EXCLUSIVE: Thai rising star ‘Bank’ Thiti Mahayotaruk (Hormones: The Series) will head the cast of action comedy Esarn Seven, produced by Bangkok-based production outfit TSixtySix in collaboration with Kliff Studios, 185 Films, True-CJ Creations and White Light Post.
TSixtySix is the Thai-language production arm of production services outfit Indochina Productions, which has serviced and co-produced global titles including The White Lotus: Season 3, The Creator, The Meg 2 and Extraction. Kliff Studios recently co-produced Cannes Critics Week winner A Useful Ghost.
Directed by Chantana Tiprachat (Nha Harn), Esarn Seven follows a down-on-his-luck filmmaker who returns to his hometown in Thailand’s northeast to reclaim his family’s stolen land from a corrupt local politician. To fulfil his mission, he assembles a motley crew of old friends, locals and misfits for a high-stakes heist set against the chaos and colour of the Bun Bang Fai rocket festival.
The film will be produced by TSixtySix’s Cod Satrusayang, Tri Kanchanadul, Siripas Yomchinda and Nicholas Simon, with Kliff Studios’ Tanat Tananivit, Kip Tiaviwat and Annie Yang serving as executive producers. Patchara Jiaravanon and Yaovarat Nirandara are also on board the project as executive producers.
“We wanted to highlight an overlooked part of Thailand for our next film and we found the perfect story,” said Cod Satrusayang, producer and head of TSixtySix. “It’s the kind of film that captures the spirit of modern Esarn – funny, defiant, and bursting with life – while offering international audiences a distinctly local story told with global craft.”
Indochina Productions founder Nicholas Simon said: “We are investing heavily in Thai content as we see its world class potential, especially with the wealth of young talent.”
The ensemble cast also includes Praew Chermawee Suwanpanuchoke (Dr Climax), Chatchai Chinsri (Call Me Daddy), Thiti Srinual (The Undertaker) and Wisarut Himmarat (A Useful Ghost) as part of the heist crew, while Thai boxing legend Samart Payak-arun will play the role of the antagonist Governor Por.
Principal photography will begin later this year in Nakhon Ratchasima and Nong Khai, aiming for a Winter 2026 release.
If you’re still hungry for more after The White Lotus’s April 6season-three finale, you can always scour the cutting-room floor. Writer-director Mike Whitetold the Hollywood Reporter some of his episodes originally came in at an hour and 40 minutes before getting cut down to the tight hours that aired. (Meanwhile, the 90-minute finale was originally shot as two and a half hours, per star Patrick Schwarzenegger.) “As a writer, I got a little indulged,” White admitted.
Luckily, for months now,some of the show’s stars have been revealing their cut moments, including bigger conversations and more fantasies. So, what else did we miss out on this season (other than a bangin’ theme song)? Below, all the deleted scenes from White Lotus season three, updated as moresecrets come out.
The surprise that Kate (may have) voted for Donald Trump originally carried much higher stakes. Carrie Coon told Harper’s Bazaar that, earlier in the season, Laurie shared that her kid is nonbinary. “You see Laurie struggling to explain it to her friends, struggling to use they/them pronouns, struggling with the language, which was all interesting,” she said. That then made Kate’s conversation about Trump “so much more provocative and personally offensive to Laurie,” Coon added. However, White later cut the scene because it was “too political, or too far, or too distracting,” Coon told the Hollywood Reporter. White added to The Hollywood Reporter he didn’t want that detail to “overwhelm” his messaging. “It felt right in March of last year,” he said. “Now, there’s a vibe shift.”
Leslie Bibb also told The Hollywood Reporter about a fantastical scene with Kate that got left on the cutting-room floor. “Kate had this insane dream sequence with the ladyboys and ping-pong and everything was glowing,” she said. “It was also kind of like The Shining.” When? Why? Could it have led to Kate checking out of the White Lotus with new politics? We can only dream of that.
The women Jaclyn eyed while dancing in the club with the Russian men originally played a bigger role in that scene. Michelle Monaghan told Bustle those same women saw the trio of friends at the bar earlier, when they looked “like drowned rats” after getting soaked on the street. “They’re pointing fingers and laughing at them,” Monaghan said. “And Jaclyn was like, Oh, hell no. We’re going downstairs.”
At one point, Saxon’s emotional look at Chelsea reuniting with Rick on the beach was much more eventful. “I actually played a version of that scene where it’s full come-to-Jesus, where Saxon is just so sweet to the girls,” Schwarzenegger told Variety. But White quickly decided that wasn’t right. “He didn’t want some huge change for Saxon yet — just a small moment and to hold on my face as I watch her go off into the distance,” Schwarzenegger continued.
Yeah, we missed out on more tsunami talk. Sam Nivola shared that, in a longer version of Tim Ratliff’s conversation with Lochlan about living without money, Jason Isaacs’s character asked Lochlan about the book he was reading. “And I’m like, I’m reading this book about tsunamis, and fucking 300,000 people died, or however many it was,” Nivola told Deadline. “How do you find any meaning in life when it can all just change like that on a dime? Which I think was a cool way of describing the turmoil that he’s going through.” But that metaphor was lost on a drugged-out Tim. “And then Timothy says, What if money doesn’t matter? or something,” Nivola continued. “And I’m like, Okay, I don’t see how that’s related to what I just said, and he is just totally thinking about his own thing.”
But not to leave the resort. Nivola also revealed that during his character’s near-death experience, after accidentally making a suicide-fruit smoothie, he had a fantasy of escaping one of the show’s iconic body bags. “And that was so scary, because I had to be zipped in a body bag with no air, and then unzip myself,” he told Deadline.
We may never know what happened before this picture.
Saxon was right: Piper is a virgin. White cut an entire plotline from the finale in which, after returning from the monastery, Piper decides to have sex for the first time — with Zion, Belinda’s son. “There’s this whole scene where she’s like, It’s true,” White said on The White Lotus Official Podcast. “Saxon is right about this one thing. I need to get this over with.” White said the story line “would have added ten minutes” to the already long finale, and the “rom-com vibe” didn’t match the tone. “It just felt like I was trying to do too much narratively,” he said. Piper, no!
Mike White originally intended that ending to be even more tragic, with Rick and Chelsea really solidifying their bond in a finale love scene. In a joint Varietyinterview (mostly devoted to how they’re not feuding, okay???), Aimee Lou Wood and Walton Goggins said they had a finale sex scene that showed just how much Rick threw away by returning to his revenge plot. “We designed the whole journey, even down to the fact that Chelsea gets on Rick in the first scene,” Wood said. “Then in the last episode, it was Rick picking Chelsea up. It was so, so delicate.” Goggins agreed, saying it was a scene about “two people who were free. It was this very long, suspended moment of these two people looking at each other. It was so powerful.”
Yes, it is possible for Jason Isaacs to talk about full-frontal nudity without bringing up Mikey Madison’s vulva. When asked by self-described “peen-iatologist” and Jimmy Kimmel Live! guest host Tiffany Haddish about Tim’s exposed penis in episode four, Isaacs shared that his character had another “flashing” moment that got cut from the show. “It was funnier the second time, because the kids went, ‘Dad! Put it away!’’’ he recalled. “But the rest of the scene didn’t work. And I said, ‘Mike, you cut my second dick!’” Maybe White decided that we’d gotten enough scenes of Ratliff family members seeing one another naked?
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.
It’s been a great year for television, and the 75th Primetime Emmy Awards are celebrating a number of fan favourites, including HBO’s Succession and The Last of Us.
Actor Yvette Nicole Brown and Television Academy chairman Frank Scherma announced the Emmy nominations on Wednesday, though the mood was more sombre than usual amid the ongoing writers strike. An actors strike may also be looming, with Hollywood’s largest union representing about 160,000 actors currently demanding better compensation for streaming productions and protections from the use of artificial intelligence (AI).
Succession, a satirical dramedy about a family of one-percenters fighting to control a media conglomerate, walked away with the most nominations for the show’s highly anticipated final season. Stars Brian Cox, Jeremy Strong and Kieran Culkin scored Best Actor nods. Sarah Snook, who plays Shiv Roy, is already a well-positioned frontrunner to score the Best Actress win.
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The show leads all nominees with a whopping 27 in total. The Last of Us was close behind with 24, while The White Lotus received 23.
The Last of Us and The White Lotus, two additional HBO productions, received several nominations, proving once again that streaming remains king in the television space.
2023 Emmy Awards nominees for lead actor, actress in a drama series announced
Popular duo Pedro Pascal and Bella Ramsey of The Last of Us received Best Actor and Actress nominations for their emotional portrayal of trauma-bonded apocalypse survivors. (Ramsey identifies as nonbinary and uses any pronouns)
Jennifer Coolidge, who won the Emmy last year for Outstanding Actress in a Limited or Series or Movie, is nominated alongside The White Lotus co-stars Aubrey Plaza and Meghann Fahy.
Christina Applegate, who in February hinted she would retire from acting as a result of her multiple sclerosis (MS) diagnosis, received a nomination for Best Lead Actress in a Comedy for Dead to Me.
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Barry, The Bear, Ted Lasso, The Marvelous Mrs. Maisel and Abbott Elementary all earned several nominations as well.
(Find a complete list of the nominees in the major categories, below.)
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Best Drama Series
Andor Better Call Saul The Crown House of the Dragon The Last of Us Succession The White Lotus Yellowjackets
Best Comedy Series
Abbott Elementary Barry The Bear Jury Duty The Marvelous Mrs. Maisel Only Murders in the Building Ted Lasso Wednesday
Lead Actor, Drama
Jeff Bridges, The Old Man Brian Cox, Succession Kieran Culkin, Succession Bob Odenkirk, Better Call Saul Pedro Pascal, The Last of Us Jeremy Strong, Succession
Lead Actress, Drama
Sharon Horgan, Bad Sisters Melanie Lynskey, Yellowjackets Elisabeth Moss, The Handmaid’s Tale Bella Ramsey, The Last of Us Keri Russell, The Diplomat Sarah Snook, Succession
Lead Actor, Comedy
Bill Hader, Barry Jason Segel, Shrinking Martin Short, Only Murders in the Building Jason Sudeikis, Ted Lasso Jeremy Allen White, The Bear
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Lead Actress, Comedy
Christina Applegate, Dead to Me Rachel Brosnahan, The Marvelous Mrs. Maisel Quinta Brunson, Abbott Elementary Natasha Lyonne, Poker Face Jenna Ortega, Wednesday
Supporting Actor, Drama
F. Murray Abraham, The White Lotus Nicholas Braun, Succession Michael Imperioli, The White Lotus Theo James, The White Lotus Matthew Macfadyen, Succession Alan Ruck, Succession Will Sharpe, The White Lotus Alexander Skarsgård, Succession
Supporting Actress, Drama
J. Smith-Cameron, Succession Jennifer Coolidge, The White Lotus Elizabeth Debicki, The Crown Meghann Fahy, The White Lotus Sabrina Impacciatore, The White Lotus Aubrey Plaza, The White Lotus Rhea Seehorn, Better Call Saul Simona Tabasco, The White Lotus
Supporting Actor, Comedy
Anthony Carrigan, Barry Phil Dunster, Ted Lasso Brett Goldstein, Ted Lasso James Marsden, Jury Duty Ebon Moss-Bachrach, The Bear Tyler James Williams, Abbott Elementary Henry Winkler, Barry
Supporting Actress, Comedy
Alex Borstein, The Marvelous Mrs. Maisel Ayo Edebiri, The Bear Janelle James, Abbott Elementary Sheryl Lee Ralph, Abbott Elementary Juno Temple, Ted Lasso Hannah Waddingham, Ted Lasso Jessica Williams, Shrinking
Murray Bartlett, The Last of Us James Cromwell, Succession Lamar Johnson, The Last of Us Arian Moayed, Succession Nick Offerman, The Last of Us Keivonn Montreal Woodard, The Last of Us
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Guest Actress, Drama
Hiam Abbass, Succession Cherry Jones, Succession Melanie Lynskey, The Last of Us Storm Reid, The Last of Us Anna Torv, The Last of Us Harriet Walter, Succession
Guest Actor, Comedy
Jon Bernthal, The Bear Luke Kirby, The Marvelous Mrs. Maisel Nathan Lane, Only Murders in the Building Pedro Pascal, Saturday Night Live Oliver Platt, The Bear Sam Richardson, Ted Lasso
Guest Actress, Comedy
Becky Ann Baker, Ted Lasso Quinta Brunson, Saturday Night Live Taraji P. Henson, Abbott Elementary Judith Light, Poker Face Sarah Niles, Ted Lasso Harriet Walter, Ted Lasso
Variety Talk Series
The Daily Show with Trevor Noah Jimmy Kimmel Live! Late Night with Seth Meyers The Late Show with Stephen Colbert The Problem With Jon Stewart
Best Competition Series
The Amazing Race Ru Paul’s Drag Race Survivor Top Chef The Voice
Best Limited or Anthology Series
Beef Dahmer—Monster: The Jeffrey Dahmer Story Daisy Jones and the Six Fleishman Is in Trouble Obi-Wan Kenobi
Lead Actor, Limited Series or Movie
Taron Egerton, Black Bird Kumail Nanjiani, Welcome the Chippendales Evan Peters, Dahmer—Monster: The Jeffrey Dahmer Story Daniel Radcliffe, Weird: The Al Yankovic Story Michael Shannon, George & Tammy Steven Yeun, Beef
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Lead Actress, Limited Series or Movie
Lizzy Caplan, Fleishman Is in Trouble Jessica Chastain, George & Tammy Dominique Fishback, Swarm Kathryn Hahn, Tiny Beautiful Things Riley Keough, Daisy Jones and the Six Ali Wong, Beef
Supporting Actor, Limited Series or Movie
Murray Bartlett, Welcome to Chippendales Paul Walter Hauser, Black Bird Richard Jenkins, Dahmer—Monster: The Jeffrey Dahmer Story Joseph Lee, Beef Ray Liotta, Black Bird Young Mazino, Beef Jesse Plemons, Love & Death
Supporting Actress, Limited Series or Movie
Annaleigh Ashford, Welcome to Chippendales Maria Bello, Beef Claire Danes, Fleishman Is in Trouble Juliette Lewis, Welcome to Chippendales Camila Morrone, Daisy Jones & The Six Nicey Nash-Betts, Dahmer—Monster: The Jeffrey Dahmer Story Merritt Wever, Tiny Beautiful Things
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The 75th Primetime Emmy Awards will be held in Los Angeles on Sept. 18, starting at 8 p.m. ET/5 p.m. PT.
“They didn’t think that I was right for ‘White Lotus’, because I did ‘Euphoria’,” she explained. “So I put myself on tape, I auditioned for ‘White Lotus’ just like everybody else and had a call back like everybody else.”
Sweeney continued, “I could get offered roles that are similar to the ones that I’ve played, but the ones that are different, the ones that surprise people that I do, are the ones that I usually have to fight for.”
Sweeney also stars as Cassie in “Euphoria”, while her latest role sees her playing former government contractor Reality Winner in “Reality”.
“I’ve shocked people by the choices that I make with my characters…there’s always people who see me as Cassie or see me as Olivia,” she added. “They send me scripts that are just like that. It’s the ones I have to fight for that usually are the ones that I want that are different, like Reality. I had to audition for it. I had to put myself on tape and send in my audition just like everybody else.”
The SAG Awards, often an Oscar preview, threw some curve balls into the Oscars race in a ceremony streamed live on Netflix’s YouTube page from Fairmont Century Plaza in Los Angeles.
But the clearest result of the SAG Awards was the overwhelming success of Daniel Kwan and Daniel Scheinert’s madcap multiverse tale, which has now used its hotdog fingers to snag top honours from the acting, directing and producing guilds. Only one film (Apollo 13) had won all three and not gone on to win best picture at the Oscars.
After so much of the cast of Everything Everywhere All at Once had already been on the stage to accept awards, the night’s final moment belonged to 94-year-old James Hong, a supporting player in the film and a trailblazer for Asian American representation in Hollywood. He brought up the ignoble yellowface history of the 1937 film The Good Earth.
“My first movie was with Clark Gable, but in those days the leading role was played by these guys with their eyes taped like this, and the producer said ‘the Asians are not good enough, and they’re not box office.’ But look at us now!” —James Hong during EEAAO’s SAG speech pic.twitter.com/Ww6leTOT1A
“The leading role was played with these guys with their eyes taped up like this and they talked like this because the producers said the Asians were not good enough and they were not box office,” said Hong. “But look at us now!”
Hong added that the cast of Everything Everywhere All at Once wasn’t all Chinese, though he granted Jamie Lee Curtis had a good Chinese name. Curtis’ win was one of the most surprising of the night, coming over the longtime favourite, Angela Bassett (Black Panther: Wakanda Forever), who had seemed to be on a clear path to becoming the first actor to win an Oscar for a performance in a Marvel movie.
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A visibly moved Curtis said she was wearing the wedding ring her father, Tony Curtis, gave her mother, Janet Leigh.
“I know you look at me and think ‘Nepo baby,’” said Curtis, who won in her first SAG nomination. “But the truth of the matter is that I’m 64 years old and this is just amazing.”
The actors guild, though, lent some clarity to the lead categories. Though some have seen best actress as a toss-up between Yeoh and BAFTA winner Cate Blanchett (Tár), Yeoh again took home the award for best female lead performance.
“This is not just for me,” said Yeoh, the first Asian actress to win the SAG Award for female lead. “It’s for every little girl that looks like me.”
Quan, the former child star, also won for best supporting male actor. The Everything Everywhere All at Once co-star had left acting for years after auditions dried up. He’s also the first Asian to win best male supporting actor at the SAG Awards.
“When I stepped away from acting, it was because there were so few opportunities,” said Quan. “Now, tonight we are celebrating James Hong, Michelle Yeoh, Stephanie Hsu, Hong Chau, Harry Shum Jr. The landscape looks so different now.”
Some online commentators suggested there was irony in Mark Wahlberg, who presented best ensemble, handing out the night’s final award to a film with a predominantly Asian and Asian American cast. In 1988, a 16-year-old Wahlberg attacked two Vietnamese men while trying to steal beer near his home in Dorchester, Massachusetts. Wahlberg, who said race wasn’t a factor in the assault, served 45 days of a two-year sentence. Wahlberg also announced the film Women Talking as “Women Are Talking.”
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Best actor has been one of the hardest races to call. Austin Butler (Elvis), Brendan Fraser (The Whale) and Colin Farrell (The Banshees of Inisherin) have all been seen as possible winners. But it was Fraser who went home with the SAG Award for his comeback performance as an obese shut-in in The Whale.
“Believe me, if you just stay in there and put one foot in front of the other, you’ll get where you need to go,” said Fraser, who anxiously eyed the actor-shaped trophy and left the stage saying he was going to go look for some pants for him.
The SAG Awards are considered one of the most reliable Oscar bellwethers. Actors make up the biggest percentage of the film academy, so their choices have the largest sway. Last year, CODA triumphed at SAG before winning best picture at the Oscars, while Ariana DeBose, Will Smith, Jessica Chastain and Troy Kotsur all won at a SAG Award before taking home an Academy Award.
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After the SAG Awards, presented by the film and television acting guild SAG-AFTRA, lost their broadcast home at TNT/TBS, Netflix signed on to stream Sunday’s ceremony. Next year’s show will be on Netflix, proper.
Sunday’s livestream meant a slightly scaled-down vibe. Without a broadcast time limit, winners weren’t played off. A regal and unbothered Sam Elliott, winner for male actor in a TV movie or limited series for 1883, spoke well past his allotted time. The show sped through early winners, including awards for Jean Smart (Hacks), Jeremy Allen White (The Bear) and Jason Bateman (Ozark).
Movie making in Edmonton
Another streaming effect: No bleeping.
Quinta Brunson and Janelle James of Abbott Elementary kicked off the ceremony with a few opening jokes, including one that suggested Viola Davis, a recent Grammy winner, is beyond EGOT status and has transcended into “ShEGOTallofthem.”
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Brunson later returned to the stage with the cast of Abbott Elementary to accept the SAG award for best ensemble in a comedy series. Brunson, the sitcom’s creator and one of its producers, said of her castmates, “These people bring me back down to Earth.”
The White Lotus also took a victory lap, winning best ensemble in a drama series and another win for Jennifer Coolidge, coming off her wins at the Emmys and the Golden Globes. A teary-eyed Coolidge traced her love of acting to a first-grade trip to see a Charlie Chaplin film. She then thanked her date, a longtime friend, the actor Tim Bagley.
Jennifer Coolidge crying and laughing while telling a story about her dad sneaking her out of 1st grade so they could go to a Charlie Chaplin film festival…I love her #SAGAwardspic.twitter.com/438LD5kJJ5
“You’re a wonderful date tonight,” said Coolidge. “I can’t wait until we get home.”
The ceremony’s first award went to a winner from last year: Jessica Chastain. A year after winning for her lead performance in the film The Eyes of Tammy Faye, Chastain won best female actor in a TV movie or limited series for Showtime’s country music power couple series George & Tammy. Chastain jetted in from previews on the upcoming Broadway revival of A Doll’s House.
One award was announced ahead of the show from the red carpet: Top Gun: Maverick won for best stunt ensemble. Though some have cheered that blockbusters like Maverick and Avatar: The Way of Water are best picture nominees at this year’s Oscars, the indie smash Everything Everywhere All at Once increasingly looks like the biggest blockbuster at this year’s Academy Awards.
By Stacy Lambe and Mona Khalifeh , ETOnline.com. Published:
It’s official: Jennifer Coolidge is now a Screen Actors Guild Award winner. On Sunday, “The White Lotus” star took home the prize for Outstanding Performance by a Female Actor in a Drama Series for her performance in the second season of the hit HBO series.
“It’s been a very special year and you know, overwhelming,” Coolidge said while delivering another memorable speech following wins at the 2022 Emmys and 2023 Golden Globes. “And ‘White Lotus’ and Mike White writing me this great part that went on for two seasons, and just HBO giving me the thumbs up to let me to it.”
“I just want to say,” she continued before getting emotional. “I want you all to know that I’m just so grateful. So grateful, because this could be it.”
Next up, Coolidge thanked the show’s creator, Mike White, for changing her perspective, telling the crowd and White directly, “Mike White — you can give money to friends and do nice things for them, and people love money, and I do — whenever I can. When your friends are broke, you can give money and stuff, but the best gift you can give someone is to change someone’s perspective for the better, and view life in a different way, and that’s what Mike White did for me.”
In addition to thanking White, Coolidge also went on to thank her parents for exposing her to the art of acting from a young age.
“What I really want to say is, I have these amazing parents. And they had this incredible gift, it was impossible for them to lie. They just couldn’t do it — never. Never. They just never lied,” she said before revealing the one exception. “My father, one day, the school principal came to my first grade class and said that I needed to be called to the office. And I went to the office, and she said, ‘Your father’s here.’ And my father was standing there, and he goes, ‘Yeah Jenny, we have to go,’ and the principal said, ‘Get well,’ and I didn’t know what that meant.”
She continued, ‘And I got in the car with my dad, and he was driving, and he said, ‘I’m never gonna tell a lie again, but we’re going somewhere really cool. And he drove me to this place, and it was this flooky thing in Massachusetts. It was the Charlie Chaplin film festival. He got me out of first grade class to do it, and I swear to God, seeing Charlie Chaplin for the first time and having that experience, my love of film, my love of actors — all of that came from my first grade.”
Jennifer Coolidge wins Outstanding Performance by a Female Actor in a Drama Series at the #SAGAwards for The White Lotus 🥂 pic.twitter.com/YolkdOsNEl
Coolidge also thanked her date, her friend of 20 plus years, and fellow actor, Tim Bagley.
“My wonderful date, Tim Bagley is my date tonight. He’s my best bud for like, 20 years. Thank you, you’re a wonderful date tonight. I can’t wait till we get home,” Coolidge quipped.
Her SAG Award win extends her career comeback another year after collecting a number of accolades in 2022, including a Primetime Emmy for Outstanding Supporting Actress in a Limited or Anthology Series or Movie for season 1 of The White Lotus.
Jennifer Coolidge is hardly an up-and-comer, but the veteran actress has been experiencing the hottest year of her career thanks to her performances in “The White Lotus” and “The Watcher”, starting 2023 by winning a Critics Choice Award and a Golden Globe.
Speaking with People, Coolidge shared her thoughts on why she thinks she’s having a moment right now.
“I think people liked that I was the underdog,” she said.
“I played a lot of strange women, and people were amused by the comedies I’ve done. Then Mike White put me in ‘The White Lotus’ and it was a drama and comedy at the same time — I never really had that,” she continued.
“Something happened this awards season,” Coolidge added. “I don’t know if they just played clips of me so many times on the Internet or Instagram, but it doesn’t matter what disguise I have on, I can be wearing a frog costume with a helmet and people know it’s me. I was recently walking in the North End in Boston, and I couldn’t make it down the street. I think it’s so interesting. I guess it’s the Internet. I don’t know — or maybe I have a weird walk.”
These are the stories making headlines in fashion on Tuesday
The strategy behind Skims’ viral “White Lotus” campaign Even with such an influential figure as Kim Kardashian at the helm of Skims, the brand has highly leaned into celebrity marketing. For its Valentine’s Day campaign, Skims tapped “The White Lotus” actors Simona Tabasco and Beatrice Grannò. For Business of Fashion, Diana Pearl reports that the campaign, though simple, is still effective due to its clever casting. “When the casting is this strong, this relevant and has such a nice tie to your brand story, you don’t really have to have too much more. The casting itself was the campaign,” said Kylie Vandeven, associate creative director at ad agency VMLY&R (who did not work on the campaign). {Business of Fashion}
A send-off for fashion’s favorite Parisian hangout Le Castiglione, a Parisian cafe known to attract many fashion insiders and a favorite among the locals, officially closed its doors. For The New York Times, Tina Isaac-Goizé writes that this won’t just change the fashion world, but completely “transforms the face of Paris.” As a Parisian staple for more than 30 years, a trip to the cafe has become a part of the French experience. Though it’s the end of one chapter, owner Fabric Couet has already begun anew, having recently bought the Café des Tuileries. {The New York Times}
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Ariana Grande to buy back R.E.M. Beauty for $15 million After selling the physical assets of R.E.M. Beauty and licensing her name and image exclusively to Forma Brands in 2020, Ariana Grande has reached a deal to buy back her beauty brand for around $15 million. The decision comes after Forma Brands (which also owns Morphe) first acknowledged they may be filing for bankruptcy in late 2022. Kevin Simauchi from Bloomberg reports that Grande’s team must await approval from the judge overseeing the bankruptcy case before finalizing the deal. {Bloomberg}
It’s not Haute Couture Fashion Week without a Valentino show. And it’s not a Valentino show without an absolutely stacked front row.
The house hosted its Spring 2023 haute couture debut below Paris’ iconic Pont Alexandre III along the Seine on Jan. 25. While gigantic ribbon bows, delicate feathers and sequins galore turned the runway into a sight worth waiting for, the A-listers made the presentation that much better.
Anne Hathaway arrived in a mini leopard-printed dress with matching tights, while Charli XCX wore a cropped black top with high-waisted trousers. Dove Cameron stunned in an elegant red ensemble, as Beatrice Gannò of “The White Lotus” repped the brand in an all-over logo print. BTS’ Suga made his first-ever appearance at a Valentino show as a brand ambassador in a monochromatic brown suit over a creamy camel blouse from the Unboxing Valentino collection. Doja Cat turned up the glam, of course, in an oversized rosette blazer — her third stop of the day, after appearances at Viktor & Rolf and Jean-Paul Gaultier.
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Scroll ahead to see the best-dressed celebrities at the Valentino Haute Couture Spring 2023 show.
Photo: Pascal Le Segretain/Getty Images
Anne Hathaway at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
BTS’ Suga at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
Beatrice Gannò at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
Sabrina Impacciatore at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
Doja Cat at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
Kylie Minogue at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
Charli XCX at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
Dove Cameron at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
Ashley Park at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
Sofia Carson at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
Sam Smith at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
Chriselle Lim at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
Rosie Huntington-Whiteley at Valentino Haute Couture Spring 2023.
Photo: Pascal Le Segretain/Getty Images
Amina Muaddi at Valentino Haute Couture Spring 2023.
When the season two finale of “The White Lotus” came out and subsequently shattered hearts, minds and several fictional relationships, audiences around the world were not only left with a number of questions of where the characters will go next, but also a hole in our Sunday evenings. We missed seeing their problematic but lovable faces weekly.
Well, Men’s Fashion Week heard the world’s prayers and came to answer them. As the Fall 2023 season has gone on in Milan and Paris, it’s been near impossible to scan a celebrity front row and not see someone from “The White Lotus.”
Albie, Cameron and Ethan (a.k.a. Adam DiMarco, Theo James and Will Sharpe) returned to Italy for the Prada, Giorgio Armani and Emporio Armani shows, respectively, while Sicilian icons Lucia and Valentino (Simona Tabasco and Sabrina Impacciatore) stunned at J.W. Anderson’s latest debut. Tabasco then kept the fun going in Paris at Ami’s Fall 2023 event.
Take a look at who we’ve spotted so far.
Simona Tabasco at Ami Paris Menswear Fall 2023
Photo: Pascal Le Segretain/Getty Images
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Adam DiMarco at Prada Menswear Fall 2023
Photo: Vittorio Zunino Celotto/Getty Images for Prada
Simona Tabasco at J.W. Anderson Menswear Fall 2023
Photo: Daniele Venturelli/WireImage
Theo James at Giorgio Armani Menswear Fall 2023
Photo: Courtesy of Giorgio Armani
Sabrina Impacciatore at J.W. Anderson Menswear Fall 2023
There are few creative mediums that pair as well as fashion and film. The right costumes help advance the story’s plot, while motion captures clothing’s most dramatic displays. This symbiotic relationship has produced some of the most iconic, seared-in-our-brain images over time — and 2022 had a few strong contenders to be added to that list.
From the flamboyant dresses on “Bridgerton” and the glittery and trend-setting looks from “Euphoria” to the alternate-dimension-defining clothes of “Everything Everywhere All at Once” and the powerful, emotional costumes of “Black Panther: Wakanda Forever,” film and television provided us tons of with rich, memorable fashion this year that we know we’ll be revisiting.
The holidays are the perfect time to plunge into shows you missed, catch up on the awards season contenders and indulge in some sartorial escapism. Discover Fashionista’s favorite fashionable TV series and movies from 2022 below.
“Euphoria” season 2
Photo: Eddy Chen/HBO
Costume designer: Heidi Bivens Watch it for: the Y2K-inspired looks, cropped baby tees and bold, glittery makeup. Where to watch:HBO
“Only Murders in the Building” season 2
Photo: Craig Blankenhorn/Courtesy of Hulu
Costume designer:Dana Covarrubias Watch it for: Selena Gomez in early-aughts ensembles, designer jackets, vests and various statement coats. Where to watch:Hulu, Disney+
“Bridgerton” season 2
Photo: Liam Daniel/Courtesy of Netflix
Costume designer:Sophie Canale Watch it for: regency costumes (think corsets, empire waists, bows and brocades) with a modern, sexy twist. Where to watch:Netflix
Costume designer:Kirston Mann Watch it for: the vibrant prints, maxi dresses and beaded accessories that support and celebrate Native designers. Where to watch:Peacock
Costume designer:Lyn Paolo Watch it for: New York sartorial opulence, featuring fake heiress Anna Delvey’s selection of Birkin bags, Oscar de La Renta jewels and Valentino capes. Where to watch: Netflix
Costume designer: Muriel Parra Watch it for: eclectic attires that are a mix of cool, handmade and weirdly fused nerd-punk energy. Where to watch:HBO Max
“Do Revenge”
Photo: Kim Simms/Courtesy of Netflix
Costume designer:Alana Morshead Watch it for: an all-star cast decked out in nostalgic ’90s-tinged fashion, inspired by iconic teen movies and series like “Jawbreaker,” “Clueless” and “Gossip Girl.” Where to watch:Netflix
Costume designer:Colleen Atwood Watch it for: a fresh take on iconic character Wednesday Addam’s gothcore aesthetic with Tik-Tok influenced styling. Where to watch: Netflix
“Black Panther: Wakanda Forever”
Photo: Courtesy of Marvel Studios
Costume designer:Ruth E. Carter Watch it for: traditional African fashion reimagined in a modernistic way, including Ghanaian-inspired tailoring, florid textiles and contemporary tribal dresses. Where to watch: in theaters, coming soon to Disney+
“The White Lotus ” season 2
Photo: Fabio Lovino/Courtesy of HBO
Costume designer:Alex Bovaird Watch it for: the chaotic sartorial choices of upper-class vacationers: Tanya’s Monica Vitti-inspired looks, Ethan’s fintech bro uniform, Valentina’s power suits and Portia’s mismatched Gen-Z wardrobe. Where to watch: HBO
“Bones and All”
Photo: Yannis Drakoulidis/Courtesy of Metro Goldwyn Mayer Pictures
Costume designer:Giulia Piersanti Watch it for: a pair of teenage cannibals donning ’80s vintage, dirtbag fashion. Where to watch: in theaters, available to rent or purchase on Amazon, Apple TV, Google Play, Vudu
“Emily in Paris” season 3
Photo: Marie Etchegoyen/Courtesy of Netflix
Costume designer:Marylin Fitoussi Watch it for: fantastical off-the-runway pieces, Sylvie’s French minimalism and Emily’s Parisian style evolution. Bonus: ripped-from-the-fashion-headlines plots. Where to watch:Netflix
“Glass Onion: a Knives Out Mystery”
Photo: John Wilson/Netflix
Costume designer: Jenny Eagen Watch it for: Benoit Blanc in cheeky Mediterranean outfits, red-carpet-worthy gowns and playful resort wear. Where to watch:Netflix
“Mrs. Harris Goes to Paris”
Photo: Courtesy of Focus Features
Costume designer: Jenny Beavan Watch it for: fantastical French haute couture inspired by mid-century Dior archives. Where to watch: available to stream, rent or purchase on Peacock, Prime Video, Google Play, Apple TV, Vudu, Youtube, Redbox
Please note: Occasionally, we use affiliate links on our site. This in no way affects our editorial decision-making.
Meghann Fahy is offering juicy details about what happened between “White Lotus” characters, Daphne, and Ethan (Will Sharpe) after they slipped off together and seemingly exacted revenge on their cheating spouses in the season 2 finale.
In a Q&A with Variety following the explosive conclusion of the hit HBO show, Fahy confirms that Daphne and Ethan did, in fact, embark on a “sexual” rendezvous, this after Ethan tells her he thinks his wife, Harper (Aubrey Plaza), hooked up with her husband, Cameron (Theo James).
Fans will recall Fahy took the news rather well, considering what she had just heard. After taking it all in, Daphne invites Ethan to a remote island and fires away seductive looks, hinting at what just might be going down. While it’s never revealed in the show what happened between Daphne and Ethan — the scene is left for interpretation — Fahy now confirms Daphne and Ethan hooked up.
“I definitely think something happened. I don’t know what exactly happened, but I do know that it was something,” she begins telling Variety when asked what happened between them. “Honestly, in that moment, I think Daphne just saw this broken man and wanted to do something to make him feel more empowered in her own strange way. I really don’t think that she led him there to get back at Cameron or Harper.”
She continued, “Someone said something really interesting the other day, which was like, do you think that part of Daphne’s sadness comes from her betrayal from Harper? I was like, totally. I think she’s been through this with Cameron who knows how many times, but I think she really thought that Harper was maybe her friend, or wanted her to be. She has that vulnerable moment in Episode 3 where they’re in Noto, and she talks about how she has a hard time keeping female friends and stuff. So, I do think that was part of the experience of it but yeah, I don’t know that I can say exactly what happened, but I think definitely something sexual for sure.”
For what it’s worth, Sharpe also weighed in on what he thinks went down with Daphne and Ethan. While he told Variety that it’s “open to interpretation,” he also added that he feels that “whatever happened, in a literal sense, that moment between them is definitely a moment of connection” and “a moment of intimacy.”
The season 2 finale also revealed that fan favourite Tanya McQuoid-Hunt (Jennifer Coolidge) met her demise in Sicily. The signs were everywhere that this was bound to happen, if you knew where to look.
[Warning: Spoilers. Do not read ahead if you haven’t watched season two of “The White Lotus”.]
“Emily in Paris” star, Samuel Arnold, tried to avoid “The White Lotus” spoilers for as long as he could, that is until one of his co-stars slipped out the show’s shocking ending.
While it may seem like Arnold is talking about Bruno Gouery- given that he stars on both “Emily in Paris” as Emily’s (Lily Collins) co-worker Luc and on “The White Lotus” as one of the gay men attempting to swindle Jennifer Coolidge’s Tanya, until he ultimately dies at her hands in a nautical killing spree- he wasn’t the one to let anything slip.
“He said nothing about the storyline—he didn’t spoil anything,” Arnold, who stars as Emily’s other co-worker Julien, told E! News about Gouery keeping his lips sealed on all things “White Lotus” while they were filming the third season of “Emily in Paris”. “But Ashley Park came to my room earlier and told me the ending, thinking that I saw it. So I’m a bit upset about that.”
While Arnold wishes Park hadn’t spoiled the ending for him, he’s happy to know that Gouery’s new “White Lotus” co-stars are big fans of “Emily in Paris”.
“People were just loving that [Gouery] was doing ‘Emily in Paris’ and that he was on the set of ‘The White Lotus,’” Arnold told the outlet. “It was great to have an ‘Emily in Paris’ flag wielder on another set, you know? They’re all fans. It just makes us so proud—one of our own.”
Although Arnold was initially upset to learn the show’s ending without having watched it yet, his actual reaction after Park let it slip was: “I’m here for that!”
“I can’t wait to see him die onscreen. That would be so fun,” he said. “But I wish that I could have discovered it myself.”
The third season of “Emily in Paris” drops next Wednesday, December 21 on Netflix.
After a long viewer journey meant to cover a mere week in Taormina, Sicily (a.k.a. tourist kryptonite thanks to The Godfather being shot there), the second season of The White Lotus finally came to its predicted conclusion. For it’s not as though Mike White was trying to hide the fact that Tanya McQuoid’s (Jennifer Coolidge) doomed fate was sealed from the moment she arrived on the island. The foreshadowing was already written when Tanya stumbled uneasily off the White Lotus’ charter boat as Valentina (Sabrina Impacciatore), the hotel manager, watched nervously from afar. Clearly, Tanya’s unwieldy body and alcoholic predilections don’t make her an ideal candidate for getting on and off a boat seamlessly. Which, believe it or not, is a very important skill for a rich person to have, being that they’re among the few with regular boat access.
But before Tanya can become aware of what’s about to happen to her, she’s welcomed by Valentina as an elite member of the “Blossom Circle” (“I was a Petal and I’ve worked my way up to Blossom,” Tanya reminds—as though spending her fortune is “working” to become a higher-level VIP). Using more heavy-handed presaging language, Tanya tells Valentina, “Whenever I stay at a White Lotus, I always have a memorable time. Always.” Along for that memorable time on this edition of the vacation is Tanya’s extremely vexing assistant, Portia (Haley Lu Richardson). Except that, apparently, she’s not really supposed to be there, per the wishes of Tanya’s recently bagged husband, Greg (Jon Gries). Who, in reality, doesn’t want her to be present because he needs Tanya to be cornered alone by the bevy of gays that are going to take her under their wing in her state of abandonment. But without Portia, there is no interconnectedness to Albie (Adam DiMarco), in town with his father, Dom (Michael Imperioli), and grandfather, Bert (F. Murray Abraham), to visit their relatives… who have no idea who they are, nor do they care.
It is in Portia’s state of distress over being exiled and told to make herself scarce by Tanya that Albie finds her next to the pool. Inherently attracted to “wounded birds” a.k.a. lost souls a.k.a. damaged goods, he asks her if everything’s okay. She’s quick to place her confidence in him, treating him more like a Dawson-esque “bestie” than someone she could actually be attracted to.
Elsewhere in the fray is the pair of couples, Ethan (Will Sharpe) and Harper (Aubrey Plaza) Spiller (most disgusting last name ever); Cameron (Theo James) and Daphne (Meghann Fahy) Sullivan. Linked together solely because Ethan and Cameron were roommates in college. As far as opposite styles of personality and dynamic go, there couldn’t be a more divergent set of couples. While Ethan and Harper have a sense of gloom about the world (particularly Harper), Cameron and Daphne don’t even bother to watch the news, preferring to remain content in their money bubble. Something Cameron feels Ethan should start to do as well, now that he’s become a very rich man after selling his company.
The “swingers”-esque vibe put forth by the quartet throughout is initially established by mention of the Testa di Moro, the legend of which is retold to the naïve foursome by an employee named Rocco (Federico Ferrante), who rehashes, “The story is, a Moor came here a long time ago and seduced a local girl. But then she found out that he had a wife and children back home. So, because he lied to her, she cut his head off.” And then turned it into a vase she could plant basil in. Cameron half-jokes that the presence of the head in someone’s garden means, “If you come into my house, don’t fuck my wife.” More foreshadowing indeed. Daphne then chimes in, “It’s a warning to husbands, babe. Screw around and you’ll end up buried in the garden.” When Daphne says her “joke,” however, it later becomes apparent that she’s not as dim and clueless as she comes across on the surface.
Tanya, on the other hand, certainly is. And her sense of over-the-top drama seems to be a way to compensate for her vacancy. Much to Portia’s irritation, as she tells someone over the phone by the pool, “She’s a mess. She’s a miserable mess. If I had half a billion dollars, I would not be miserable. I would be enjoying my life.”
Tanya tries in her own way to do that… mainly by having half-hearted sex with Greg that afternoon, only to throw him off of her as she tells him that, while disassociating, “I was seeing all these faces of men with these very effeminate hairstyles. And then… I saw you! And your eyes were like shark eyes. Like just completely dead. Just like, dead.” A very witchy premonition, of sorts, to be sure. But what Tanya never could have predicted is that Greg would decide to leave just three days into the vacation, informing Tanya of as much at the end of episode two, “Italian Dream.”
Claiming he has to get to Denver for an Important Work Thing, she tells him that he should quit his job. He reminds her how insecure he feels about that, especially since the ironclad prenup he signed would mean that he’d get nothing if they didn’t work out. She counters that of course they’ll work out. Greg, not in a mood for sugar-coating, reminds, “You change your mind about everything constantly. You drop your friends. You fire people on a dime. I mean, you’ve been through—how many fuckin’ assistants have you been through? You just discard people.” And there it is: the crux of her bad karma. Something she was also guilty of during the first season of The White Lotus, when Belinda Lindsey (Natasha Rothwell), the manager of the spa at the Maui White Lotus, was dangled the promise of financing from Tanya to start her own wellness business. Alas, when Greg came along with his wrinkled dick to distract her, she quickly pulled the plug on Belinda’s dreams, which she hadn’t dared to have in quite some time. She even put together an elaborate business plan that Tanya never bothers to so much as glance at because Greg showed up and expressed an interest in her.
So it is that the more pronounced class element of The White Lotus’ first season becomes manifest in a subsequent exchange between Belinda and Rachel Patton (Alexandra Daddario), the new trophy wife of affluent real estate agent, Shane Patton (Jake Lacy). After realizing too late that she’s signed on to be a trophy wife, her existential dread amplifies throughout their Hawaiian honeymoon. And although Belinda gives Rachel her card during a moment when Tanya hasn’t totally dashed her dreams in her position as “she who controls the purse strings,” Rachel makes the mistake of calling Belinda to vent after the latter has had her fill of rich white people bullshit. So it is that, as she sits there listening to Rachel complain about not having to work anymore because Shane is loaded, she finally responds, “You want my advice? I’m all out” before walking right out of the room. And Tanya is entirely responsible for her sudden jadedness. For Belinda was always aware that there was a class divide, but never had it been used against her quite so cruelly.
Thus, Tanya seems to be paying for that karmic slight big time in season two. With Greg being no “gift” at all, so much as a master manipulator. Eerily enough, Greg says to her in the final episode of season one, “Enjoy your life till they drop the curtain.” Little did she know, he was talking about her and not himself. And yes, one has to wonder if Greg ever had cancer at all, or if it was all part of the long con, some kind of “sympathy lure” (even so, he assures her in “Bull Elephants,” “You’ve done a lot for me, you found those doctors. I’m gonna live…because of you”). More uncanny still is that Tanya replies to his comment, “I’ve had every kind of treatment over the years. Death is the last immersive experience I haven’t tried.”
Thanks to the sudden appearance of a gaggle of gays (Hugo [Paolo Camilli], Didier [Bruno Gouery] and Matteo [Francesco Zecca]) led by Quentin (Tom Hollander), she’s about to get her wish. And it’s no coincidence that they show up in episode three, “Bull Elephants,” right after Greg leaves. Ready to pounce on her with flattery as much as Cameron is ready to pounce on Ethan with propositions of debauchery now that Daphne and Harper have gone to Noto for the day… and night. The plucky prostitutes at the center of it all, Lucia (Simona Tabasco) and Mia (Beatrice Grannò), take advantage of the duo’s temporary “lonesomeness,” especially after Lucia’s sure gig for the week, Dom, decided to back out due to being racked with guilt over all the times he’s cheated on his wife (voiced over the phone by Laura Dern). Not that it matters now, for she refuses to take him back. Nonetheless, Dom suddenly sees fit to make an effort at “being good.” His own self-imposed karmic payment (for the moment, anyway) being abstinence.
As for Cameron, he starts to act like the devil on Ethan’s shoulder as he insists, “Monogamy was an idea created by the elite to control the middle-class.” Giving in to the peer pressure of yore, Ethan goes along with hiring Lucia and Mia, only to rebuff Mia’s advances out of his “respect” for Harper and their marriage. Harper, meanwhile feels kidnapped by Daphne, who offers her some placating weed so they can get a little more comfortable with one another. Comfortable enough for Daphne to remark that, in order to control the karma balance of Cameron cheating on her probably pretty regularly, she does what she wants so she doesn’t “feel resentful.” This is Daphne’s running mantra throughout The White Lotus, telling Harper, “And if anything ever did happen, you just do what you have to do to make yourself feel better about it” and then similarly telling Ethan, “You just do whatever you have to do not to feel like a victim.” And, in this way, she justifies all of her wrongdoings, from having another man’s child and passing it off as Cameron’s to fucking Ethan on the Isola Bella. This is how she staves off karma—by stating that she’s merely offsetting the bad karma of others with what she does in response.
It doesn’t work quite the same way for Tanya, whose death is further alluded to when Portia tells Albie, “I feel like if I murdered my boss, I could argue it was euthanasia.” So yes, Greg isn’t the only one who’s had it up to here with Tanya’s self-involved theatrics. In episode five, “That’s Amore,” Tanya’s self-obsession amplifies when she asks of Greg’s abrupt departure, “How did I not see the signs, Portia? Do you think I’m oblivious?” “No,” Portia lies. Ignoring her answer anyway, Tanya continues, “You know, sometimes I think I should’ve started that spa for poor women with that girl from Maui. You know, ‘cause she was like a real healer. The real deal. But you know, sometimes, I think those healers are a little witchy. Maybe she put a curse on me.” Of course, that’s quite the self-victimizing rich person’s thing to say—for the only “curse” Tanya has is invoking her own bad karma with her carelessness. Some might call it “innocent” because she “doesn’t know any better,” but the veneer of Tanya’s spoiled privilege isn’t enough to excuse her reckless actions when it comes to other people. Usually those who don’t have even one iota of her power (read: money) level, Portia included.
As for those, like Ethan, who have achieved that rare feat—coming into money through hard work—it still feels like they’re somehow never “good enough” for those born into wealth. Something that Cameron made him feel throughout their collegiate tenure. But Cameron is not without his insecurities either, with Ethan explaining to him at one point during a wine tasting, “You have a bad case of something called mimetic desire… If someone with higher status than you wants something, it means it’s more likely that you’ll want it too.” Ah, the competitive nature of the rich and rich-ascending. Their karma ultimately being perpetual dissatisfaction. This is where Belinda’s sarcastic and incredulous “poor you” face comes to mind.
The discrepancy of karmic repercussions among the two clashing classes (broke ass and moneyed) is the one way in which The White Lotus sustains its season one venom for the rich; a venom that does not necessarily mean justice for everyone, so much as the presentation of the affluent as largely untouchable. For, apart from Tanya, the punishment against the less wealthy always seems more severe. Even the lowly piano player, Giuseppe (Federico Scribani), is subject to his karma, finally ousted from his position by Mia for being a garden-variety lecherous liar.
Then there’s the more financially flush Dom, who is told by Albie that all he really needs to do to absolve himself in his son’s eyes is make a literal karmic payment… of fifty thousand euros. Money Albie “requires” to give to Lucia, who has been playing her own long con, albeit (Albie-it?) to a less malicious extent than Greg and the gays. Promising that he’ll put in a word with “Mom” about him, Dom can’t resist the exchange. And, much to his shock, Albie speaking favorably about his father results in her actually answering the phone and saying they can talk when he gets back. So much for paying karma back in blood, sweat and, in Tanya’s case, death. In this sense, White appears to be iterating that there’s nothing unuomo bianco can’t get away with (a fitting message considering White’s last name).
At the same time, there is the unusual curveball of the prostitutes being the real victors of the entire narrative, though who knows when their own debt to karma might come along? Knowing prostitute luck (and profligacy), it will only be a matter of weeks before the money slips through their hands. In any event, if there is one other key takeaway from the second season of The White Lotus—apart from class and karma (including its evasion) going hand in hand—it’s that a lot of people bone with devil-may-care attitudes in Sicily. With Cameron being the only one who appeared to use a condom amid the varying adulterous dalliances and permutations (and the takeaway from that was: condom usage only leads to evidence that will get a person caught). But hey, what happens on vacation stays on vacation… except the STDs.
Season 2 of The White Lotus has officially come to a close – and audiences finally learned who died in that very shocking, very unexpected final episode.
The second installment of creator Mike White’s Emmy-winning social satire opened with Daphne (Meghann Fahy) discovering a dead body in the water, off the beach of the Sicilian luxury hotel where she was staying with her husband Cameron (Theo James) and their two friends, Harper (Aubrey Plaza) and Ethan (Will Sharpe).
As hotel manager Valentina (Sabrina Impacciatore) assessed the scene, it was soon revealed by her employee, Rocco (Federico Ferrante), that there was more than one dead body.
Since then, audiences have eagerly been guessing which guests will turn up dead – and what led to their demise – as the remaining six episodes unfolded. And in the finale, “Arrivederci,” all was revealed. [Warning: Spoilers below!]
So, in the end, the dead bodies belonged to Tanya (Jennifer Coolidge), who was discovered by Daphne, as well as Quentin (Tom Hollander) and several of his gay companions, who were all revealed to be in on a long con involving an attempt to kill her and take all her money. It was Tanya who killed them while aboard their yacht on the way back to the hotel from Palermo before slipping and falling into the water while trying to escape on the boat’s dinghy.
It was during their final night that she discovered a photo of Quentin and Greg (Jon Gries) as young men together and came to believe that they were working together to take advantage of the pre-nup she had with her husband, whom she met during season 1 at the White Lotus hotel in Hawaii.
Jack (Leo Woodall), meanwhile, was tasked with driving Portia (Haley Lu Richardson) back across the island. Instead of returning her to the hotel, he took her to the airport/ He left her with a warning to get out of Sicily as soon as she could and that the men he was involved with were dangerous.
While Greg promised to return to Sicily, he never returned. And what came of his and Quentin’s attempt to get her money remains unclear. The hotel’s other guests, however, survived. But they all left on mostly damper notes, with Albie (Adam DiMarco) being played by Lucia, who managed to score €50,000 from him and the rest of his family; the two couples — Ethan and Harper and Cameron and Daphne — dealing with the unexpected turmoil that erupted between them; and Mia (Beatrice Grannò) landing a full time job as the hotel’s new singer/pianist after seducing Valentina and drugging Giuseppe (Federico Scribani).
And as promised by the cast, the season truly ended on a volcanic note with Mount Etna erupting in the background.
Next month’s AFI Awards will honour films including the “Avatar” sequel, “Top Gun: Maverick”, “Elvis” and popular television series like “Abbott Elementary”, “Better Call Saul” and “The White Lotus”.
The American Film Institute announced its slate of honorees Friday ahead of its gala luncheon on Jan. 13 in Beverly Hills, California.
Actor Meghann Fahy is being called the break out star of season 2 of “The White Lotus.” Fahy joins “CBS Mornings” to give a sneak peek of the explosive season finale of the hit series, and she explains why no one should underestimate her character Daphne.
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Style Points is a weekly column about how fashion intersects with the wider world.
She has a seemingly endless, trousseau-like wardrobe; an affinity for matching sets that is unrivaled even by 1989-era Taylor Swift, an aperitivo permanently welded to her hand, and a travel adapter on her Dyson AirWrap. Daphne Sullivan, the object of everyone’s collective obsession on The White Lotus, seems to have the fashion community in a death grip. After the last episode, Tyler McCall tweeted: “I’m sorry…I have to live my truth…even though I know we’re meant to find her a bit basic I LOVE Daphne’s wardrobe on WHITE LOTUS…”
Even the contents of her medicine cabinet (and we’re not talking about the Vintner’s Daughter) are dissected online: When writer Kelsey McKinney asked her followers what antidepressant cocktail they thought Daphne was on, one responded: “I think it’s called money.”
Daphne’s Pucci bikini garnered particular praise.
//HBO
Money is definitely a part of the appeal, but it goes beyond that. Daphne, played by Meghann Fahy, represents a fantasy not just of wealth, but of blithe ignorance (she doesn’t remember if she voted.) That is perfectly encapsulated in the Barbie getups costume designer Alex Bovaird puts her in: a matching Prada set with a prominent triangle logo; a mod-tastic Pucci bikini; another set, this one gilded, from Dolce & Gabbana. (You can just imagine her swanning into a department store asking for “all your Italian stuff!”)
A matching Prada set worn on a day trip with Harper (Aubrey Plaza).
Fabio Lovino/HBO
While her clothes bear designer labels, they’re awkward translations of what’s in currently in fashion. And yet, we can’t look away. Especially post-pandemic, Daphne and her wardrobe appeal to the part of our lizard brain that just wants to throw on a Farm Rio dress and bask in the sun. No thoughts, just crop tops!
Colorful, maximalist dresses are a Daphne staple.
//HBO
The character’s insouciance is part of her appeal; the only thing not stuffed into her designer luggage appears to be existential angst. Nothing seems to perturb her, whether it’s the specter of her husband cheating on her or her dining companions getting embarrassingly drunk. She and her husband, Cameron (Theo James), in their uncomplicated happiness, remind me of a 2022 version of Gerald and Sara Murphy, the Lost Generation expats and F. Scott Fitzgerald pals whose lives were chronicled in Living Well Is the Best Revenge (an apt motto for the couple). Or perhaps, depending on what befalls them in Sunday’s finale, Daisy and Tom Buchanan. Everyone on the show exudes privilege, but they do it with the least self-consciousness. Whatever else you want to say about their wardrobes, they aren’t hiding their sartorial light under a bushel. They don’t expend all their energy on trying to throttle back and appear tasteful. They want to look rich.
The show’s costume designer has cited Audrey Hepburn (seen here in Roman Holiday with Gregory Peck) as an influence.
Bettmann
The mythical idea of “resort” in fashion has become less about a physical trip to an actual resort (White Lotus or otherwise) and more about escapism. Resort collections often contain more watered-down versions of the harder-edged runway trends, sanding away the more avant-garde aspects of a designer’s work—which makes them perfect choices for Daphne. But they also have an element of costume to them that’s made for look-at-my vacation-Boomerang-level peacocking (you just know Daphne still posts Boomerangs.)
Brigitte Bardot, vacationing in Capri in the ’60s.
Keystone-France
When Americans visit Italy, “they bring their A-game,” Bovaird told Variety. The show plays with the trope of tourists soaking up the Old World, a tradition that dates back to the winsome heroines of A Room With a View and Daisy Miller. He pulls from midcentury references that fit the show’s cinematic allusions (Fellini, Antonioni, The Godfather.) And while it may occasionally be cringeworthy to watch people try this hard, it’s always entertaining.
With fashion’s maximalist tides ebbing and a pre-recession austerity casting a pall over style in general, the show’s splashy looks are as refreshing as a beachside spritz. Daphne is the kind of person I’d probably hate in real life. But I have to admit, she kind of makes me want that Prada set.
Véronique Hyland is ELLE’s fashion features director and the author of the book Dress Code. Her work has previously appeared in the New York Times, the New Yorker, W, New York magazine, Harper’s Bazaar, and Condé Nast Traveler.
One of the most memorable scenes in the second season of HBO comedy “The White Lotus” takes place when Aubrey Plaza’s character witnesses James’ character, the husband of her best friend, strip down naked without realizing she’s watching him.
During an appearance on “The Tonight Show Starring Jimmy Fallon”, James revealed that he had a bit of artificial assistance for his full-frontal nude scene.
“The truth of it was you go into these things and you have a conversation with the director and the producers, and they go, ‘OK, for this, we’re going to use a prosthetic, we’re gonna use something,’ and you say, ‘OK, that sounds good,’” James explained.
“It’s a pee-pee prosthetic,” he quipped, noting that he told the show’s makeup artist that “I wanted it not to be distracting. He needs to be [a] regular Joe because the scene’s not about the pee-pee, it’s about power play in sex [and] whether he did it deliberately or whether it was an accident, and what that means, and that kind of stuff. And she says, ‘I got you. I got you. Regular Joe.’”
As viewers of that scene can attest, that prosthetic member was anything but regular.
“We get to set and she’s got, like, a hammer or something,” James said. “I mean, it’s bigger than that. It’s like she stole it off a donkey in the field. The thing is ginormous. And me and the director, Mike White, are sitting there going, ‘That’s… average, is it?’”
In fact, he joked, after getting a glimpse of the prosthetic appendage he and White went about “calling our respective partners being like, ‘I’m so sorry.’”
He added, “It was nine inches flat and about four inches wide. We were like, ‘What the hell is that?’”
