” in a comedy category for a few reasons.
The first reason is that comedy categories are often less competitive than the drama categories when it comes to Emmy Awards. When FX first nominated “The Bear,” if it were in the drama category, it would have been up against “Succession” in its final season. Knowing that “Succession” would potentially sweep, the network gave “The Bear” a better chance in the comedy category.
The second reason pertains to the 2024 Emmy Awards. In 2024, FX also nominated its show, “Shōgun,” for the Emmys’ drama category. If “The Bear” was also in the drama category, it would be competing with another FX show. To maximize the network’s hopeful wins, FX can put both shows in separate categories.
Ayo Edebiri’s career could have gone in a very different direction. Before The Bear, she was a stand-up comedian and was pursuing a TV writing career, working on several hit shows, including Big Mouth, Dickinson, and What We Do in The Shadows.
But along came the FX kitchen dramedy, and Edebiri’s acting career took off. She’s played sous chef Sydney “Syd” Adamu on the hit series for four seasons now, and is having her biggest year yet with three films out this year: the A24 thriller Opus that came out in March, Luca Guadagnino’s After the Hunt, which will premiere in Venice, and James L. Brooks’s Ella McCay out in December.
Edebiri earned her third acting Emmy nomination for The Bear this year (she won following the series’ first season). She’s also been nominated for directing “Napkins,” a flashback episode from its third season following Tina (Liza Colón-Zayas) as she struggles to find a new job.
“As an actor and as a producer, I felt fairly confident about being able to manage speaking to actors and communicating with producers, but I realized that I just didn’t have that much knowledge in working with crew,” Edebiri tells Little Gold Men. So during the “Fishes” episode—a flashback episode in season two in which she didn’t have to act—she came to set so she could meet with every department to learn about the process of working with a director.
It paid off. “Napkins” solidified Edebiri’s conviction to direct more in the future. She spoke with Little Gold Men about what she learned from the experience, writing an episode in the fourth season, and what she thinks about fans shipping Syd and Carmy.
Vanityu Fair: What made you feel like “Napkins” was the right episode for you to direct?
Ayo Edebiri: The writing was just so beautiful. I remember reading it and seeing it in my mind, like really clearly. There was a real advantage because it was not only a standalone episode of a character that we hadn’t really gotten to see, but it got to be outside of the restaurant.
It got to be in the past, and then it also got to connect before the show had even started, but the feeling of the first season, I just felt like it was really gonna be fertile, visually. And that I was going to be able to do a little bit of my own thing.
What did you learn about yourself from that experience directing that episode?
I really enjoy directing. I mean, more than like it, I really love it and I can’t wait to do it more. And it’s nice to get to wake up like an hour later because you’re not in hair and makeup. I enjoy that as well.
Have you thought about directing a feature?
I think I will eventually direct a feature. I know that I will, but I feel no real rush. I’m writing right now as well and that’s its own process.
Finally, some good TV. MAX, the artist formerly known as HBO, is back to dominating my Sunday nights with its highly addictive, highly stressful brand of terrific television.
After The Idol flopped so badly, I worried that MAX wouldn’t ever live up to its glory days. But Industry, which was a compelling quarantine-watch that I feared might fizzle out in its third season, has proven itself to be the streamer’s latest juggernaut — and possibly one of the best shows of the year.
Move over prestige period dramas and fantasy epics – the hottest show of the fall is all about the cutthroat world of high finance. HBO’s Industry has quietly become must-see TV for its potent cocktail of ambition, excess, and anxiety that capitalizes on our love for “eat the rich” dramas.
It’s like Succession and The White Lotus had a baby, except instead of the quiet comedy of the former or the slow, sleepy thrill of the latter, Industry is an anxiety-inducing feat of stress and success. While The Bear’s third season was just a flash in the pan, thanks in no small part to its immediate release of all of its episodes, Industry is coming out one episode at a time and really allowing us to sit in the stress it creates. And I love every second of it.
Industry, like all the beloved shows du jour, revels in depicting the bad behavior of the obscenely wealthy. But unlike overly didactic versions of this like Blink Twice or even Don’t Worry Darling,Industry follows a cohort of young finance hopefuls, exploring how a generation raised on social media and economic instability navigates the rarified air of high finance. The result is a show that feels both timeless in its examination of power and greed and painfully specific to our current cultural moment.
What is Industry about?
Simply put, Industry is about investment banking. But what an antidote to the “looking for a man in finance” song that went viral this summer. If these are the men in finance, keep them away from me! Industry follows a group of analysts at Pierpont, a fictional London investment bank. But it spins all stereotypes on their head.
There’s the spoiled nepo-baby heiress Yasmin (Marisa Abela); the prototypical Oxford boy who turns out to be a sensitive scholarship kid; Rob (Harry Lawtey), the privileged Nigerian golden boy suffering from disillusionment; Gus (David Jonsson); and our main anti-hero Harper (Myha’la), a Black woman from a state school who is both a prodigy and a fish out of water.
Now in its third season, Industry has solidified its place as the rightful heir to the anti-hero drama throne once occupied by titans like Mad Men and The Sopranos. But instead of 1960s ad men or New Jersey mobsters, we’re following viscous Gen-Z frenemies It’s a world of obscene wealth, ruthless competition, and morally bankrupt decision-making. And though Harper, — called a “diminutive Black woman” in a recent episode — might seem the opposite of my beloved yet deeply flawed Don Draper, she’s a talented outsider struggling to make it in a world of wealth. And talk about an underdog we hate to love rooting for.
The cast makes each of their characters so compelling we can’t look away — even when they’re making a trainwreck of their lives. Myha’la anchors the show with her complex portrayal of Harper Stern, bringing a fierce intelligence and vulnerability to a character who could easily have become a caricature in less capable hands. Marisa Abela’s Yasmin Kara-Hanani has become a fan-favorite for her portrayal of a woman navigating the intersection of wealth, privilege, and gender politics in the boys’ club of finance. “I got a surprisingly large gay following,” she says in one of her opening scenes this season — and I get it.
But it’s not just the charm and quotable quips. What sets Industry apart is its unrelenting pace and frenetic energy. In an era where prestige TV often favors measured storytelling and slow burns, Industry hits like a shot of adrenaline straight to the heart. Honestly, it shares more DNA with the anxiety-inducing rhythms of The Bear with an upper-class flair.
Admittedly, the middle of the second season dragged. And with all the finance jargon and plotlines heavily contingent on the ups and downs of the market, sometimes it’s tough to follow. Sometimes I call up my friends who are deep in the trenches at Goldman or J.P. Morgan to simply translate whatever I just saw — and to provide a lens on what’s actually realistic. I worried that the third season would let me down. But instead, it ratcheted up the show to a level of intensity that shows Industry at its best.
Watch the Industry Season 3 trailer here:
Why Industry Season 3 is a game changer
This latest season doubles down on the show’s stress-inducing tendencies, with the most recent episode drawing comparisons to the Safdie brothers’ Uncut Gems for its relentless tension. The last time I was this stressed watching an episode of television was during The Bear season 2’s famous episode “Fishes.” If you know, you know that episode was a departure from the Season’s quiet meditations on its characters. It was the epitome of a chaotic family Christmas. And it was critically acclaimed for a reason. Similarly, White Mischief breaks from the narrative to focus on giving us heart palpitations.
Rishi has been a character on the sidelines who delivers some of the best — though sometimes pretty vile — one-liners. But in this episode, we get an unprecedented spotlight on Rishi as he navigates an even more chaotic Christmas than Carmy’s family. From work to home and back again, the episode takes us through a harrowing 48-hour period of gambling, drugs, and increasingly risky trades. And though it takes such a narrow focus compared to other episodes of the show, this episode exemplifies everything that makes Industry so addictive.
Season 3 has upped the ante considerably, with the addition of Kit Harington (of Game of Thrones fame) as an unstable — and perpetually shirtless — tech CEO disrupting the lives of our beloved Pierpoint characters.
But what exactly is the point of Industry, beyond giving viewers weekly panic attacks over concepts they barely understand? At its core, the show is an examination of ambition and its costs — literally and metaphorically. Through its characters’ struggles and their differing axes of identity — the rich trying to get richer and the poor trying to be just like them — it asks how far we’re willing to go to succeed in a system that may be rigged from the start. Through its ensemble of deeply flawed but magnetic characters, Industry explores the toxic allure of power and wealth and the toll it takes on those who pursue it relentlessly.
As we head further into Season 3, fans are on the edge of their seats to see how the various plot threads will interweave and resolve. Will Harper’s risky plays pay off and allow her to rebuild the glory she tasted for a moment at Pierpont, or will her house of cards finally come crashing down? Can Yasmin successfully navigate the minefield of office politics and her complicated personal life? And where the hell is her father? Will Harry get his emotions under control and deal with his grief instead of drinking it away? And just how long can Rishi’s luck hold out before everything implodes spectacularly?
I mean, we all saw the ending of Uncut Gems…
These questions — combined with the show’s sharp dialogue and on rushing pacing — have made Industry appointment-television for all of us who tuned in to watch Succession and White Lotus. It’s the kind of show that demands to be watched in real-time, lest you fall behind on the water cooler — or, more accurately, Slack channel — discussions the next day. In a television landscape often dominated by IP-driven content and safe bets, Industry feels fresh and unpredictable.
The week between each episode feels unbearable. But if you’re like me, the best way to distract yourself from the wait between good TV episodes is to watch more good TV.
Now, if you like Industry, you’ll like these shows — and vice versa. From timeless rewatches to new favorites, this is what I’m watching while waiting for the next episode of Industry.
1. Mad Men
For the Industry fan craving another dose of high-stakes professional drama, Mad Men is the ideal binge. Set in the cutthroat world of 1960s advertising — March 1960 to November 1970 — this AMC classic shares Industry‘s fascination with ambition, power, and the moral compromises we make in pursuit of success.
Jon Hamm’s Don Draper is the OG antihero who paved the way for Industry’s morally ambiguous leading characters. Like Harper Stern navigating Pierpoint’s treacherous waters, Draper’s journey from mysterious outsider to advertising titan is a masterclass in reinvention and survival. Mad Men may swap Industry‘s glass-and-steel offices for wood paneling and cigarette smoke, but the underlying tensions feel remarkably familiar. Both shows excel at exploring workplace dynamics, gender politics, and the psychic toll of constant performance.
With 16 Emmys and universal critical acclaim, Mad Men set the gold standard for prestige TV. Its influence on shows like Industry is undeniable, from the meticulous period detail to the complex character studies. The type of stress it creates is different and more simmering, as you wonder if Don Draper is going to get away with his indiscretions and if his company will retain their accounts. But it’s just as thrilling. For viewers who appreciate Industry‘s incisive writing and nuanced performances, Mad Men offers seven seasons of equally riveting drama.
2. Succession
HBO’s critically acclaimed drama about the dysfunctional Roy family and their media empire shares Industry’s fascination with wealth, power, and the corrupting influence of both. Where Industry focuses on hungry young graduates clawing their way up, Succession examines what happens when you’re born at the top — and the constant fear of falling. Both shows excel at depicting the often absurd world of the ultra-wealthy, balancing sharp satire with genuine pathos.
Jeremy Strong’s Kendall Roy could easily be a glimpse into the future of Industry’s most ambitious characters, What happens when you achieve everything you thought you wanted, only to discover that it’s not enough? The ensemble cast, including Brian Cox, Sarah Snook, and Kieran Culkin, delivers performances as nuanced and compelling as anything in Industry. With 13 Emmy wins and counting, Succession is the definitive show about wealth and power in the 21st century. Succession‘s razor-sharp dialogue and complex character dynamics will feel instantly familiar to Industry fans.
3. The Sopranos
HBO’s groundbreaking mob drama paved the way for the complicated anti-heroes that populate shows like Industry. Both shows excel at exploring the psychological toll of existing in a world of constant pressure and moral compromise. The Sopranos may focus on organized crime rather than high finance, but the themes of loyalty, power, and the American-Dream-gone-sour resonate strongly with Industry’s explorations of late-stage capitalism.
The Sopranos set the template for the kind of nuanced, morally complex storytelling that Industry excels at. For viewers who appreciate Industry’s deep character work and unflinching look at a cutthroat world, The Sopranos offers 6 seasons of unparalleled drama. Each time I watch Industry, I can relate to Tony’s panic attacks.
4. The Bear
If Industry is the adrenaline rush of a million-dollar trade, The Bear is the heart-pounding intensity of a dinner service in the weeds. FX’s breakout hit about a high-end, fine-dining chef taking over his family’s struggling Chicago sandwich shop shares Industry‘s frenetic energy and exploration of high-pressure work environments.
Jeremy Allen White’s Carmen “Carmy” Berzatto — like Industry’s Harper Stern — is a talented but troubled protagonist trying to prove themselves in an unforgiving world. Both are prone to panic as much as moments of pure genius; we can’t help but root for them while hoping they finally get out of their own way.
Both shows excel at depicting the toll that constant pressure takes on the characters, balancing moments of triumph with crushing setbacks. The Bear swaps financial jargon for kitchen slang, but the underlying tension feels remarkably similar. The Bear has quickly established itself as one of TV’s most exciting new dramas, finding moments of connection and humanity amidst the chaos.
5. The Fall of the House of Usher
For Industry fans seeking a different flavor of high-stakes drama, The Fall of the House of Usher offers a gothic twist on tales of wealth and corruption. Based on Edgar Allan Poe’s works, Mike Flanagan’s Netflix limited series shares Industry’s fascination with the dark side of ambition and power. Bruce Greenwood’s Roderick Usher — the patriarch of a pharmaceutical dynasty — can be viewed as a cautionary tale for Industry’s young strivers. Both shows excel at exploring the moral rot that often accompanies great wealth and influence.
Where Industry finds horror in plummeting stock prices, Usher leans into supernatural terrors. Yet both understand that the most frightening monsters are often the ones we create ourselves while in pursuit of success. It’s too new for major awards, but Flanagan’s track record (including the acclaimed The Haunting of Hill House) suggests Usher will be a contender.
For Industry viewers who appreciate that show’s psychological depth and examination of familial legacy, The Fall of the House of Usher offers a compelling, horror-tinged alternative.
6. The Morning Show
Apple TV+’s The Morning Show shares Industry‘s fascination with high-pressure work environments and the often murky ethics of corporate America. Swapping finance for broadcast journalism, The Morning Show offers another perspective on ambition, power, and the price of success. Jennifer Aniston’s Alex Levy and Reese Witherspoon’s Bradley Jackson — like Industry’s Harper and Yasmin — navigate a cutthroat world where personal and professional lines are constantly blurred.
NBC’s Good Girls offers a fresh spin on the high-stakes world of finance that Industry inhabits. Both shows explore how financial desperation can drive people to cross lines they never imagined they would. The stress in Good Girls is more visceral and violent, but the underlying question is the same: what would you do for money?
Where Industry finds drama in legal (if ethically dubious) financial maneuvers, Good Girls dives into outright criminality. Yet both understand that in a world driven by money, the line between legitimate business and organized crime can be surprisingly thin.
8. Severance
Apple TV+’s Severance shares Industry‘s interest in the dehumanizing aspects of corporate culture — albeit through a surreal lens. This sci-fi thriller — about employees who surgically divide their memories between work and personal life — offers a different flavor of workplace anxiety. Adam Scott’s Mark Scout, like many of Industry’s characters, grapples with the all-consuming nature of his job. Yet both understand that in our late-capitalist world, the boundaries between work and life are increasingly blurred.
9. Billions
For Industry fans craving more high-stakes financial drama, Showtime’s Billions is the natural next step. Following the chess match between a hedge fund king and the U.S. Attorney determined to bring him down, it shares Industry‘s fascination with the ethical compromises and psychological warfare inherent to the pursuit of vast wealth.
Where Industry focuses on young graduates entering the world of finance, Billions examines those at the very top of the food chain. These aren’t messy college kids living in a house flat who don’t know what to do with their money. These characters have far more to lose — but they’re playing equally fast and loose with their love and money.
For the Emmys’ weirdest categories, The Bear and SNL are destined to dominate in comedy while drama is anyone’s guess. Photo: FX
They’re far from the most prestigious categories on the Emmy ballot. They don’t even get presented on the main Emmys telecast. But year in and year out, the Guest Actor and Guest Actress categories present some of the most wide-open and fascinating races, where Oscar darlings like Lily Gladstone compete against other Oscar darlings like Olivia Colman. Some of these actors are taking on meaty, episode-shifting roles, and others are just playing bizarro versions of themselves in a cheeky cameo. They might be the guest of the week in a crime procedural, or one of several A-list cameos brought in to make a prestige drama feel even more prestigious, or an SNL host. It’s bedlam!
To qualify for the Guest categories, a performer needs to have been in fewer than half of the season’s episodes. That’s really the only hurdle, so it often leads to regular cast members who were simply only in a handful of episodes getting nominated — think Samira Wiley and Alexis Bledel for The Handmaid’s Tale or Joan Cusack on Shameless. This year, the Guest Actor categories are playing a major role in the campaign of one of this year’s biggest shows — that’d be The Bear. It’s a narrative that strikes at the heart of one of the rare criticisms that came the show’s way last year, and has only been exacerbated with the just-released third season.
The Bear’s more-is-more approach to guest stars in season two led some of the more cynical observers to suggest that the show was baiting the hook for Emmy voters, a tried-and-true strategy that’s worked for shows from Succession (Guest Actor nods for the likes of Alexander Skarsgård, Adrien Brody, and James Cromwell) to 30 Rock (Matt Damon, Jon Hamm, Steve Martin, Steve Buscemi) to Glee (Gwyneth Paltrow, Kristin Chenoweth, Neil Patrick Harris). Hell, you don’t even need to be that cynical to look at the way The Bear hauled out Jamie Lee Curtis, Bob Odenkirk, John Mulaney, Sarah Paulson, and Gillian Jacobs to join Jon Bernthal (season one’s guest-star gambit) to take part in the overstuffed, nerve-jangling “Fishes” episode.
This isn’t to disparage The Bear’s guest stars. Odenkirk and Mulaney were quite good in “Fishes” and Will Poulter and Olivia Colman were phenomenal elsewhere in the season. But anybody who bristled at The Bear over-salting the sauce with guest stars last year couldn’t have been happy with season three doubling down with pro wrestlers, half the buzzy chefs in Chicago, and more ultra-intense Jamie Lee Curtis. Nomination voting closed before season three dropped, so such gripes won’t be reflected in this year’s nominees. As we mentioned here a few weeks ago, there is a very real chance that The Bear gets nearly everybody they submitted for a nomination onto the final ballot. At the very least, Bernthal, Mulaney, and Odenkirk should land Guest Actor (with Poulter waiting in the wings), while Curtis, Colman, and perhaps Paulson get into Guest Actress.
The Bear’s biggest competition in these categories comes from Saturday Night Live, a show all too accustomed to flooding the ballot with starry guest hosts. In the last five years, SNL has amassed 20 nominations and four wins in Guest Actor and Guest Actress in a comedy, for Eddie Murphy (2020), Dave Chappelle (2021), and Maya Rudolph back to back (2020-2021). This year, the show placed every single host from season 49 on the nomination ballot. That means Emmy voters could easily spam their ballots with SNL options … or the competition for votes could dilute the show’s totals. Among this year’s hosts, Ryan Gosling stands out strongest on the Guest Actor side, with his Beavis & Butthead sketch going aggressively viral. I’d also give a boost to Adam Driver, since he was a nominee for hosting in 2020, and Pete Davidson, since returning former cast members (Murphy, Adam Sandler, Bill Hader, and John Mulaney) tend to do well in this category. This is also why Rudolph, Kate McKinnon, and Kristen Wiig have good odds to show up in Guest Actress (especially Wiig for the Jumanji sketch). Voters could also drift toward Emma Stone and Ayo Edebiri, who are expected to be nominated elsewhere on the ballot (for The Curse and The Bear, respectively).
The predicted dominance of The Bear and Saturday Night Live in Comedy’s Guest categories puts pretty much anybody else in the realm of wishful thinking, but some wishes are more likely to come true than others. That’s because this category is where the oft-Emmy-nominated come to pad their gaudy stats. (Of Cloris Leachman’s record-holding 22 acting nominations, ten came from Guest Actress; eight of Michael J. Fox’s 18 career noms have been as a Guest; and all eight of Nathan Lane’s career Emmy nods have been Guest.) This year, Tina Fey is sitting on seven (could get her eighth for Only Murders in the Building) while Maya Rudolph has six (could be seven if she’s nominated for SNL).
This year, Ted Danson could get his 19th career nomination for his guest appearance on Curb Your Enthusiasm, though it would be his first ever for Curb, where he’s played a fictional version of himself since the show’s first season. Curb could also land Allison Janney her 16th nomination — and a chance to tie Leachman and Julia Louis-Dreyfus with a record eighth win. Comedy legend Mel Brooks could pick up a 15th career nomination for his brief appearance on Only Murders in the Building, John Goodman his 12th for Monarch: Legacy of Monsters, and Candice Bergen her tenth for her return to the Sex and the City universe in And Just Like That … A Guest Actor nomination for Sam Waterston for Law & Order would not only be the ninth in his career, but it would also mark the swan song of his L&O character, Jack McCoy.
I’d also expect twice-nominated J. Smith-Cameron to get a nod for playing Deborah Vance’s sister on Hacks — speaking of which, with Hannah Einbinder the front-runner to win Supporting Actress in a Comedy, she might as well get a guest nod for playing a White House social secretary on Julia. Abbott Elementary is still expected to get major nominations this year, so it wouldn’t be a huge shock if the show’s big stunt cameo sidles in. That would be, in case you forgot, Bradley Cooper, playing himself in the episode that aired after the Oscars.
Then there are the longer shots: Will Ferrell and Andy Samberg committing to the bit as withered old courtside-seat holders Lou Adler and Jimmy Goldstein on John Mulaney Presents: Everybody’s in L.A. Since Richard Kind doesn’t qualify as a guest for that show, let’s give him a nod for playing himself in Girls5Eva. The list of Reservation Dogshopefuls in the Guest categories is long, even with Ethan Hawke not submitting himself: Lily Gladstone and Wes Studi would seem to stand the best chance, but Graham Greene, Zahn McClarnon, and Kaniehtiio Horn all make for deserving nominees. Finally, there’s the matter of one Peri Gilpin, who put in 11 seasons on the original run of Frasier and was the only main cast member to never receive an Emmy nomination. Now a guest star on the rebooted series, here’s a chance for voters to right a historical wrong.
All this fuss about the Comedy categories ironically leaves very little drama for the drama categories. The top-contending shows did not submit very many people for Guest Actor/Actress consideration. Shōgun only offered up Nestor Carbonell playing a Portuguese sailor in Guest Actor and Yûko Miyamoto as shrewd madam Gin in Guest Actress. The Crown only submitted Claire Foy as flashback Queen Elizabeth, while Slow Horses is banking on Jonathan Pryce as Cartwright’s grandfather. The Morning Show submitted a returning Marcia Gay Harden (just one small scene, but were we ever grateful for it) and Natalie Morales, who played a whistleblowing tech worker and longtime friend to Greta Lee’s Stella. She’s probably not that likely to get nominated, and that’s a shame, as she’s been a near-constant presence on TV for more than 15 years in everything from The Middleman and White Collar to guest turns on Parks and Recreation, Girls, and The Newsroom, yet she’s somehow never received an Emmy nom.
The freshman dramas that did flood the ballot with Emmy nominees stand farther on the fringes of the major-category races, making their overall chances pretty dicey. Mr. & Mrs. Smith submitted ten guest performers, including Sarah Paulson, Wagner Moura, Michaela Coel, John Turturro, Sharon Horgan, and Parker Posey, though the most intriguing might be Paul Dano as “Hot Neighbor.” Meanwhile, Elsbeth, in classic procedural fashion, featured new guests every week, submitting 12 names for its ten-episode first season, including Emmy faves Jesse Tyler Ferguson, Jane Krakowski, and Linda Lavin.
Because the Drama races are so open, there’s more room for those wishful-thinking long shots. Michael Emerson, an Emmy winner from his Lost days and a former Guest Actor in a Drama winner for The Practice, would make for a super deserving nominee for his turn as Dr. Siggi Wilzig in Fallout. Glenn Close may be famously bereft of an Oscar, but she’s a three-time Emmy winner and 14-time nominee, so don’t count out her performance in The New Look.
Ultimately, the Guest Actor categories will offer two very different conversations this year. Comedy is going to be all about how well The Bear performs, with its Guest nods playing into that show’s arc of dominance over this year’s ballot. In the Drama categories, because so few shows can dominate, the reactions will likely focus on smaller stories. Maybe it’ll be the long-awaited recognition for deserving actors like Carbonell and Morales; maybe it’ll be good showings for middle-tier shows like Elsbeth and Mr. &Mrs. Smith. Maybe it’ll be both! Unlike in Comedy, that narrative will encompass more than just one or two shows.
Personally, the pair of prospective nominees to which I’m most partial might on the surface look like a deeply random pair of cameos of people playing themselves. But Rachel Ray and Vincent Pastore are so committed to that almost-too-real talk-show scene in the season finale of The Curse that I think they both deserve Emmys. Make it happen!
It’s a long shot, but Bruce Springsteen does appear on the ballot for his performance as himself on the Curb Your Enthusiasm episode where he catches COVID from Larry. A surprise nomination for Springsteen would not only be awesome on principle, but would give the Boss his career non-competitive EGOT: He’s got an Oscar for “Streets of Philadelphia,” a bunch of Grammys, and a special non-competitive Tony for Springsteen on Broadway from 2018.
Meanwhile, a fun fact: Of the list of people who are one element away from a competitive EGOT (a.k.a. the real EGOT), there are only eight people for whom an Emmy would complete the list. It is by far the shortest of the four lists (40 people still need that Oscar). Of those eight people, six are dead, and two are Pasek and Paul, who, as we mentioned last week, could seal the deal with a win for their “Pickwick Triplets” song from Only Murders in the Building.
It’s a long shot, but Bruce Springsteen does appear on the ballot for his performance as himself on the Curb Your Enthusiasm episode where he catches COVID from Larry. A surprise nomination for Springsteen would not only be awesome on principle, but would give the Boss his career non-competitive EGOT: He’s got an Oscar for “Streets of Philadelphia,” a bunch of Grammys, and a special non-competitive Tony for Springsteen on Broadway from 2018.
Meanwhile, a fun fact: Of the list of people who are one element away from a competitive EGOT (a.k.a. the real EGOT), there are only eight people for whom an Emmy would complete the list. It is by far the shortest of the four lists (40 people still need that Oscar). Of those eight people, six are dead, and two are Pasek and Paul, who, as we mentioned last week, could seal the deal with a win for their “Pickwick Triplets” song from Only Murders in the Building.
Is this a comedy or a drama? Photo: Courtesy J. Crew
Good news, foodie bros, How Long Gonelisteners, and Brooklyn dads: J.Crew has released a limited-edition line of casual menswear in collaboration with The Bear. And lest you worry about coming across as a fake fan, this stuff doesn’t just have the restaurant’s bear logo or the show’s name on it. Nay, nay, this stuff is a deep cut for the real heads: workwear bearing the logo for fictional in-universe family-owned Chicagoland business “Matter of Fak Supply.”
The Faks, of course, are Berzatto family friends and handymen Neil (Matty Matheson), Ted (Ricky Staffieri), and the newly stunt-cast floor waxer Sammy (John Cena). The merch — a work jacket, trucker hat, sweatshirt, and tee — is sort of workwear cosplay at J.Crew prices. The canvas work jacket is a clone of the one worn by Ted on this season of The Bear, and J. Crew has him modeling it on the website. It is $398, and already sold out in every size …
… Every size they seemingly offer, anyway. Writer Victoria Edel pointed out on X that the sold-out collection maxed out at a 2X, likely excluding Matheson himself. This size-inclusivity oversight on J.Crew’s part represents the issue with this collection, one that embodies a larger tension inherent to The Bear concerning authenticity and a muddled relationship to class. My colleague, TV critic Roxana Hadadi, told me over Slack that the collection is “an interesting glimpse into the show’s actual narrative tension, which is that everyone is so obsessed with chasing high-end, fine-dining success that they’re ignoring what really works, which is the sandwich counter, and who really cares about the success of the business, which is their working-class regulars.
“So The Bear continuing to lean into high-end partnerships with brands like J.Crew, and featuring other super-expensive brands like Thom Browne is actually an unintentional reflection, perhaps, of the literal ignorance the show has for the actual people who support The Bear,” she added.
Moreover, it’s also all just a bit corny, isn’t it? Writer Jesse David Fox, a The Bear fan and self-admitted member of this collab’s target demo, said that the “fake vintage” design on these items, with their fake old logo, “feels like 2005 American Eagle.” Strategist writer Erin Schwartz’s issues with the line were also primarily aesthetic: “Good graphic design is a hack to make your merch seem cool on a T-shirt. And this is bad graphic design.”
Not that it makes a difference: It’s mostly sold out. The only thing left is the trucker hat, for $59.99 and that, at least, is allegedly one size fits all. Or buy, like, four Italian beefs. The choice is yours.
Loyal viewers of “The Bear” are accustomed to unexpected celebrity guest stars and cameos, but a surprise pseudo-appearance from actor Bradley Cooper confused many.
Season 3 was released, in full, Wednesday on Hulu. In a scene of the season finale, protagonist Carmy (Jeremy Allen White) looks at a collection of newspaper clippings and photos of real-life chefs and restaurant owners. Among the images is one Jenkintown native Cooper from his 2015 film “Burnt” — and beyond that blink-and-you-miss-it moment we won’t spoil any other details about how the season ends.
It happens as Weezer’s “In the Garage” plays. Cooper’s photo appears after a shot of chef Rosio Sanchez and before photos of pastry chef Malcolm Livingston II and restaurateur Will Guidara. With no additional context, fans of “The Bear” are left with several questions.
It’s easy to forget about “Burnt,” an ill-received film starring Cooper as a fictional two-star Michelin chef named Adam Jones. In the movie, Jones attempts a comeback after his temperamental behavior and substance abuse placed his career on hold.
Though “Burnt” has a similar setting as “The Bear” and their themes overlap, the movie has fallen into obscurity in the decade since its release.
So what does this visual reference to the film mean for “The Bear?” Perhaps “Burnt” is in the same fictional universe as Carmy and his crew.
Olivia Colman, John Mulaney and Jamie Lee Curtis are among the celebrities who have made guest appearances in “The Bear.” Could the photo cameo be setting up a future appearance by Cooper as a new character.
Maybe the fictional staff of Ever really enjoyed “Burnt,” or maybe the photo is just an inside joke among the writers and producers of “The Bear.” Who knows? Representatives for FX, which produces the show, did not respond to a request for comment.
Whatever the case, this brief appearance in the highly acclaimed show is par the course for Cooper, who made sudden cameos in last year’s “Dungeons & Dragons: Honor Among Thieves” and on “Abbott Elementary.” And in December, Cooper made an appearance in New York City as a line cook on a food truck, making and selling cheesesteaks.
In honor of the highly anticipated third season of Hulu’s popular series “The Bear,” Huss Brewing Co. is serving sandwiches for a cause. “The Bear” follows the journey of a young and talented chef who leaves his Michelin-star haute cuisine world to return to his hometown of Chicago to run his family’s dilapidated Italian beef sandwich shop…
Fans of The Bear have been dying for their characters to become romantically involved in the show, but the parasocial relationship has gone so far that they’re wondering/hoping that Jeremy Allen White and Ayo Edebiri are dating in real life.
Allen White and Edebiri play Carmen ‘Carmy’ Berzatto and Sydney Adamum, respectively, and the “will they, won’t they” trope is irresistible. But the actors have maintained that a romantic storyline between the two characters isn’t on the cards. “There was no talk in the rooms about any romantic implications,” Allen White told Vanity Fair.
But just because their characters don’t date doesn’t mean their real lives aren’t also fraught with speculation. When Allen White and Edebiri were spotted at Wrigley Field to watch the Cubs play the Pittsburgh Pirates, a video of him affectionately rubbing her back went viral. Fans went crazy. “Work wife-husband relationship is going crrazzyyy,” one fan wrote, while another said: “I’m just gonna say I don’t touch my friends like that.” So are Jeremy Allen White and Ayo Edebiri dating? Here’s what we know.
Are Jeremy Allen White and Ayo Edebiri dating?
Sorry to disappoint, fans of The Bear. They’re not dating, although they do speak very highly of each other in interviews.
“We really enjoy each other in life, on camera and off camera. I have a tremendous amount of respect for her as a person, but also as an artist. And so I hope that sort of that kind of thing shines through on camera between Carm and Syd,” White told Vanity Fair as a secondary source for their cover with Edebiri. “Syd is always able to…I don’t know, to deliver something different to Carmy, and she’s usually right,” he adds. “And I guess I think Ayo is also usually right.”
Edebiri observed that their work as actors can produce intimate moments by its nature. “Work can be a very intimate thing and a very personal thing and a very emotional thing, and I think when you’re also in industries that are creative or creative adjacent, I think there’s something that also invokes feelings of passion,” she said. “Also, boy’s got some beautiful blue eyes. You know what I mean? Those are eyes you want to project onto.”
When images of Allen White’s viral Calvin Klein campaign were shown backstage at the 2024 Golden Globes, Edebiri said: “I just, I’m happy for him. That’s my boy, you know what I mean? I do feel like … I want people to understand he’s my co-worker!”
It’s understood Allen White is still involved with Rosalía after splitting from his wife, Addison Timlin. The Knot confirmed the two were still an item on 29 March 2024. “Rosalía’s boyfriend is actor Jeremy Allen White. They have been together since October 2023,” the outlet reported.
The Bear season 3 is finally upon us—but if , like us, you plan to binge it all at once, here’s when you can expect your next infusion of chef-fuelled drama.
Reports from Variety and Deadline show that The Bear has quietly had its fourth season greenlit, although not yet publicly announced by production company FX. This is hardly a surprise, considering the show’s storming success from its first two seasons and high anticipation for its third.
It’s also cleaned up in the awards circuit, taking home ten Emmys and four Golden Globes, including wins for leading man and woman Jeremy Allen White and Ayo Edebiri. Looking forward to the future, here’s a look at what we might expect from The Bear season 4.
When will ‘The Bear’ season 4 come out?
(Hulu)
What we don’t know so far is when The Bear season 4 will come out. However, the show has so far stuck to a pretty strict release schedule, with a new season coming every June. In fact, it always seems to be in the final week of June, demonstrating a tight adherence to an annual rhythm.
That means we can most likely expect The Bear season 4 in June 2024, probably between June 21 and 25. Of course, that’s not confirmed just yet but it would be unusual for FX to break from its three-year routine at this point.
Who will be in ‘The Bear’ season 4?
(Hulu)
Although no official cast or plot news has been published yet, we can likely expect our leading duo of Jeremy Allen White and Ayo Edebiri to stay in their respective roles as Carmy and Syd. The heart and soul of the show is also forged in the other long-term stars: Abby Elliott as Natalie, Matty Matheson as Fak, L-Boy as Marcus, and flashbacks to Jon Bernthal as Michael.
With Ebon Moss-Bachrach (Richie) now cast in Fantastic Four, it’s possible that those projects could clash. However, we hope that he stays on in the show; his growth in season 2 especially is the beating heart of the plot and it truly won’t be the same without him.
Season 2 also saw Molly Gordon’s Claire at odds with Carmy. While it’s expected that she will return in season 3, if her and Carmy can’t work things out, this could be her last season of the drama. Indeed, any dramatic twists in the story could result in any member of the cast disappearing for good. Until season 3 airs and is wrapped up, it’s hard to make any concrete predictions for season 4.
(featured image: Hulu)
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Not just anyone can earn the title “People’s Princess.” I mean, the moniker was first used to describe Princess Diana, so the bar is high. It describes someone who isn’t just iconic but feels relatable. But this is a tough balance to reach — especially for celebrities who are, by definition, not relatable. And many a female celeb — think Jennifer Lawrence and Anne Hathaway every 5 business years — has earned this title just to have the world turn on her and suddenly hate her for no reason. It’s called being woman’d, and it’s the flip side to being the people’s princess.
So, this title doesn’t come without its risks. But my god, the rewards are worth it. Everyone loves you. You book job after job. No one can get enough of you.
In the music world, the people’s princess is currently Sabrina Carpenter. You can’t go anywhere without hearing either “Espresso” or “ Please, Please, Please” — and surprisingly, you don’t want to. If I don’t get my daily dose of “Espresso,” my mental health suffers. She’s also dominating the festival circuit and just wrapped up an opening spot for Taylor Swift’s Eras tour. And her album Short and Sweet is on the way and I’ve already pre-saved it to Spotify and am mentally preparing for the Ticketmaster queue for her solo tour.
Somehow even more ubiquitous than our Pop Princess is the preeminent Ayo Edebiri. Across demographics, fan bases, and generations, everybody loves her. She seemingly arrived out of nowhere with a refreshingly relatable persona backed with earnestness and raw talent. She has the wide-eyed charm of Call Me By Your Name-era Timothee Chalamet. The viral interview acumen of early-career Jennifer Lawrence. And the infectious grin of a young Julia Roberts. How could she not be the people’s princess?
Over the last two years, she went from being a niche comedian [Popdust named her as one of the best comedians to watch in 2019] to a household name. And while it might seem like she’s everywhere now, she’s been working for years behind the scenes as a writer, basement comedian, and voice actor before finally getting the recognition she deserves. It doesn’t hurt that she’s a master of press tours. Combined with her It-girl style (lots of Loewe, naturally), her witty answers to interview questions often go viral and become memes and ongoing jokes. Making us feel like we’re in on the joke with her is a classic people’s princess move.
If you’re still wondering where she came from and where she’s going, we’ve got the full scoop.
What has Ayo Edebiri written for?
Before she was one of Hollywood’s most in-demand actors, Edebiri was making a name for herself behind the scenes as a writer. Or versatile queen, she did it all. She was also a comedy writer on one-season (not) wonders like The Rundown with Robin Thede and Sunnyside on NBC. She also joined the writing staff of Big Mouth for the show’s fourth season, where she eventually became the voice of Missy in 2020 — replacing Jenny Slate amidst the Black Lives Matter Movement.
After a few uncredited acting roles and small roles from 2014 -2020, she started with comedy sets on Comedy Central which eventually led to a show with frequent collaborator Rachel Sennott. Their scripted digital series Ayo and Rachel Are Single aired on Comedy Central in May 2020. Amongst people in the industry, this was her breakthrough. But her major breakout role came two years later in The Bear.
What is Ayo Edebiri in?
When everything happens, it all happens at once. In 2020, though she’d had scripts floating around development offices and stints in writers’ rooms before, Ayo started booking jobs, both as a writer and as an actress. And those jobs often ended in more jobs — and even awards.
It started with the show Dickinson. This underrated AppleTV+ dramedy stars Hailee Steinfeld as a young Emily Dickinson in an anachronistic rendition of the writer’s young life. And in the second season, a surprise: a guest appearance by Ayo Edebiri herself. Edebiri was a writer on the show when she appeared as an actress. There, she first worked with director Christopher Storer, who is best known for creating The Bear.
Storer, a Chicago native, based The Bear on a sandwich shop called Mr. Beef and its owner Chris Zucchero. The Bear was already cooking by the time he met Edebiri, so to speak. So when he imagined the casting for Sydney, he imagined Ayo. She submitted a self-tape for the role and the fit was just right. Audiences thought so, too. The Bear was an instant hit, and Ayo its breakout star.
It’s hard to eclipse the attention of a White Boy of the Month. So, while the internet was infatuated with Jeremy Allen White and his chef-boy tattoos (this was before the now-infamous Calvin Klein ad), it’s a wonder they had room to fawn over anyone else. Yet, Ayo’s charm cut through the noise, and she became one of the most talked about young actors — in and outside of Hollywood casting rooms and voting rooms.
For her first season of The Bear, Edebiri was nominated for a bevy of awards, including the Gotham Independent Film Award for Outstanding Performance in a New Series, the Critics’ Choice Award for Best Supporting Actress in a Comedy Series, and the Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Comedy Series. She also won the Independent Spirit Award for Best Supporting Performance in a New Scripted Series.
After that, she was everywhere. You might have seen her in a recurring role in the beloved Abbott Elementary, a too-small role in niche Indie comedy Theater Camp alongside Molly Gordon, who would go on to be in The Bear, and in an episode of Black Mirror.
2023 was a giant year for Ayo in movies. She was in the definitive queer movie of the year, Bottoms (also the best dressedmenswear film of the year), alongside Rachel Sennott. But that wasn’t enough. She starred in The Sweet East — a bizarre indie drama alongside Talia Ryder, Jacob Elordi, and Jeremy O’Harris — and lent her voice in Spider-Man: Across the Spider-Verse and Teenage Mutant Ninja Turtles: Mutant Mayhem.
She’ll be making another turn as a voice actor alongside Maya Hawke in this summer’s Inside Out 2 and premiered her latest movie role in Omni Loop at SXSW this year in Austin, Texas.
But one movie she wasn’t in? Banshees of Inisherin, the 2022 Martin McDonagh film starring Colin Farrell and Brendan Gleeson that earned Barry Keoghan an Oscar nomination (pre-Saltburn). Yet, it’s the reason behind the running joke that she’s Irish (she is). Let’s get into it.
Why do people say Ayo Edebiri is Irish?
It all started, as many things do, on a red carpet. Before Bottoms finally made it the cinemas worldwide to raucous, roaring, lesbian applause, it was a strange indie film premiering at SXSW 2023. This was the beginning of Ayo’s rise to People’s Princess-dom, and co-stars Rachel Sennott and Nicholas Galitzine were beginning to get some attention, too.
But instead of talking about Bottoms on the red carpet, Ayo took that time to talk about something nearer and dearer to her heart: the proud and gorgeous nation of Ireland. In an Irish accent and straight face, she joked that she had played the role of Jenny the donkey in Banshees. Thus, an Irish queen was born.
“I lived in Ireland for about four months, and I got really in character, and I was on all fours for four months, and it was really painful — but beautiful as well,” she said.
Since then, she — and the proud and gorgeous nation of Ireland — have run with the bit. She thanked Ireland in an award acceptance speech. She celebrated St. Paddy’s with Paul Mescal. She’s been embraced by Irish publications. God bless the Irish. I just need her to do an Actors to Actors Series conversation with Bridgerton’s Nicola Coughlan.
Is Ayo Edebiri dating Jeremy Allen White?
Alongside the speculation around her Irishness, Ayo, like every famous woman, has received a lot of interest in her dating life. Rumors abounded that she had a short fling with fellow Irish icon Paul Mescal, and if it’s not true, don’t tell me. But lately, fans are hoping real life imitates fiction and that Ayo Edebiri is dating Jeremy Allen White.
The rumor began in Chicago. While on location for The Bear, the cast has become a Chicago tourist attraction. You don’t pay rent in Chicago if you haven’t seen White in his Nike Cortez sneakers or Matty Matheson enjoying some local fare. So it’s no surprise a video went viral of the cast hanging out at a Chigaco baseball game. But a curious moment in the footage sparked some attention. For a second, White seems to rub Edebiri’s back. That’s it. That’s the proof. But fans are convinced it was more than friendly.
Who knows? Maybe they are dating, or maybe they’re just playing the press tour game like all movie stars playing love interests do these days. Their characters also have a will-they-won’t-they dynamic, and I’ll be sitting waiting for Season 3 to reveal their fates.
When is The Bear Season 3 coming out?
The Bear Season 3 will be released on June 27, 2024. If you’re anything like me, you’re counting down the days to get your fix of Ayo Edebiri at her best. The People’s Princess surely can do no wrong in my eyes. I can’t wait for a new season of her as Sydney — including her directorial debut in one of the episodes. Stay tuned for our full review on the Season!
This recap was originally published on June 24, 2022, shortly after The Bear premiered its first season on Hulu. We’re republishing to coincide with the episode’s cable debut on FX.
If the second episode of The Bear wants to remind viewers of anything, it’s that appearances can be deceiving. Sure, the Original Beef might be getting its food, staff, and overall shit together but — bam! — in comes a very thorough health inspector who digs up some oil-soaked rags stuffed into an unsealed vent (very cool, by the way) and a pack of cigs near the stove. The eatery is slapped with the dreaded C health rating.
On the flip side, Carmy’s past swanky-food life may look cushy, as he served up $700 dinners plated with tweezers in a kitchen so gleamingly clean it looks like the face of the sun, but his boss — played by a ruthlessly shitty Joel McHale in a choice cameo spot — was a walking nightmare. He was just a bad dude in the kitchen — actively abusive, even telling Carmy that he should be dead. McHale’s white-coated demon is the human equivalent of battery acid. He’s good at what he does, it seems, but he’s absolutely dead set on breaking down every single thing that dares get near him.
Still, back in Chicago, Carmy does seem to hold a sense of pride about where he’s worked, dropping names like the French Laundry and Noma. (Thomas Keller, per all reports, is in real life not nearly as much of an asshole as McHale’s character.) It’s unclear whether that’s because he’s proud of what he achieved food-wise or just that he actually survived it. It’s clear that much of his family seemed dead set on helping Carmy make something of himself — Mikey wouldn’t let him work at the restaurant, after all — so I’m wondering if Carmy’s success is an unholy marriage of his love for food and his fear of letting anyone down.
Inside the Original Beef, it certainly seems like he’s worried about the latter. His brother left him up to his eyes in debt, including fun “break your knees” mob debt we get to hear about from the amazing Oliver Platt. Sydney has a very professional-looking business plan that could help turn things around a little if anyone will listen to her, but first Carmy has to admit that he’s in over his head.
It does seem like things could be going that way at the end of “Hands,” when a few tantalizing bits of optimism slip into view. First, after Richie is tasked with fixing the hole he clearly fucked up patching a few years ago, he’s sent off to the hardware store with Sydney because he, like a number of other people who work at the restaurant, can’t actually drive. (You really don’t need to in Chicago, though it also rings true with both Richie’s character and what I know about some hospitality lifers that maybe his suspended license could have come after one too many DUIs.) Things go poorly at first, but ultimately they do seem to have at least a begrudging sense of mutual respect, though Sydney still shouldn’t go placing any big bets on his kindness any time soon.
We also see Carmy making amends with his sister’s boyfriend-slash-husband, played by a very fun Chris Witaske. Their “guys who don’t like to talk on the phone” shtick is charming, and when Sugar actually gets on, we learn that she and her partner have been going to Al-Anon and are encouraging Carmy to do the same. She makes a valid point that chefs always say part of their job is about taking care of other people, but when do they make time to take care of themselves? (This is a very real issue, by the way. Chefs are notoriously hardworking and burnout is fast, high, and often drug- and alcohol-related.) Given that Al-Anon is the organization for people who were affected by the alcohol abuse of those around them, that gives us yet another layer of the onion to unpeel. Was this something the pair saw growing up? Are they going because of their brother, who we learn from this episode “shot himself in the head four months ago?” Or are all these pieces of a much larger tavern-style pie? We’ve got six more episodes to find out.
We end the episode with both the reassurance that Sydney is sticking around, since Carmy’s apparently committed to doing what it takes to get her paid, and the realization that it was him, not Richie, who left the pack of smokes near the open flame. Whether he’ll ever own up to this is anyone’s guess, but it could act as a nice reminder that even as he’s being held back by outside forces, he can occasionally screw up all by himself.
“Hands” isn’t as frenetic and electric as the show’s pilot, but in a way that’s good. It would be hard to keep up that energy for the whole series, especially as the restaurant does seem to at least be on some long and winding path toward maybe, maybe, maybe getting its shit back together. There’s a suggestion of some sort of chicken piccata dish, and the Italian beef still looks fucking delicious in those close-up shots. If Carmy and Richie can somehow get their aviator-glassed uncle Cicero off their backs while simultaneously getting a better health grade, revamping their kitchen, and convincing people to come to an entirely average-looking Italian Beef stand somewhere in the grittier part of Chicago’s River North, hey, maybe these crazy kids will have a fighting chance at success.
• The fact that Richie has a 5-year-old daughter is very sweet, and that phone call went a long way toward humanizing his character. While we’re obviously annoyed that he found that note from Mikey to Carmy stuck behind the lockers and did nothing about it, we also get it. Mikey was his best friend, and where’s his note? It’s not like Richie burned it or something. He just put it back. He knows it’s there, and hopefully Carmy will figure it out himself someday.
• I loved Sydney’s description of the Original Beef as a place where the food is shitty, everyone acts shitty, and everything just feels shitty. We’ve all been to those places, whether we like it or not, and frankly, sometimes they’re even more memorable than places that are actually perfectly nice.
• Much respect to Richie for his love of Arby’s, even though there are barely any in Chicago, save a couple of weird spots in the Loop where I doubt he’s going. Arby’s is the perfect working-class fast-food restaurant, and it gets far more hate than it deserves. This is the hill I will die on. Come at me, haters.
By breaking the tradition of the classic chef coats designed with men in mind, Funky Chef is bringing fit, fashion, and function to female culinary professionals around the world
VIRGINIA BEACH, Va., March 26, 2024 (Newswire.com)
– In a revolutionary departure from the conventional kitchen uniform tailored for men, Funky Chef proudly announces the launch of its groundbreaking collection of fitted and patterned chef’s jackets specifically designed for female culinary professionals. This initiative aims to redefine industry standards by seamlessly blending fit, fashion, and functionality.
Amidst a surge in the number of women joining the culinary realm, Funky Chef emerges as a trailblazer, addressing a significant gap in the market. The absence of chef’s jackets tailored to women’s needs remains a prevalent issue – a void that Funky Chef is committed to filling.
Founder and CEO Hannah Staddon expressed, “Traditional chef whites were designed for men’s bodies and fail to capture the creativity, form, and function demanded by today’s female culinary professionals. Our mission is to empower the next generation of female chefs, ensuring they feel empowered in their everyday uniforms.”
Features include a fitted cut with an adjustable waist, a shorter length with a rounded bottom, and side seam splits for more maneuverability and flattering appearance. Crafted from stretchy, lightweight and breathable cotton – printed with eco-friendly dyes – the jackets are intentionally designed to provide a comfortable fit for women across a broad spectrum of sizes, ranging from XS to 3XL. Funky Chef opted for a zip closure over the traditional buttons to ensure quick on/off and included what every girl can never get enough of – pockets.
The Collection comprises 10 fashion-forward designs, including classic colors, starting at $129 each, with new prints being released at the end of 2024. As part of its commitment to making a positive impact, Funky Chef pledges 1% of its profits to the Endometriosis Foundation of America. For more information about Funky Chef and to order these revolutionary chef’s coats, follow our Instagram page @funkychefco or visit www.FunkyChef.co
About Funky Chef:
Funky Chef is the world’s first and only collection of fitted and fashion-forward chef’s jackets that reflect the creativity and professionalism of today’s female culinary talent. Breaking away from the traditional mold of shapeless classic whites, Funky Chef introduces a groundbreaking concept – power suits tailored exclusively for female chefs. Each Funky Chef jacket is meticulously crafted from eco-friendly, non-toxic cotton, reflecting a commitment to both style and sustainability. In addition to setting new standards in culinary fashion, Funky Chef also champions a cause, devoting 1% of all profits to the Endometriosis Foundation of America.
Cinema Audio Society, which honors outstanding sound mixing in film and television, also handed out awards in the television categories to The Last of Us for best one-hour series and The Bear for best half-hour series.
In its animated feature competition, CAS awarded the trophy to Spider-Man: Across the Spider-Verse. Other nominees included the teams behind Elemental, Teenage Mutant Ninja Turtles: Mutant Mayhem, The Boy and the Heron and The Super Mario Bros. Movie. As for feature documentaries, 32 Sounds took home the award, beating out American Symphony, Little Richard: I Am Everything, Still: A Michael J. Fox Movie and Taylor Swift: The Eras Tour.
Several mixers earned multiple nominations, including Kevin O’Connell (Barbie, Oppenheimer), Doc Kane (Mutant Mayhem, Super Mario Bros.) Mark Mangini (Mutant Mayhem, 32 Sounds) and Michael Semanick (Across the Spider-Verse, Mutant Mayhem).
Television category contenders included The Crown, The Last of Us, Succession, Ted Lasso and The Marvelous Mrs. Maisel.
“On behalf of the Cinema Audio Society, I extend heartfelt congratulations to all the winners of the 60th Annual CAS Awards,” CAS president Peter Kurland said. “As we mark this significant milestone, reflecting on 60 years of the CAS, it’s truly remarkable to witness the evolution of sound in cinema. While much has changed over time, one constant remains—the remarkable talent of these artists, whose dedication continues to enrich the cinematic experience for audiences worldwide. We applaud your exceptional achievements and invaluable contributions to the art of sound.”
See the full winners list below.
MOTION PICTURES – LIVE ACTION
Barbie
Production Mixer – Nina Rice Re-Recording Mixer – Kevin O’Connell CAS Re-Recording Mixer – Ai-Ling Lee CAS Scoring Mixer – Peter Cobbin Scoring Mixer – Kirsty Whalley ADR Mixer – Bobby Johanson CAS Foley Mixer – Kevin Schultz
Ferrari
Production Mixer – Lee Orloff CAS Re-Recording Mixer – Andy Nelson CAS Re-Recording Mixer – Tony Lamberti Re-Recording Mixer – Luke Schwarzweller CAS Scoring Mixer – Andrew Dudman ADR Mixer – Matthew Wood Foley Mixer – Giorgi Lekishvili
Killers of the Flower Moon
Production Mixer – Mark Ulano CAS Re-Recording Mixer – Tom Fleischman CAS Re-Recording Mixer – Eugene Gearty Foley Mixer – George A. Lara CAS
Maestro
Production Mixer – Steven A. Morrow CAS Re-Recording Mixer – Tom Ozanich Re-Recording Mixer – Dean A. Zupancic Scoring Mixer – Nick Baxter ADR Mixer – Bobby Johanson CAS Foley Mixer – Walter Spencer
Oppenheimer (WINNER)
Production Mixer – Willie D. Burton CAS Re-Recording Mixer – Gary A. Rizzo CAS Re-Recording Mixer – Kevin O’Connell CAS Scoring Mixer – Chris Fogel CAS Foley Mixer – Tavish Grade Foley Mixer – Jack Cucci Foley Mixer – Mikel Parraga-Wills
MOTION PICTURES – ANIMATED
Elemental
Original Dialogue Mixer – Vince Caro CAS Original Dialogue Mixer – Paul McGrath CAS Re-Recording Mixer – Stephen Urata Re-Recording Mixer – Ren Klyce Scoring Mixer – Thomas Vicari CAS Foley Mixer – Scott Curtis
Spider-Man: Across the Spider-Verse (WINNER)
Original Dialogue Mixer – Brian Smith Original Dialogue Mixer – Aaron Hasson Original Dialogue Mixer – Howard London CAS Re-Recording Mixer – Michael Semanick Re-Recording Mixer – Juan Peralta Scoring Mixer – Sam Okell Foley Mixer – Randy K. Singer CAS
Teenage Mutant Ninja Turtles: Mutant Mayhem
Original Dialogue Mixer – Doc Kane CAS Re-Recording Mixer – Michael Semanick Re-Recording Mixer – Mark Mangini Scoring Mixer – Trent Reznor Scoring Mixer – Atticus Ross ADR Mixer – Chris Cirino Foley Mixer – Chelsea Body
The Boy and the Heron
Original Dialogue & Re-Recording Mixer – Kôji Kasamatsu
The Super Mario Bros. Movie
Original Dialogue Mixer – Carlos Sotolongo CAS Re-Recording Mixer – Pete Horner Re-Recording Mixer – Juan Peralta Scoring Mixer – Casey Stone CAS ADR Mixer – Doc Kane CAS Foley Mixer – Richard Durante
MOTION PICTURES – DOCUMENTARY
32 Sounds (WINNER)
Production Mixer – Laura Cunningham Re-Recording Mixer – Mark Mangini Scoring Mixer – Ben Greenberg ADR Mixer – Bobby Johanson CAS Foley Mixer – Blake Collins CAS
American Symphony
Re-Recording Mixer – Tom Paul Re-Recording Mixer – Tristan Baylis Foley Mixer – Ryan Collison
Little Richard: I Am Everything
Re-Recording Mixer – Tom Paul
Still: A Michael J. Fox Movie
Re-Recording Mixer – Skip Lievsay CAS Re-Recording Mixer – Paul Urmson Re-Recording Mixer – Joel Dougherty Scoring Mixer – John Michael Caldwell Foley Mixer – Micah Blaichman
Taylor Swift: The Eras Tour
Production Mixer – Jacob Farron Smith CAS Re-Recording Mixer – John Ross CAS Re-Recording Mixer – David Payne Re-Recording Mixer – Christopher Rowe
NON-THEATRICAL MOTION PICTURES OR LIMITED SERIES
All the Light We Cannot See: Episode 4
Production Mixer – Balazs Varga Re-Recording Mixer – Mark Paterson Re-Recording Mixer – Craig Henighan CAS Scoring Mixer – Nick Wollage ADR Mixer – Bobby Johanson CAS Foley Mixer – Peter Persaud CAS
Beef: Episode 9 “The Great Fabricator“
Production Mixer – Sean O’Malley CAS Re-Recording Mixer – Penny Harold CAS Re-Recording Mixer – Andrew Garrett Lange CAS Foley Mixer – Andrey Starikovskiy
Black Mirror: Season 6, Episode 3 “Beyond The Sea“
Production Mixer – Richard Miller Re-Recording Mixer – James Ridgway Scoring Mixer – Daniel Kresco ADR Mixer – James Hyde Foley Mixer – Adam Mendez CAS
Daisy Jones & The Six: Episode 10 “Track 10: Rock n’ Roll Suicide“
Production Mixer – Chris Welcker Re-Recording Mixer – Lindsey Alvarez CAS Re-Recording Mixer – Mathew Waters CAS Scoring Mixer – Mike Poole ADR Mixer – Chris Navarro CAS Foley Mixer – James B. Howe
Weird: The Al Yankovic Story(WINNER)
Production Mixer – Richard Bullock CAS Re-Recording Mixer – Tony Solis Scoring Mixer – Phil McGowan CAS ADR Mixer – Brian Magrum CAS Foley Mixer – Erika Koski CAS
TELEVISION SERIES – ONE HOUR
Succession: Season 4, Episode 3 “Connor’s Wedding“
Production Mixer – Ken Ishii CAS Re-Recording Mixer – Andy Kris Re-Recording Mixer – Nicholas Renbeck Scoring Mixer – Thomas Vicari CAS ADR Mixer – Mark DeSimone CAS Foley Mixer – Micah Blaichman
Ted Lasso: Season 3, Episode 12 “So Long, Farewell“
Production Mixer – David Lascelles CAS Re-Recording Mixer – Ryan Kennedy Re-Recording Mixer – Sean Byrne CAS Foley Mixer – Jordan McClain
The Crown: Season 5, Episode 8 “Gunpowder“
Production Mixer – Chris Ashworth Re-Recording Mixer – Stuart Hilliker CAS Re-Recording Mixer – Lee Walpole Re-Recording Mixer – Martin Jensen ADR Mixer – Ben Tisdall Foley Mixer – Anna Wright
The Last Of Us: Season 1, Episode 1 “When You’re Lost In The Darkness” (WINNER)
Production Mixer – Michael Playfair CAS Re-Recording Mixer – Marc Fishman CAS Re-Recording Mixer – Kevin Roache CAS Foley Mixer – Randy Wilson
The Marvelous Mrs. Maisel: Season 5, Episode 6 “The Testi-Roastial“
Production Mixer – Mathew Price CAS Re-Recording Mixer – Ron Bochar CAS Scoring Mixer – Stewart Lerman Foley Mixer – George A. Lara CAS
TELEVISION SERIES – HALF HOUR
Barry: Season 4, Episode 8 “Wow”
Production Mixer – Scott Harber CAS Re-Recording Mixer – Elmo Ponsdomenech CAS Re-Recording Mixer – Teddy Salas Scoring Mixer – David Wingo ADR Mixer – Aaron Hasson Foley Mixer – Darrin Mann
Only Murders in the Building: Season 3, Episode 8 “Sitzprobe“
Production Mixer – Joseph White Jr. CAS Re-Recording Mixer – Mathew Waters CAS Re-Recording Mixer – Lindsey Alvarez CAS Song Mixer – Derik Lee Scoring Mixer – Alan DeMoss ProTools Playback Mixer – Derek Pacuk Foley Mixer – Erika Koski CAS
The Bear: Season 2, Episode 7 “Forks” (WINNER)
Production Mixer – Scott D. Smith CAS Re-Recording Mixer – Steve “Major” Giammaria CAS ADR Mixer – Patrick Christensen Foley Mixer – Ryan Collison
The Mandalorian: Season 3, Episode 8 “The Return”
Production Mixer – Shawn Holden Re-Recording Mixer – Scott R. Lewis CAS Re-Recording Mixer – Tony Villaflor Scoring Mixer – Chris Fogel CAS ADR Mixer – Aaron Hasson Foley Mixer – Scott Curtis
What We Do in the Shadows: Season 5, Episode 5 “Local News“
Production Mixer – Rob Beal CAS Re-Recording Mixer – Samuel Ejnes CAS Re-Recording Mixer – Diego Gat CAS Foley Mixer – Stacey Michaels CAS
TELEVISION NON-FICTION, VARIETY or MUSIC – SERIES or SPECIALS
100 Foot Wave: Season 2, Episode 5 “Lost at Sea” (WINNER)
Re-Recording Mixer – Keith Hodne
Bono & The Edge: “A Sort of Homecoming With Dave Letterman“
Production Mixer – Karl Merren Re-Recording Mixer – Brian Riordan CAS Re-Recording Mixer – Phil DeTolve CAS Scoring Mixer – Jacknife Lee
Formula 1: Drive to Survive: Season 5, Episode 9 “Over The Limit“
Production Mixer – Doug Dredger Re-Recording Mixer – Steve Speed CAS Re-Recording Mixer – Nick Fry CAS
The Late Show with Stephen Colbert: Season 8, Episode 31 “John Oliver; Broadway Cast of ‘The Lion King‘”
Production Mixer – Pierre de Laforcade FoH Mixer -Tom Herrmann Monitor Mixer – Al Bonomo Music Mixer – Harvey Goldberg
Welcome to Wrexham: Season 2, Episode 6 “Ballers“
Re-Recording Mixer – Mark Jensen CAS
STUDENT RECOGNITION AWARD FINALISTS
Allison Blum, Savannah College of Art and Design
Shubhi Sahni, University of Southern California
Doris (Yushu) Shen, University of Southern California (WINNER)
Eunseo (Bella) So, Savannah College of Art and Design
Universal’s Oppenheimer took took the top prize at the 2024 Screen Actors Guild Awards, winning best cast in a film — while also taking the prizes for lead and supporting actor.
Cillian Murphy won best actor for his role as in the eponymous scientist who led the Manhattan Project’s creation of the atomic bomb. He thanked his costars — his “Oppenhomies,” quoting costar Olivia Thirlby — and the larger acting community. “Twenty years ago, when I was trying to become an actor, I was a failed musician and I felt extremely like an interloper,” Murphy recalled. “But now, looking out at all of you guys here today, I know that I’m part of something truly wonderful.”
Lily Gladstone won best actress for Apple’s Killers of the Flower Moon, and opened her acceptance speech by thanking her fellow SAG members for their solidarity during last year’s strike. “This has been a hard year for all of us — those in this room, those not in this room. I’m so proud that we’ve gotten here in solidarity with all of our other unions,” Gladstone said. She added that acting is, ultimately, storytelling: “We bring empathy into a world that so much needs it. It’s so easy to distance ourselves. It’s so easy to close off, to stop feeling and we all bravely keep feeling. That humanizes people, that brings people out of the shadows — it brings visibility.”
Murphy’s Oppenheimer co-star Robert Downey Jr. won best supporting actor, his second career win at the SAG Awards after winning best actor in a comedy series for Ally McBeal in 2001. “Why me? Why now? Why do things seem to be going my way?” said Downey, who has also won a Golden Globe, a Critics Choice Award and a BAFTA for his role in the Universal historical epic directed by Christopher Nolan. “Unlike my fellow nominees, I will never grow tired from the sound of my own voice.”
Holdovers star Da’Vine Joy Randolph won best supporting actress for the Focus Features film. “How lucky are we that we get to do what we do? Truly, in what other profession are people able to live so many lives and touch so many hearts?” she said. “I wake up every day overwhelmed with gratitude to be a working actor. To be awarded this by my fellow artists is the greatest honor of my career. I also want to take a moment to say that every role that I have ever played has been crafted thanks to those who are nearest and dearest to me — some of the most brilliant actors I know whose talents have yet to be properly acknowledged by the world. For every actor out there still waiting in the wings for their chance, let me tell you: Your life can change in a day, and it is not a question of if but when. Keep going.”
HBO’s Succession won best ensemble in a drama series for its final season — its second win in the category after picking up the prize in 2022. “One last hurrah,” said Alan Ruck. “Right now, you’re looking at some of the luckiest people on the planet and some of the most grateful, because not only did we get to work on one of the best television shows maybe ever — we made friends for life.”
But in the acting categories, Pedro Pascal beat Succession’s awards streak, taking the prize for best actor for HBO’s The Last of Us. Even the star appeared surprised by the win. “This is wrong for a number of reasons — I’m a little drunk,” said Pascal. “I thought I could get drunk!”
Elizabeth Debicki won best actress in a drama series for The Crown’s sixth and final season, her second bout playing Princess Diana. Like Pascal, she also expressed her surprise at winning the award. “The women in my category, I watch with total awe,” she said, “I learn how to do my craft watching you.”
FX’s The Bear took home the top prize in the TV comedy categories, winning best ensemble. The show also won individual awards for actor and actress in a comedy: Jeremy Allen White and Ayo Edebiri, respectively, with White picking up his second consecutive SAG Award for the series. “I’m so honored to be in this community,” he said. “I’ve wanted to be a part of this community for my whole life. I had no backup plan. I started very young, and I’m just so incredibly touched to be standing in front of you all today.”
“I’m looking out at this room of people whose work moves me and motivates me and makes me feel and laugh,” said Edebiri before announcing she’d butcher a James Baldwin quote she had recently read. “The act of love is just really an act of mirroring, and I think anything that anybody sees in me that’s worth anything is because of the people who love me and support me and it made me who I am.”
Beef stars Steven Yeun and Ali Wong won best actor and actress in a limited series. Wong thanked Netflix, noting that the company has supported her since the debut of her 2016 special Baby Cobra, while Yeun recalled in his speech that he earned his SAG card for wiggling in a vat of fake caramel while wearing a speedo for a Milky Way commercial. “Honestly, I felt just as hyped to get that card then as I am to receive this here now,” said Yeun.
In the pre-show, HBO’s The Last of Us won the TV stunt performance category, while Mission: Impossible – Dead Reckoning Part One win the respective film category.
The Morning Show’s Jennifer Aniston presented the lifetime achievement award to Barbra Streisand, noting that the location of the ceremony — Los Angeles’ Shrine Auditorium — was the site of Streisand’s first major concert in 1963. Noting that the two-time Oscar winner is a trailblazer for women in the entertainment industry, Aniston said that Streisand “did not just pave the way for us women — she bulldozed the clearing for us.” Joining Aniston on stage, Bradley Cooper also celebrated Streisand, saying, “One might think that an actor who becomes a director has to learn to look at everything in a whole new way to see how everything fits together, to have that 10,000-foot view. But that perspective wasn’t new for Barbara — for her it was second nature.”
“This is such a wonderful award to get because you know in advance … you don’t have to sit there and squirm, wondering if you’re gonna get it,” said Streisand, who noted she’s a six-decade member of SAG. She also recalled going to see Guys and Dolls as a teenager and falling head over heels for star Marlon Brando, knowing then that being in movies was her life’s goal. “That make-believe world was much more pleasant than anything I was experiencing,” Streisand added. “I didn’t like reality. I wanted to be in the movies. Even though I knew I didn’t look like the other women on the screen — my mother said, ‘You better learn to type,’ but I didn’t listen. And somehow, some way, it all came true.”
Michael Cera, Colman Domingo, Hannah Waddingham and Idris Elba kicked off the show with the annual “I am an actor” presentation, sharing personal anecdotes of their career highlights. Elba also introduced the awards show from the stage, noting that for the first time the ceremony is streaming live on Netflix and cursing is allowed — within reason. “Here’s a good rule of thumb: Maybe don’t say anything you wouldn’t say in front of Oprah,” said Elba.
The Hijack star also took the opportunity to address the biggest elephant in the room: last year’s SAG-AFTRA strike. “It is especially meaningful to be here all together for this occasion after going through a very difficult time with the strike,” said Elba. “I want to take this moment to honor and appreciate all of you both here and watching at home who stood up for SAG-AFTRA in solidarity and support.”
Addressing the A-list members in the audience, SAG-AFTRA president Fran Drescher also reflected on the lessons learned from the 2023 strike. “You survived the longest strike in our union’s history with courage and conviction. The journey was arduous. It came with great sacrifice and unrelenting stress. Your collective dignity and perseverance to stand up and say we deserve better because we are better resulted in an historic billion dollar deal.”
Drescher added that their labor fight has inspired other workforces across the globe. “Your solidarity ignited workers around the world, triggering what forever will be remembered as the Hot Labor Summer,” she said. “You took the heroes journey and stood at the front lines. Strike captains led the march on the picket lines. And we all showed up to the rallies because you understood what our massive contribution means to this marvelous industry.”
This story was originally published on Feb. 24 at 5:44 p.m.
Chowhound is a weekly column about what’s trending in Detroit food culture. Tips: [email protected].
Watching that wild Christmas episode of Hulu’s The Bear reminded me a little of what Lent could be like for my Polish Catholic clan when I was a kid. Forty days of semi-dedicated fasting, psycho-flagellation, and a steady subsistence diet of God-awful salmon patties turned the three women who raised me into growling, prowling animals just looking for a fight. By the time they holed up together in our kitchen to make scratch kielbasa and pierogi for the entire family’s Easter Sunday dinner at our house, Momma Bear, Grandma Bear, and Auntie Bear were really snarling and showing their teeth.
“I thought you gave up those damn cigarettes until Sunday,” I remember my Aunt Helen calling out my mother for walking back into the house reeking of Lucky Strikes after a way-too-long trip to the alley to “take out the garbage.”
“It’s Thursday night,” Mom clapped back, crediting herself fully for time served.
“Every day’s Thursday for you, Ginka.” Ironically, my aunt always used my mother’s Polish-affectionate nickname.
“And what did you give up, Helen?”
“Two bedrooms, remember?” Aunt Helen’s constant reminder to my mother that she and I were boarders in her house tended to have a last-word effect on their ever-flaring exchanges. Then Grandma would intervene with some admonishment in Polish while pointing to me, piping two of her rival daughters down, and redirecting all that negative energy into grinding pork or rolling out dough, though rarely managing to separate them.
“I’ll grind. You hold the casings, Ginka.”
“Something you’re good at,” Mom snarked, making sister seethe again, and leaving Grandma trying to keep things quiet with her pleading, leveling look.
“Hold those damn casings out straight!” Aunt Helen snapped viciously at any break or bubble in the long, loud, link-making ordeal.
Watching Jamie Lee Curtis in The Bear play nearly that exact same persona to a T triggered my unhappy household-made PTSD to a point I could pretty much taste again. To this day, I more than contentedly and routinely make many dishes my family made: pierogi, city chicken, borscht, stuffed cabbage, kapusta. But fresh kielbasa? No thanks. I take no pleasure in the process, having had my fill of all that noise.
And just now as I’m writing this, I see the reality of the residual scarring written into Chef Carmy’s psyche in The Bear. Mine has also manifested as an obsession to cook for everyone in my world. Talk about revelation and catharsis. It suddenly occurs to me that the entire time I’ve spent at the stove, whether making my living or just trying to make good things for friends and family to enjoy, I’ve been trying to make things right that went so wrong in my boyhood home so long ago. Holy crap, Chowhound readers: is there a therapist in the house willing to take smoked mushroom enchiladas, green chile stew, and jicama salad as payment for a session or two? If so, I can offer you those three dishes (or whatever) as down payment, then when we’re done, I’ll treat you to renditions of the same Polish Easter dinner staples I’ve reworked over the years. It’ll be as therapeutic for me as it might prove tasty to you: curried smoked salmon cakes with charred red onion and lime-dill crema, chipotle-honey and clove-roasted ham, poblano-cotija pierogi fried empanada-style, and crisp-skinned New Mexican sausage just in case my anti-fresh-made kielbasa aversion isn’t cured by Lent’s end.
“So, how’s dinner everyone?” Aunt Helen would fish for compliments around our Easter dinner table, as always. “Bobby, did you try my kielbasa yet? It’s delicious.” She’d try to make nice while noticing I hadn’t.
“I’ll have some more ham, please,” was my standard response in silent protest. Then I’d see my grandmother look toward me with a wink in her wise old eye, breaking the language barrier between us and letting me know she understood exactly all I wasn’t saying.
She got me completely, God bless her heart and soul. And I guess I’ve finally gotten a whole lot more from what’s at the center of The Bear. It’s something universally true that Chef Carmy and all of us cut our teeth on to some manageable degree or otherwise: real family dysfunction. It’s hard to swallow when it happens, and something that takes time to even begin to digest let alone leave behind and flush out of our systems.
In hindsight, I’ve had three bears to deal with. Two could be so hot-tempered or cold-blooded toward each other. One was always just right when I needed her. That’s probably as close to a Goldilocks family experience as most anyone comes.
On the bright side, no one at our house ever drove a car through the living room while we all sat lobbing soft insults and accusations (but no silverware) back and forth at each other across the dinner table. As I explained in a previous column over the holidays, Aunt Helen hated having to drive even short distances.
Applauding a great place in Allen Park: Nothing but a big, loud bravo from me for Gus & Us Grill, which friends just introduced me to last week. From the outside, the restaurant appeared pretty mom-and-pop typical for a minute, until I noticed the number of cars packing the parking lot late on a cold, dreary Tuesday morning. It’s no wonder. From soup to nuts (food and service), everything I sampled was way better than what I expected to be treated to. Hand-battered fried mushrooms ($7.29) and zucchini slivered like breadsticks (same price) were crispy, piping hot, and fresh. My friend’s two stuffed bell peppers ($13.99, I think) were a generous portion, beautifully homemade, and emblematic of a long list of hearty daily features ranging from American to ethnic homespun, that complimented a comprehensive, Coney-meets-family steakhouse menu. Service paced our three-course luncheon perfectly, sociably, and professionally. This place is a peach, and serves bargain-priced beer, wine, and cocktails to boot.
Gus & Us Grill is located at 17445 Hamilton Ave., Allen Park; 313-359-2700.
Jeremy Allen White, whose winning streak now includes a best-actor trophy at the Emmys 2024, finally wore the closest thing to chef’s whites on Monday’s red carpet. His custom Armani suit conveyed a gentlemanly polish, every detail just so. The imagined Calvins underneath reverberated in the mind’s eye of his very devoted fan base. And above that pert black bow tie, White modeled his usual cherubic looks, skin youthfully aglow and tendrils coiled at his forehead.
That visage and hair are the purview of KC Fee, the celebrity groomer who reconnected with White for The Bear’s season one premiere and has accompanied his wild ride ever since. Arguably there are similarities between the high-stress environment of a restaurant kitchen and the awards-season gauntlet. “This is something I’ve witnessed with all my clients: It’s an experience nobody knows unless they have to go through it,” Fee says. “There is a lot of wear and tear, and there’s a lot being asked of them. It can be draining, but at the same time, positive, wonderful things are happening.”
The day’s lineup of Aesop skin care, ahead of the Emmys red carpet.
Courtesy of KC Fee.
That, in microcosm, sums up the scene at White’s house on Monday, where, amid the pre-show swirl of activity, the actor dipped into a state of relaxation. “My thing is I always do a very calming facial massage—doing a lot of still hand-placing on the face, and then working in the products,” says Fee, who used an array of Aesop skin care. First came the Parsley Seed serum, kneaded into the face and neck; the B Triple C gel, designed to help even the complexion, followed. The Seeking Silence hydrator locked in moisture. “Then I go in with some tinted moisturizer and concealer just to correct the skin tone and under-eyes and stuff like that”—an appreciated, if unseen, level of finesse for the camera.
The unwind continues with White’s hair, as Fee multitasks a scalp massage while applying product. “At this point with his hair, I just intuitively feel what it’s doing when I show up and kind of go with it,” she says. “[Tonight] we leaned into the curls he had at the moment.” She singles out RŌZ’s Milk hair serum as a favorite, created by hairstylist Mara Roszak, whose own red-carpet weekend took her from Emma Stone for Critics Choice to Juno Temple for the Emmys. The lightweight leave-in can be cocktailed together with RŌZ’s Santa Lucia styling oil: “That’s what I use in my hair. I swear by them,” adds Fee.
White at home, soaking in the pre-show relaxation.
Courtesy of KC Fee.
However much White’s own vibe is “super chill,” per the groomer—music playing and candles burning as he prepped for the Emmys—the internet is aflame after the recent Calvin Klein campaign dropped. “It’s hilarious. I have my [working] relationship with him, so when I see all this, it’s kind of like, ‘Okay, this feels weird!’” Fee laughs—a normal response when you catch sight of a colleague in their underwear. For now, with a break before next month’s SAG Awards, Fee will be cheering him on from afar and getting back to her day-to-day, with kids and a soon-to-arrive puppy. “I am the chef in my own life,” Fee says. “Everyone is ‘Yes, Chef’-ing me.”
The actor at the Emmys, shortly before claiming his latest best-actor award for The Bear.
Fresh off of winning three Golden Globes, the cast and creators of The Bear were front and center at the annual FX and Vanity Fair Emmy party. The event, held Saturday night, celebrated the network’s nominees and acclaimed shows ahead of Monday’s 75th annual Primetime Emmy Awards ceremony—a show that was originally scheduled for last fall, but postponed due to the actors and writers strikes. The Bear is heading to television’s biggest night with 13 nominations, including outstanding comedy series, writing, directing, and numerous acting nods for its first season.
Jeremy Allen White arrived at the celebration, held at the historic Sunset Tower Hotel in West Hollywood, with his mother, Eloise, a former theater actor. “It’s really nice and it’s the best” to share all of his success with his mom, White said. She traveled from New York to LA to be with her son for his very first Emmys.
“My folks were both actors when they were young. I’ve been at this for a long time, since I was 14 years old, and they have always supported me,” he continued. “That’s a crazy thing, to support your kid when he’s 14 and says ‘I want to be an actor.’ But, they’ve supported me ever since, and it feels really special to have her here tonight and go through all of this with me.”
White is the favorite to win the Emmy for lead actor in a comedy series. As Carmen “Carmy” Berzatto, a Michelin-starred chef forced to return home following the unexpected death of his brother, White delivers an intense portrayal of grief, family trauma, and the extreme challenges of running a restaurant.
“I’m so lucky to play Carmy. He’s a character that I admire. I admire his focus, his work ethic, his determination,” said White, who collected his second Golden Globe for best comedy actor last week. “Those are all things I feel like I can have more space for in my own life.”
Newly minted Golden Globe winner Ayo Edebiri made a grand entrance at the cocktail party dressed in a chic, voluminous pink gown. Immediately upon her arrival, she was greeted by Bob Odenkirk, who guest starred as Uncle Lee in the explosive Christmas episode that was featured in the second season of The Bear. Odenkirk, nominated for lead actor in a drama series for Better Call Saul, wished Edebiri good luck. She’s set to attend her first Emmy ceremony, competing in the supporting actress in a comedy series category for her turn as sous chef Sydney Adamu.
“I’m just going to try my best to chill out. It’s all been a bit of a whirlwind, so I’m just going to try to chill as much as I can,” said Edebiri about her preparation for the Emmys on Monday. “For me, chilling out, I just do nothing—I just sort of sit. It’s the chill out vibe these days. Zone out and meditate.”
Edebiri is thrilled that her work on The Bear is being recognized. She enjoys playing a character that audiences can see themselves in—even if our families aren’t quite as dysfunctional or our workplaces are not as chaotic as those on the show. “She has a tricky and stressful time at work. It’s a very relatable feeling, and I think that’s why everybody can relate to her. We’ve all been in that situation. I have for sure,” said Edebiri. “I like that she’s complicated and she’s flawed. As an actor that’s just fun. You get to play in those spaces. No one wants to play anybody who’s perfect.”
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The majority of The Bear’s acclaimed ensemble cast, including Ebon Moss-Bachrach—nominated for supporting actor as Cousin Richie—Liza Colón-Zayas, Edwin Lee Gibson, Gillian Jacobs, Lionel Boyce, Oliver Platt—nominated for guest actor for playing Uncle Jimmy—Matty Matheson, Ricky Staffieri, and Abby Elliott, who earned a nomination at the Golden Globes for portraying Carmy’s sensible sister Natalie “Sugar” Berzatto, were spotted socializing at the soirée. “I really love the group of people that I’m with. They are unbelievably talented,” said Elliott. “You feel like you have to rise to the occasion when you’re with them because they set the bar so high.”
The boisterous party also attracted the FX network’s most buzzed-about stars, from Fargo’s Jon Hamm and Jeff Bridges, nominated for lead actor in a drama series for The Old Man, to TV veterans like Ed O’Neill—he stars in Clipped, the upcoming limited series about the downfall of Los Angeles Clippers owner Donald Sterling—and Danny DeVito from It’s Always Sunny in Philadelphia, one of the longest-running shows on television. Other guests in attendance included Jennifer Jason Leigh and her Fargo costar Richa Moorjani,Charlie Day, and three-time Emmy winner Claire Danes, nominated once again for her supporting role in the divorce drama Fleishman is in Trouble.
It’s the time of year when “Best Of” lists abound, but summing up an entire year of any medium is hard. Thankfully, 2023 was a great year in the world of TV and there’s no shortage of amazing choices to capture the best of what this year had to offer.
For my top 10 shows of 2023, I tried mostly to stick to those that debuted this year, but there were two returning shows with outstanding seasons that I couldn’t ignore. Feel free to discuss the list and tell us your faves in the comments!
10. The Walking Dead: Daryl Dixon, season 1 (AMC)
(AMC)
I was a big fan of The Walking Dead, but once the spinoffs started rolling out, I became increasingly skeptical. I couldn’t get into Fear the Walking Dead, and Dead City left a lot to be desired, so I approached Daryl Dixon warily, but I was pleasantly surprised! Moving a fan-favorite character to another country makes the action feel fresh as it forces Daryl (Norman Reedus), a character who’s changed so much over the years, to think and behave differently as he interacts with new people, new factions, new types of walkers, and a new culture.
It was also a wise choice to make the central relationship of the show between Daryl and a child in his care (the “Child Savior” thing was big on TV this year!). Daryl was always great with kids on The Walking Dead, despite his gruff, loner demeanor, so building a show around that makes sense. And as much as I loved the flagship show, Daryl Dixon feels a bit more mature in tone and themes than its predecessor. Daryl Dixon has allowed the TWD Universe to grow up and explore new emotional terrain without sacrificing the sweet, violent walker-y goodness we’ve come to love.
9. Twisted Metal, season 1 (Peacock)
(Peacock)
The first of two video game adaptations on this list, Twisted Metal shouldn’t work as a show. It’s based on a tournament-style game with no real narrative or character development to speak of where your only goal is to drive fast and shoot anyone in your way.
The show, however, has managed to create characters we come to care about deeply, even as it holds onto many of the game’s more gonzo elements. John Doe (Anthony Mackie) and Quiet (Stephanie Beatriz) are a hilarious and heartbreaking team to follow through this bonkers post-apocalyptic world.
And yes, there is a murderous clown named Sweet Tooth (played by professional wrestler Samoa Joe and voiced by Will Arnett) who drives a tricked-out ice cream truck, but even he gets a backstory that helps you understand his journey from being a child actor to a man built like a mountain who kills his way across the country while talking to his best friend, an empty paper bag.
Twisted Metal was one of the biggest surprises of 2023, and with a second season on the way, I hope it stays on the road for a long, long time.
8. Shrinking, season 1 (Apple TV+)
(Apple TV+)
Shrinking is one of the best recent comedies that lean into dramatic situations and themes for laughs. It’s a heartbreaking and ultimately hopeful show about nearly drowning in grief until you learn how to navigate the waves and make it to shore.
Shrinking has an amazing cast led by Jason Segel, Harrison Ford, and Jessica Williams, and like many of the other shows on this list, it succeeds because of its attention to character. Even the more outlandish characters are fully fleshed-out, relatable people. In addition to the main theme of grief, Shrinking deftly deals with other mental health issues—appropriate for a show about therapists.
Thankfully, we have a second season of Shrinking to look forward to on Apple TV+, and apparently there is a three-season story arc planned.
7. The Great, season 3 (Hulu)
(Hulu)
The Great certainly wasn’t the only wonderful show to have an awesome final season this year (shout-out to Succession and The Marvelous Mrs. Maisel, two amazing shows that ended after four seasons), but it’s on my best of 2023 list because because of what a unique show it was.
As I’ve written previously, an anachronistic comedy about Czarist Russia based on a stage play shouldn’t have worked. Yet it did, thanks to brilliant writing (and source material) from creator Tony McNamara and inspired performances from a stellar cast led by Elle Fanning and Nicholas Hoult. The show took exciting risks in its execution throughout its run, with its final season being the riskiest of all. (The Great and Succession have a major death halfway through the final season in common.)
Though losing The Great this year was sad, it went out on a beautiful high note. I’ll be watching Catherine dancing to AC/DC on a loop basically forever. That was as perfect a final scene as a show could have.
6. Lessons in Chemistry (Apple TV+)
(Apple TV+)
Lessons in Chemistry, based on the novel by Bonnie Garmus and created for television by Lee Eisenberg, is a beautiful and relevant limited series that illuminates the varied ways in which women have to fight harder to excel, as well as the importance of human connection.
Brie Larson, who’s made a career out of playing women who will only grace you with a smile if you f—ing earn it, is perfect as Elizabeth Zott, a chemist who ends up hosting a popular cooking show in the 1960s, empowering women by teaching them the science of cooking and encouraging them to pursue their greatest aspirations.
Meanwhile, the show’s relationships, from Elizabeth’s romantic relationship with Calvin (Lewis Pullman), her friendship with her neighbor Harriet (Aja Naomi King), to her relationship with her daughter Mad (Alice Halsey), all add up to create Elizabeth’s success. Every character’s success or failure is determined by the relationships in their lives—the “chemistry” between people, if you will. And that’s an important and beautiful message these days.
5. Poker Face, season 1 (Peacock)
(Peacock)
Peacock took some big swings this year and brought us one of the best and most creative murder mystery shows ever. Rian Johnson’s Poker Face finally gave us the Natasha Lyonne-being-Columbo series we’ve been clamoring for. Lyonne plays Charlie, a woman with a unique superpower. She’s basically a human lie detector, and while she can’t read your mind, she knows when you’re being less-than-truthful and can call “bulls—t” with 100% accuracy.
This ability gets her in a lot of trouble, but it also puts her in a position to help a lot of people. While there’s a central storyline of Charlie trying to escape people trying to kill her, the show also operates as a case-of-the-week series. Every episode starts with its own murder, and then once we see the murder happen, we go back and see all the events from Charlie’s point of view, following her as she ends up stumbling onto the crime and helping to solve it.
The writing and direction are flawless, Natasha Lyonne gives a fascinating performance as Charlie, and the whole thing is such a breath of fresh air in the current TV landscape. Thankfully, Peacock ordered a second season shortly after the season 1 finale.
4. A Murder at the End of the World, season 1 (FX / Hulu)
(FX)
One of the year’s best shows didn’t premiere until last month, but it’s already compelling as hell. If you love Brit Marling and Zal Batmanglij because of The OA or their films The Sound of My Voice and The East, their new show A Murder at the End of the World will be right up your alley.
Emma Corrin plays Darby Hart, a true-crime author and amateur sleuth/hacker who’s invited to a mysterious conference of brilliant minds by tech billionaire Andy Ronson (Clive Owen), who happens to be married to Darby’s hacker idol, Lee Andersen (Brit Marling). As the title suggests, there’s murder at the end of the world, which refers to the remote location of the retreat rather than an apocalyptic premise. However, the apocalypse is evoked, as the devastating effects of climate change (and what can be done about them) are discussed often.
Marling and Batmanglij are excellent at making strange, esoteric worlds feel lived-in and thoroughly human, and Emma Corrin is giving a terrific, compelling performance. Whether you’re into murder mysteries, hacker culture, or just good drama with a unique love story at its center, A Murder at the End of the World will scratch all those itches.
3. Beef, season 1 (Netflix)
(Netflix)
Beef, starring Steven Yeun and Ali Wong, was one of 2023’s most fascinating and unique offerings. It gave us two nuanced, screwed-up characters in Danny Cho and Amy Lau who, in spite of their flaws and their disproportionate obsession with taking each other down, manage to remain completely relatable.
As TMS‘ Madeline Carpou wrote, what sets Beef apart isn’t just the frenzied battle between the show’s two leads, but its incisive commentary on class. Yes, these characters are flawed, but in addition to the social and cultural aspects of their lives (Beef deals with gender, being Asian in the U.S, the intersectionality of being both Asian and Christian), what impacts their lives—and their outsized response to road rage—the most are their individual relationships to money, class, and status.
The Bear‘s first season was a huge success in 2022, but this year’s second season elevated it into the stratosphere creatively and culturally. The first season primarily stuck with its protagonist, Carmy (Jeremy Allen White), with the rest of the superb cast of characters serving the central story of “whether he can save the family restaurant.” The Bear‘s second season wisely incorporated deeper journeys for every character—Ayo Edebiri’s Sydney and Ebon Moss-Bachrach’s Richie, among them—allowing the success or failure of their new dining enterprise to be a true group effort.
What’s wonderful about this show is that it finds the vulnerability, love, and kindness in even the most closed-off and hard-edged characters. Every single person on this show is emotionally damaged in some way, and yet season 2 allowed them to grow, evolve, and find their connections to each other in newer, healthier ways. They all still have plenty of work to do, but I am completely invested in watching every single one of them do that work.
The Last of Us debuted on HBO aaaaall the way back in January, which is basically forever ago in TV time. It’s almost hard to imagine that before this year, there was a world in which Pedro Pascal and Bella Ramsey didn’t exist as Joel Miller and Ellie Williams; a world where Nick Offerman and Murray Bartlett didn’t definitively embody Bill and Frank in a gorgeous episode written by Craig Mazin and directed by Peter Hoar; a world where Tess (played with perfect bi wife energy by Anna Torv) wasn’t one of the most awesome and important characters in TLOU; and where Henry’s little brother Sam (played beautifully by Keivon Woodard, please protect this child at all costs) wasn’t always deaf.
Thankfully, we now live in a world where all these things are true. When TLOU game creator Neil Druckmann teamed up with co-creator and showrunner Mazin, they created not only a beautiful TV adaptation of a beloved video game, but a brilliant and beautiful show in its own right.
