Get ready for a gripping episode of “Law & Order” as Season 23 Episode 9, titled “Family Ties,” airs on NBC at 8:00 Pm on Thursday, April 11th, 2024. In this intense installment, viewers are in for a suspenseful ride as Shaw and Riley delve into a high-stakes corruption case with ties closer to home than they could have ever imagined.
When a congressman’s aide is discovered dead shortly after testifying in the case, suspicions run high, and the investigation takes a shocking turn. As Shaw and Riley dig deeper, they uncover a web of deceit and betrayal, leading them to suspect that the culprit may be someone within their own circles.
Meanwhile, as Price builds his case against the defendant, Baxter proposes a bold strategy to go after an accomplice as well, adding another layer of complexity to the already intricate investigation.
Join NBC as they invite viewers to unravel the...
When a congressman’s aide is discovered dead shortly after testifying in the case, suspicions run high, and the investigation takes a shocking turn. As Shaw and Riley dig deeper, they uncover a web of deceit and betrayal, leading them to suspect that the culprit may be someone within their own circles.
Meanwhile, as Price builds his case against the defendant, Baxter proposes a bold strategy to go after an accomplice as well, adding another layer of complexity to the already intricate investigation.
Join NBC as they invite viewers to unravel the...
- 4/4/2024
- by Jules Byrd
- TV Everyday
That’s a wrap on all three of the Creative Arts Emmy Awards shows, so let the music play!
“RuPaul’s Drag Race,” the reality competition series which is hosted by drag queen RuPaul Charles, won big with five Emmys in several categories, including Outstanding Casting for a Reality Program, Outstanding Directing for a Reality Program and Outstanding Host for a Reality or Competition Program (which is RuPaul’s sixth straight Emmy win for the category).
Also, to further the franchise’s stardom, “RuPaul’s Drag Race Untucked,” a behind-the-scenes spinoff of the reality series, won the unstructured reality category for the first time.
None of this weekend’s three Creative Arts shows were televised. Next Saturday, a highlights show of sorts will air on Fxx starting at 8 p.m. Et/Pt.
The *real* Emmys, hosted by Cedric the Entertainer, air live next Sunday, Sept. 19, starting at 8 p.m. Et/5 p.
“RuPaul’s Drag Race,” the reality competition series which is hosted by drag queen RuPaul Charles, won big with five Emmys in several categories, including Outstanding Casting for a Reality Program, Outstanding Directing for a Reality Program and Outstanding Host for a Reality or Competition Program (which is RuPaul’s sixth straight Emmy win for the category).
Also, to further the franchise’s stardom, “RuPaul’s Drag Race Untucked,” a behind-the-scenes spinoff of the reality series, won the unstructured reality category for the first time.
None of this weekend’s three Creative Arts shows were televised. Next Saturday, a highlights show of sorts will air on Fxx starting at 8 p.m. Et/Pt.
The *real* Emmys, hosted by Cedric the Entertainer, air live next Sunday, Sept. 19, starting at 8 p.m. Et/5 p.
- 9/12/2021
- by Tony Maglio and Aarohi Sheth
- The Wrap
Watching the intriguing and unpredictable adult drama The Forgiven, which takes place right in the heart of the High Atlas mountains in Morocco, I couldn’t help but think that if the 2012 book on which it is based were around a few decades earlier this would be the kind of movie Richard Burton and Elizabeth Taylor would have made. It is actually a film dependent on a strong star pairing, and Ralph Fiennes and Jessica Chastain certainly fill the bill as a somewhat bored married couple invited to spend the weekend at the isolated villa of a gay friend in the middle of the desert.
Based on the novel by Lawrence Osborne it is a story that pits the haves and the have nots, Westerners with money to spare versus local Muslims with nothing but miles of sand to traverse. On the one hand The Forgiven, written and directed by John Michael McDonagh and world premiering today at the Toronto Film Festival and with a title that even sounds like a movie Taylor and Burton might have made in the ’60s, is about that clash which happens solely due to a tragic accident that brings these disparate groups unexpectedly together. On the other hand it is about people from distinct and different backgrounds who deal with their own humanity in ways that couldn’t be more miles apart. It is a clash of cultures that serves on a very small level as something of a view for the world at large, one ultimately asking for universal understanding.
David Henninger (Fiennes) and his wife Jo (Chastain), a children’s author, are driving to spend the weekend at the elaborate and remote Moroccan villa (Willem Smit’s production design is aces) of their friend Richard (Matt Smith) and his gay lover Dalley Margolis (Caleb Landry Jones). Other kitschy guests will also be partying with no abandon there for the housewarming party of this renovated ksour in the middle of nowhere. Before they can arrive, David, not a terribly friendly man and a functioning alcoholic, gets drunk and winds up carelessly running over a young local man named Driss (Omar Ghazaoui), killing him. Not knowing what to do he takes the body to the house. Although a tragedy, this incident does not seem to dampen the mood, and is ruled an accident by authorities, perhaps favoring those with wealth vs those more expendable?
As the guests, a bourgeoisie bunch if ever there was one, go about their merry games, we get an ugly view of privileged western society where, despite outward appearances, they all seem to be dead behind the eyes if you ask me. There is also attractive American Tom Day (Christopher Abbott), party girl Cody (Abbey Lee), photographer Isabelle Peret (Marie-Josee Croze) and more drifting in and out of frame. The focus is primarily on David and Jo, he a lost cause and she potentially a decent person, if overdressed in evening gowns for the occasion, caught up in a dying marriage.
Things heat up considerably when Abdellah (an excellent Ismael Kanater), the father of the dead boy, arrives to identify the body. In a rare moment of remorse over causing this loss of a young man’s life, accident or not, David somewhat reluctantly agrees to accompany Abdellah and his group to the outer desert in order to bury the boy. Is this his version of atonement? It certainly adds a unique layer of tension to the story as he sets off in the car with this Muslim father of the boy he killed. Their interactions on the journey are the strongest part of the film.
Meanwhile, back at the ranch…Jo opens up and shows emotional vulnerability as she falls into bed with Tom, ratcheting up the stakes when David returns, if he returns. We don’t really know how this will play out, and that is what kept me engaged right up to the very last moment.
In a directorial flourish I have never quite seen before, every single credit, including all the music cues and crew members, roll by at the beginning of the movie. McDonagh clearly has his reasons for that but it is disconcerting to say the least. I actually thought the link I got to watch the gorgeously shot movie (cinematography is by Larry Smith) was somehow unspooling backwards. I almost called the support line. Ultimately what McDonagh has wrought is a look into ourselves no matter what class we are in, and he clearly wants it to end with no ambiguity on that matter. Fiennes as a thoroughly unlikable man manages through his exceptional acting talent to show us how David may have a decent human buried deep inside. Chastain, who received the Actor award at TIFF today, is having quite a festival with The Eyes of Tammy Faye also premiering here this weekend on top of the HBO debut Sunday of her limited series Scenes From a Marriage. She brings extra dimension to a basically good woman who is trying to find any spark of life left in her. Smith, best known for The Crown, is perfectly cast as Richard, while Jones’ character is a little too weird to ever let the actor take it out of first gear. Best of all is perhaps is driver Anouar, as played by Said Taghmaoui, with genuine wisdom and smarts well above his pay grade. This is a rare and thoroughly adult drama offering much to think about.
Elizabeth Eves, Trevor Mathhews and Nick Gordon are producers. The production companies listed are House of Un-American Activities and Brookstreet Pictures. The print I saw was fronted by the Focus Features logo, but the title is being sold at TIFF. CAA is the sales agent.
Based on the novel by Lawrence Osborne it is a story that pits the haves and the have nots, Westerners with money to spare versus local Muslims with nothing but miles of sand to traverse. On the one hand The Forgiven, written and directed by John Michael McDonagh and world premiering today at the Toronto Film Festival and with a title that even sounds like a movie Taylor and Burton might have made in the ’60s, is about that clash which happens solely due to a tragic accident that brings these disparate groups unexpectedly together. On the other hand it is about people from distinct and different backgrounds who deal with their own humanity in ways that couldn’t be more miles apart. It is a clash of cultures that serves on a very small level as something of a view for the world at large, one ultimately asking for universal understanding.
David Henninger (Fiennes) and his wife Jo (Chastain), a children’s author, are driving to spend the weekend at the elaborate and remote Moroccan villa (Willem Smit’s production design is aces) of their friend Richard (Matt Smith) and his gay lover Dalley Margolis (Caleb Landry Jones). Other kitschy guests will also be partying with no abandon there for the housewarming party of this renovated ksour in the middle of nowhere. Before they can arrive, David, not a terribly friendly man and a functioning alcoholic, gets drunk and winds up carelessly running over a young local man named Driss (Omar Ghazaoui), killing him. Not knowing what to do he takes the body to the house. Although a tragedy, this incident does not seem to dampen the mood, and is ruled an accident by authorities, perhaps favoring those with wealth vs those more expendable?
As the guests, a bourgeoisie bunch if ever there was one, go about their merry games, we get an ugly view of privileged western society where, despite outward appearances, they all seem to be dead behind the eyes if you ask me. There is also attractive American Tom Day (Christopher Abbott), party girl Cody (Abbey Lee), photographer Isabelle Peret (Marie-Josee Croze) and more drifting in and out of frame. The focus is primarily on David and Jo, he a lost cause and she potentially a decent person, if overdressed in evening gowns for the occasion, caught up in a dying marriage.
Things heat up considerably when Abdellah (an excellent Ismael Kanater), the father of the dead boy, arrives to identify the body. In a rare moment of remorse over causing this loss of a young man’s life, accident or not, David somewhat reluctantly agrees to accompany Abdellah and his group to the outer desert in order to bury the boy. Is this his version of atonement? It certainly adds a unique layer of tension to the story as he sets off in the car with this Muslim father of the boy he killed. Their interactions on the journey are the strongest part of the film.
Meanwhile, back at the ranch…Jo opens up and shows emotional vulnerability as she falls into bed with Tom, ratcheting up the stakes when David returns, if he returns. We don’t really know how this will play out, and that is what kept me engaged right up to the very last moment.
In a directorial flourish I have never quite seen before, every single credit, including all the music cues and crew members, roll by at the beginning of the movie. McDonagh clearly has his reasons for that but it is disconcerting to say the least. I actually thought the link I got to watch the gorgeously shot movie (cinematography is by Larry Smith) was somehow unspooling backwards. I almost called the support line. Ultimately what McDonagh has wrought is a look into ourselves no matter what class we are in, and he clearly wants it to end with no ambiguity on that matter. Fiennes as a thoroughly unlikable man manages through his exceptional acting talent to show us how David may have a decent human buried deep inside. Chastain, who received the Actor award at TIFF today, is having quite a festival with The Eyes of Tammy Faye also premiering here this weekend on top of the HBO debut Sunday of her limited series Scenes From a Marriage. She brings extra dimension to a basically good woman who is trying to find any spark of life left in her. Smith, best known for The Crown, is perfectly cast as Richard, while Jones’ character is a little too weird to ever let the actor take it out of first gear. Best of all is perhaps is driver Anouar, as played by Said Taghmaoui, with genuine wisdom and smarts well above his pay grade. This is a rare and thoroughly adult drama offering much to think about.
Elizabeth Eves, Trevor Mathhews and Nick Gordon are producers. The production companies listed are House of Un-American Activities and Brookstreet Pictures. The print I saw was fronted by the Focus Features logo, but the title is being sold at TIFF. CAA is the sales agent.
- 9/11/2021
- by Pete Hammond
- Deadline Film + TV
Celebrity chef Gordon Ramsay, through his multimedia production company Studio Ramsay, has inked a deal with the BBC to produce and host the studio’s first ever primetime game show.
While Ramsay has hosted and judged plenty of cooking shows over the years, from “MasterChef” to “Hell’s Kitchen,” this will mark his first outing as a game show host.
“Bank Balance” is described as a “high-stakes, high-pressure, game show where contestants need both knowledge and nerves to succeed, where they can literally build themselves a fortune or see it come crashing down in an instant!”
Studio Ramsay is in discussions to bring the series to U.S. viewers. The series is slated to begin filming later this year. Bank Balance was commissioned by Kate Phillips, BBC Controller of Entertainment Commissioning. Jo Wallace is executive producing for the BBC.
The idea came from Studio Ramsay’s, Fernando De Jesus, Tom Day,...
While Ramsay has hosted and judged plenty of cooking shows over the years, from “MasterChef” to “Hell’s Kitchen,” this will mark his first outing as a game show host.
“Bank Balance” is described as a “high-stakes, high-pressure, game show where contestants need both knowledge and nerves to succeed, where they can literally build themselves a fortune or see it come crashing down in an instant!”
Studio Ramsay is in discussions to bring the series to U.S. viewers. The series is slated to begin filming later this year. Bank Balance was commissioned by Kate Phillips, BBC Controller of Entertainment Commissioning. Jo Wallace is executive producing for the BBC.
The idea came from Studio Ramsay’s, Fernando De Jesus, Tom Day,...
- 9/11/2020
- by Elaine Low
- Variety Film + TV
Gordon Ramsay is to host his first ever game show after his production company scored a primetime commission from the BBC.
The British public broadcaster has ordered Bank Balance, a show described as greed versus strategy.
The Hell’s Kitchen star is fronting the show, which will see contestants compete in a high-stakes, high-pressure quiz, where they can literally build themselves a fortune or see it come crashing down in an instant.
The BBC won the rights after a competitive pitch and “a few weeks of intense negotiations”, according to Studio Ramsay. Tabloid reports earlier in the summer had suggested that the show would air on rival ITV. Filming will begin later this year.
The production company is currently in discussions with networks for a U.S. version of the show. You’d have thought that Fox might be participating in those discussions given the fact that Ramsay hosts and executive...
The British public broadcaster has ordered Bank Balance, a show described as greed versus strategy.
The Hell’s Kitchen star is fronting the show, which will see contestants compete in a high-stakes, high-pressure quiz, where they can literally build themselves a fortune or see it come crashing down in an instant.
The BBC won the rights after a competitive pitch and “a few weeks of intense negotiations”, according to Studio Ramsay. Tabloid reports earlier in the summer had suggested that the show would air on rival ITV. Filming will begin later this year.
The production company is currently in discussions with networks for a U.S. version of the show. You’d have thought that Fox might be participating in those discussions given the fact that Ramsay hosts and executive...
- 9/11/2020
- by Peter White
- Deadline Film + TV
As part of Podcast Week, IndieWire is taking a deeper look at some of the best podcasts of the year. For more of the top episodes of 2019, you can read our mid-year and year-end lists here and here.
Whether or not it was Jean-Luc Godard who actually said it, there’s a long-held maxim that “All you need to make a movie is a girl and a gun.”
But what about podcasts? On the production end, Chris Kelly has an idea.
“I’ve been doing this kind of fake stuff for awhile. There’s only three types of rooms that you ever need. You need a quiet room that’s dead, that can sound like a bedroom, a closet. Then you’ve got your medium size room that’s like a kitchen or a foyer. Then there’s your large room. Once you get to that large-sized room, if you’ve got it,...
Whether or not it was Jean-Luc Godard who actually said it, there’s a long-held maxim that “All you need to make a movie is a girl and a gun.”
But what about podcasts? On the production end, Chris Kelly has an idea.
“I’ve been doing this kind of fake stuff for awhile. There’s only three types of rooms that you ever need. You need a quiet room that’s dead, that can sound like a bedroom, a closet. Then you’ve got your medium size room that’s like a kitchen or a foyer. Then there’s your large room. Once you get to that large-sized room, if you’ve got it,...
- 12/20/2019
- by Steve Greene
- Indiewire
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