Editor’s Note: The following contains spoilers for Your Friends & Neighbors Season 2, Episode 6

Season 2 of Jon Hamm‘s Apple TV crime series Your Friends & Neighbors has been anything but predictable, largely due to the addition of James Marsden‘s boisterous and enigmatic Ashe. The darkly comedic series has impressively managed to retain the charisma and novelty of its first season, while also expanding Coop’s (Hamm) world of petty theft with the twist of blackmail, courtesy of Ashe himself. Season 2 has also thrust Coop back into the hedge fund game after exiting the industry on, well, interesting terms. To the surprise of no one, Coop never lost a lick of his charm — or skills — and got back into the schmoozing side of things quite effortlessly.

Episode 6, however, takes everything we’ve learned from this season and tosses it out the snuck-in window. The Apple TV series boldly presses pause on Coop’s entire world in a bottle episode that is blisteringly authentic in the way it examines grief. All the chaos, all the uncertainty no longer matters because Coop’s father (Michael O’Keefe) has suddenly died — and now our leading man is forced to slow down, process, and grieve.

During this 1-on-1 interview with Collider, Jon Hamm breaks down the sophisticated and unconventional approach to Episode 6, reflects on his own experience with grief, and explains how James Marsden elevated the Apple TV hit to new heights.

COLLIDER: Before we get into Your Friends & Neighbors, I just wanted to say that there’s an SNL sketch that takes place in the 1920s. You’re at a piano. Kristen Wiig does not want anyone to make her sing when she clearly wants people to make her sing. She keeps missing her cue, and it brings me joy. So I just wanted to say thank you for that.

JON HAMM: Thank you. That sketch is called “1920s Party,” and I believe it was written by James Anderson and Kristen Wiig, and it still gives me joy as well. So I’m glad you like it.

James Marsden Perfectly Slipped Into ‘Your Friends & Neighbors’ Season 2

“He brought so much to the part, and he just killed it.”

Image via Apple TV

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Season 2 of the show is just so fantastic. I really didn’t know how it was going to top Season 1, but it really does, and I’m already excited for Season 3. Your scenes with James Marsden are like a dance. He calls you the “suburban James Bond,” which is perfect. What’s it like sharing a scene with him? He has such an interesting energy.

HAMM: James is great. I’ve known James for the better part of 20 years. I consider him a friend. He’s definitely having a moment now with Paradise, and of course the Marvel Universe, and even going back to Jury Duty. I mean, he is great. We were very lucky that he could fit us into his schedule, and he definitely is value added. It was great to have somebody that has the chops, that has the history, that has the experience to be able to walk right into a role and really kind of lean in and knock it out of the park. And that doesn’t always happen, but I was really, really pleased that James decided to spend his summer with us because he brought so much to the part, and he just killed it.

‘Your Friends & Neighbors’ Season 2 Brilliantly Breaks From Tradition With Episode 6

“I was very happy that Jonathan [Tropper] chose to really highlight that moment.”

He really did. And Coop’s going in a lot of different directions this season. He’s got the blackmail, pressure from Jack, his daughter doesn’t want to go to Princeton, you name it. What I really thought was bold and impressive was how the series kind of just presses pause on all of that for Episode 6 when Coop’s father dies. What was your approach going into that as an actor and as a producer?

HAMM: A couple of different things. Stephanie Laing, who directed the episode, really had a very specific stylistic take on it and was like, “do you mind if we do this? I really want to check it out with you first.” And I said, “do whatever you want. Let’s make it a bottle episode, so to speak. When there is a significant upheaval in anyone’s life, everything does kind of recede and go on pause or recede into the background. This is certainly one of those things, and it was a really lovely piece of writing. Stephanie handled it with tremendous skill and style and really was able to bring the difficulty and the upheaval part of what happens when somebody important in your life dies. I was very happy that Jonathan [Tropper] chose to really highlight that moment in Coop’s life and the difficulty, obviously, when you have all this other stuff going on. This takes precedence, but that stuff is also percolating underneath and puts it into very sharp relief. I thought it was a very cool way to bring that series of events about.

What’s interesting is Coop really doesn’t have time to grieve until he’s alone in the car, because he has to go right to being a host at the repast and making sure his sister’s okay. I just felt like I was immersed in his life. Even the camera angles were showing how overwhelmed he was.

HAMM: Having gone through that with both of my parents, the amount of work that you have to do when someone dies is often forgotten about, but it’s a real thing. And it doesn’t get done by itself. It doesn’t go on, you can’t go on autopilot. It needs to be actually managed and handled. And most everybody involved is not in a great place while that happens, so, it’s tricky, and I thought it did a great job of showing that as well.

And then it was really beautiful to have Coop go to the bowling alley and just kind of have that alone time. He also learns a lot about his father. What was it like shooting that scene where he gets a lot of revealing information about his father that was kept hidden. He’s weirdly comforted by it, that at least he had an escape. It was just a really interesting scene.

HAMM: I loved it. Mare Winningham is one of my favorite actresses of all time. She’s a tremendously empathetic energy and person in the world and perfect casting for that. I was thrilled to get a chance to do that scene with her. We had such a wonderful time doing it, and it was wistful and it was sad and it was lovely. It was all of those things, and it was a great piece of writing. I just was so happy we were able to get someone like Mare Winningham to come and do it.

Jon Hamm Doesn’t Want Too Much Creative Control As Producer

“Control isn’t really what I’m seeking.”

Image via Apple TV

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It was so wonderful. What can you tease about Season 3? Because I know you’re filming or you’re about to film.

HAMM: We’re getting ready to start it. I can’t really tell you anything, but I’m very excited for you to see it in about a year from now.

It’s one thing to be an actor. It’s another thing to be a producer. What do you like the most about being a producer of a project as you’re acting in it as well?

HAMM: I think part of it is just getting access to the stuff early and understanding that you have a little more… control isn’t really what I’m seeking. I don’t really like to top-down control things. I’m not about that. I like to delegate and let the people that are good at their jobs do their jobs. But I like having the access to it, honestly, especially when it comes to casting and seeing people. When the idea of casting someone like James Marsden came up, it was like, “oh my God, yes, let’s do that.” And being able to lend my weight or my ability to get to people… that stuff is fun for me. But as for most of it, I don’t have a very heavy hand. I like to let people like Jonathan do what he does best, which is write tremendous television. And I feel like if I started getting my hands involved in that, then I don’t think I’d be value added.

New episodes ofYour Friends & Neighbors Season 2 air Fridays on Apple TV.

Eye creams have become one of the biggest skincare staples among shoppers looking to soften fine lines, hydrate dryness and make tired eyes look more refreshed — and the LilyAna Naturals Eye Cream is one affordable Amazon favorite that’s getting especially rave reviews from users over 50, thanks to its rich yet lightweight texture that helps smooth the undereye area without feeling greasy or heavy under makeup.

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Among the many, many timeless hits David Bowie has graced the music world with, very few hit as hard as “Heroes” does. Contrary to what readers might assume, “Heroes” was not a huge commercial success. The song didn’t do well on the charts, despite being embraced by audiences around the world, but its popularity grew steadily through the years. It became an anthem at every live performance, and after Bowie’s death, it was unearthed by lots of fans, and over 45 years after its release, the track charted in several countries for the first time.

The song, a single from the album by the same name, has a distinct universal feeling. It is, on the surface, a song about love, but as he did with many other songs, in “Heroes,” Bowie is using romance as a Trojan horse to send a deeper message. A lot of fans might not know that this track has a political message hidden. And fewer will suspect that the singer was sneakily uncovering an affair.

David Bowie’s Unusual Inspiration for Writing ‘Heroes’

David Bowie recorded and released “Heroes” in 1977. The song, co-written by legendary producer Brian Eno, came from a bizarre source of inspiration. “I, I will be king / And you, you will be queen / Though nothing will drive them away / We can be heroes, just for one day / We can be us, just for one day.” On the surface, this song is about star-crossed lovers, a common but always successful trope in fiction and music. But the undercurrent of the song becomes clearer when Bowie, in one of the last verses, sings about the lovers “standing by the wall,” kissing as though “nothing could fall” while guns shot over their heads.

He’s not talking about any wall. Bowie is building a story about people falling in love despite being separated by the Berlin Wall. The universal message of love transcending political divides is a tale as old as time, but it never stops being relevant.

Who’s Your Perfect Classic Rock Band?

However, the inspiration for the love story across the Wall didn’t come merely from a political interest. No, he actually saw the couple he was writing about, though at the time, he had to keep the secret. It was his friend and producer, Tony Visconti, and he was kissing Antonia Maass, a German singer who was, crucially, not his wife. So, for a while, the singer had to keep the secret of the true story behind the hit.

“I always said it was a couple of lovers by the Wall that prompted the idea for ‘Heroes’,” Bowie said in 2015. “Actually, it was Tony Visconti and his girlfriend. Tony was married at the time, so I couldn’t talk about it. But I can now say that the lovers were Tony and a German girl that he’d met while we were in Berlin.” In Bowie and Visconti’s defense, “his marriage was in the last few months,” and he found that seeing him fall in love again was “very touching. I could see that Tony was very much in love with this girl, and it was that relationship which sort of motivated the song.”

Bowie Developed a New Writing Method While Living in Berlin

“Heroes” is the perfect example of how much a new environment enriched David Bowie’s songwriting. Some of his best songs came from what he called the “Berlin period,” when he was living, writing, and recording in Germany. Finding himself in a foreign land and having to find his way around it exposed him to new experiences and, as a result, led him to develop new writing techniques. Living in Berlin in the ’70s was not easy, but in his own words, he had to “put myself in those situations to produce any reasonably good writing.”

“I have to put myself on a dangerous level, whether emotionally or mentally or physically, and it resolves in things like that: living in Berlin, leading what is quite a spartan life for a person of my means, and in forcing myself to live according to the restrictions of that city.”

The idea of restrictions made its way into the song, and Bowie used it as a guideline for his songwriting of that period. He also urged his fellow musicians to follow that idea. “Maybe I’d write out five or six chords, then discipline myself to write something only with those five or six chords involved,” Bowie explained about that period of his career. “So that particular dogma would dictate how the song is going to come out, rather than me and my sense of emotional self.”

“Heroes” is a song that has it all. A deep, universal message in the lyrics, a fascinating technical background, and even an adulterous secret behind it. 48 years later, it’s still a masterpiece and one of the many indelible marks that Bowie left on this world.

Stanley Tucci has opened up about finding love again after losing his first wife to cancer, admitting that marrying a second time wasn’t exactly on his mind. However, his outlook changed when he reconnected with Felicity Blunt, whom he describes as a grounding and joyful presence in his life, ultimately leading to a new chapter of happiness and companionship.

Stanley Tucci was a guest on an episode of Jenna Bush Hager’s podcast “Open Book with Jenna,” released on May 7, and, apart from discussing his passion for food, the actor spoke about his relationship with his wife, Felicity Blunt.

Tucci was married to Kathryn Spath from 1995 until 2009, when she lost her battle with breast cancer. They had three children together, twins Isabel and Nicolo, and a daughter, Camilla. Tucci said he wasn’t sure he would ever marry again after his wife’s death, more so, having more children. However, he said it just “made sense” when he met Felicity, who is the sister of his “The Devil Wears Prada” co-star, Emily Blunt.

“Even though there is this age gap of 21 years. And obviously, I knew her family, or I knew her sister was one of my best friends. And we just hit it off,” he explained.

The Actor Said Felicity Blunt Changed His Life

Tucci explained that he had a lot in common with Felicity, “even though we had nothing in common,” and their dynamic worked despite the age gap. “I think she changed my life in the sense that she gave me a sense of security. She gave my children a sense of security,” he said, adding that Felicity was a “fun” person whom he enjoys hanging out with.

The actor then praised his wife, a literary agent, for how smart she is. Moreover, Tucci shared that Felicity always has a positive outlook on life, which he admitted he lacks. “Her capacity to take in information, not just from a book, but from the world and process it and turn it into something else is just extraordinary. She’s pretty cool,” Tucci gushed.

Stanley Tucci And Felicity Blunt’s Relationship

Tucci and Felicity first met in passing at the 2006 premiere of “The Devil Wears Prada.” Three years later, the actor’s wife of 14 years passed away from breast cancer. In 2021, Tucci shared that it was still difficult to think about his first wife’s death. However, he said that Spath wouldn’t want him or their children to “wallow in that grief.”

In 2010, Tucci and Felicity reconnected at the wedding of Emily and John Krasinski. They began a romantic relationship and married in 2012. The couple welcomed their first child together, Matteo, in 2015, followed by their daughter Emilia in 2018.

Speaking on Felicity’s relationship with his children from his first marriage, Tucci said, “If anybody made things better for all of us, it’s her. She’s the one.” He commended his younger wife for “taking on a widower and three children whose mother died.”

The One Thing That Makes The Actor Sad About His Age-Gap Relationship

Tucci is 21 years older than Felicity, and admittedly, he had his reservations about the age gap early in their relationship. However, he got over it fairly quickly. In an interview with The Times in 2025, however, the actor said that one thing that he thinks about is getting old.

“I am sad that I won’t see her get old and that I won’t be able to look after her if she needs looking after. I think there’s something really beautiful about people aging together. And unless there’s some miracle, that can’t happen,” Tucci reflected.

Stanley Tucci Has A Great Relationship With His Sister-In-Law

Tucci and his sister-in-law, Emily, have been close friends for years before the actor married Felicity. Since being in-laws, their relationship has only grown stronger. As The Blast previously reported, the two stars received their stars on the Hollywood Walk of Fame in a joint ceremony, which has happened before, though rarely.

At the event, Tucci shared how he and Emily spent time with their family while filming some scenes for “The Devil Wears Prada 2” in Italy. They were joined by their respective partners, Felicity and Krasinski, as well as their young children. “The kids are the same age for the most part, and they’re best friends. To have it sort of cross over with work was just, like, weird,” Tucci said.

The Alien franchise has always understood something most sci-fi releases eventually forget: space should feel terrifying. Not adventurous, not hopeful, but terrifying. Across nearly five decades and nine films, the franchise has built one of the most instantly recognizable worlds in genre cinema, filled with corporate greed, synthetic paranoia, biomechanical horror, and people making catastrophically bad decisions the second they encounter something beyond their comprehension that they should not touch.

That atmosphere is exactly why the franchise works so well as a weekend binge on HBO Max. Watching all nine films together, including the questionable Alien vs. Predator crossovers, highlights how flexible Alien became without ever fully losing its identity. The series shifts between survival horror, war movie chaos, existential sci-fi, gothic tragedy, and creature feature insanity while still feeling tied to the same cold industrial nightmare. And that clarity of identity is easier to appreciate when the films are watched as closely together as possible.

The Original ‘Alien’ Movies Still Feel Untouchable, And Probably Always Will

Alien and Aliens remain one of the strongest back-to-back combinations in sci-fi history because the movies compliment each other rather than competing with one another. Ridley Scott approaches Alien like a haunted house story trapped inside a rust-covered freight ship drifting through deep space, while James Cameron turns Aliens into a full panic spiral built around military escalation and collapsing control. Watching the two films close together makes the franchise’s range immediately obvious. The original thrives on silence, dread, and slow-building inevitability, while Aliens pushes in the exact opposite direction without weakening the tension. The xenomorph becomes more aggressive, the scale becomes larger, and the violence becomes louder, but the fear still comes from how fragile humanity looks against something designed purely to survive and spread.

Even the later sequels become more compelling during a marathon because they are willing to get stranger and meaner than most modern studio franchises. Alien 3 strips the series down into something bleak and fatalistic, while Alien Resurrection fully embraces grotesque sci-fi weirdness. Neither movie is as universally beloved as the first two, but both benefit from the franchise’s willingness to let different filmmakers push the mythology into uncomfortable territory rather than endlessly recreating the same film.

The Prequels and ‘Alien vs. Predator’ Movies Are More Fun Than Their Reputations Suggest

Image via 20th Century Studios

One of the best parts of binging the entire franchise is realizing how much easier it becomes to appreciate the weirder entries once they are viewed as pieces of a much larger mythology instead of standalone disappointments weighed down by release expectations. Prometheus and Alien: Covenant become especially interesting in that context because they lean harder into existential horror than straightforward creature terror. Instead of simply repeating the structure of the earlier films, the prequels focus on creation, artificial life, and humanity’s obsession with reaching beyond limits it does not fully understand. Michael Fassbender‘s performance as David ends up becoming one of the franchise’s strongest connective threads because his fascination with perfection and authorship feels fundamentally tied to Alien‘s larger themes.

Then there are the Alien vs. Predator movies, which honestly become pretty entertaining once the pressure of taking them overly seriously disappears. Alien vs. Predator understands the basic assignment of smashing together two iconic monster franchises and letting the spectacle carry the fun. Aliens vs. Predator: Requiem leans fully into chaotic creature horror in ways that feel messy but undeniably memorable. Neither movie reaches the highs of the core Alien films, but they still fit naturally into a franchise built around hostile creatures, bad corporate choices, and escalating biological disasters.

The ‘Alien’ Franchise Still Feels Completely Unique

Part of what keeps Alien so bingeable is that no other sci-fi franchise really feels like it, including even the latest film release, Alien: Romulus. The series has such a specific visual and thematic identity that even weaker installments remain compelling to look at. H.R. Giger‘s biomechanical designs still feel invasive and deeply upsetting decades later, and the franchise’s industrial environments continue to influence horror games, sci-fi films, and television across the genres. The xenomorph also remains one of the greatest movie monsters ever created because the horror surrounding it never feels shallow, and the continued use of practical effects for the perfect organism delivers an unsettling tangibility. Every stage of the xenomorph’s life cycle is built around bodily violation, infection, and loss of control, which gives the franchise a physical discomfort many creature features never achieve. The xenomorphs evolve constantly, but the underlying horror always stays recognizable.

That atmosphere is ultimately what makes the Alien series such a satisfying weekend binge. These movies are not just connected through lore or recurring creatures, though they have plenty of both to provide. The movies are connected through tone, texture, and a shared understanding that humanity keeps walking directly into nightmares it was never prepared to survive. By the end of the marathon, the franchise leaves behind one of sci-fi horror’s harshest and clearest truths: in the Alien universe, humanity’s greatest threat has never been space itself, but the belief that any nightmare can be controlled once it becomes profitable.

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Release Date

June 22, 1979

Runtime

117 Minutes

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Writers

Dan O’Bannon, Ronald Shusett

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A resurfaced clip of “Game of Thrones” star Jack Gleeson opening up about why he stepped away from acting for a while is making the rounds online. The footage has sparked conversations about how convincingly the actor blurred the line between his TV character and real-life personality.

Rumors had long circulated that the “GoT” star took time away from the screen because of backlash and bad reviews tied to his portrayal of Joffrey Baratheon in the hit HBO series.

Gleeson famously announced in 2014 that he was “retiring” from acting following the on-screen death of his character.

Gleeson set the record straight about the myths that have followed his acting career since he largely disappeared from screens.

In a resurfaced clip that has since gone viral online, the 33-year-old Irish actor looked noticeably different, swapping his signature blonde hair for brown locks and sporting a matching mustache.

After portraying what many still consider one of television’s most hated characters, Gleeson announced his “retirement” from acting. Critics speculated that the decision was fueled by the backlash that followed his role on the hit HBO series.

At the time, he only made brief appearances in small independent films and a handful of TV episodes before eventually returning to the screen in Netflix’s crime series, “House of Guinness.”

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Gleeson Addresses Myth About His Acting Career

In the viral X video, Gleeson addressed the speculation that has followed his acting career for years as the host asked him to “put an end” to the rumors “once and for all.”

“Well, I can say, thankfully, it wasn’t because I received any sort of abuse from anybody,” Gleeson said, during the premiere of “House of Guinness.”

“I know that can happen … I don’t know, it can happen. People confuse the character with the actor,” he added, referring to his much-hated portrayal of Joffrey.

Jack Gleeson Revealed What He’s Been Up To

Elsewhere in the conversation, the “Reign of Fire” actor opened up about what he had been doing during the years fans rarely saw him on screen.

According to 7 News, Gleeson considered returning to school at Trinity College Dublin before eventually co-founding the Collapsing Horse Theatre Company with friends during his acting hiatus.

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“After ‘Game of Thrones,’ or even during, I was continuing to act,” he explained. “But it was more just with a theatre company I had set up with some friends in Dublin.”

“And I don’t know, I was just more into that at that time,” he continued. “But then I started to miss screen acting, and I got back into it… It’s just where I was at that time.”

Gleeson Fans React To His Shocking Transformation

Internet users have flooded the comment section of the trending video to react to Gleeson’s remarks.

“I honestly thought maybe he had received too many bad reviews from playing Joffrey,” one X user wrote.

“He was likely getting a lot of sh-t online, but I met him over a decade ago in Brussels in front of a theatre, so he is definitely telling the truth,” another person shared. “Super humble and approachable guy, much the contrary of who he portrayed in ‘Game of Thrones’ lol.”

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One fan was also stunned by the actor’s new appearance, writing, “Wow, Joffrey with a mustache is crazy. He’s actually one of the sweetest people. I saw a video where he was a guest in a college class answering questions for the students. Very chill dude.”

Jack Gleeson Said He Simply Stopped Enjoying Acting

In a 2021 interview with Entertainment Weekly, Gleeson explained that his passion for acting had simply faded over time, which ultimately led him to step away from the profession at just 21 years old.

“The answer isn’t interesting or long-winded. I’ve been acting since age 8. I just stopped enjoying it as much as I used to,” Gleeson shared at the time. “Now there’s the prospect of doing it for a living, whereas up until now it was always something I did for recreation with my friends, or in the summer for some fun. I enjoyed it.”

“When you make a living from something, it changes your relationship with it,” he continued. “It’s not like I hate it, it’s just not what I want to do.”

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High Potential is going to look different when it comes back for season 3 following a change behind the scenes.

Multiple outlets confirmed that Nora and Lilla Zuckerman are taking over as co-showrunners and executive producers amid their overall deal at 20th Television, which produces High Potential.

“We are so grateful to be working with Craig, Karey, Simran and our partners at 20th and ABC on this exciting new chapter of High Potential,” the duo said in a statement on Wednesday, May 6. “The fact we get to collaborate with Drew, Sarah and Andrea at Goddard Textiles and the incomparable Kaitlin Olson is a dream come true.”

They continued: “We’re looking forward to climbing into the brilliant, bustling mind of Morgan Gillory and crafting intricate mysteries worthy of her genius.”

Related: Which ‘High Potential’ Stars Are — And Aren’t — Returning for Season 3?

High Potential is returning for a third season — but not everyone is coming back after that surprise cast exit. The hit ABC series, which premiered in September 2024, follows Morgan (Kaitlin Olson), a high-potential intellectual who teams up with the LAPD to assist the department in solving murders. Morgan gets paired up with Karadec […]

Before High Potential, the Zuckermans were showrunners on the hit Peacock series Poker Face. They also wrote for shows such as Suits, Agents of SHIELD, Prodigal Son and Fringe and are currently working on the Scream 8 script. The Zuckermans were previously attached to Hulu’s Buffy the Vampire Slayer, which ultimately did not move forward.

The duo is taking over after Todd Harthan exited the show at the end of season 2. News broke in March that Harthan departed to focus on the upcoming live-action adaptation of Christopher Paolini’s YA book series The Inheritance Cycle. The adaptation — titled Eragon — is cocreated with Paolini and Harthan will serve as coshowrunner alongside Todd Helbing.

High Potential, which premiered in September 2024, was created by Drew Goddard. The pilot was written by Goddard, who was expected to executive produce alongside Sarah Esberg, Rob Thomas, Dan Etheridge, Pierre Laugier, Anthony Lancret, Jean Nainchrik and Alethea Jones.

Thomas, meanwhile, was expected to serve as the showrunner before exiting in June 2024 — months before the series premiere. Harthan was ultimately announced as the new showrunner who also served as an executive producer.

The police procedural follows a high-potential intellectual — Morgan (Kaitlin Olson) — who teams up with the LAPD to help solve murders. She gets paired up with Karadec (Daniel Sunjata), who is initially skeptical about Morgan’s involvement with the Major Crimes unit but ultimately starts to rely on her.

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Related: TV Shows That Went Through Several Showrunner Changes

George Kraychyk / ©Hulu / Courtesy: Everett Collection Chances are if your favorite show felt different over the years, a showrunner shift occurred at some point behind the scenes. Law & Order: Organized Crime attempted to solidify itself as a successful spinoff of Law & Order: SVU but instead it has continued to make headlines […]

Season 2 picked up with the confirmation that Morgan’s ex Roman was still alive after going missing for more than a decade. The only information Morgan — and all of Us — have is that her ex worked as an FBI informant and doesn’t trust the LAPD.

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“It’s a pretty bumpy ride. We’re going to start unpacking some pretty intense things with Morgan, as it relates to all things Roman. There are all kinds of trials and tribulations that are going to happen with the kids at home,” Harthan teased exclusively to Us Weekly in January. “It’s just going to get messy and complicated — hopefully in all the best ways so that the audience stays on the edge of their seats.”

He concluded: “Our job now as we get to the back half of the second season is to fill in some of the big blanks and progress some of the relationships. You’re going to see some intense things happen between Steve Howey’s character and Captain Wagner really starts to bloom in the back half. That causes some good soapy messes on multiple fronts. It’s just our normal MO of just trying to mix things up and keep the audience engaged and keep them guessing.”

High Potential is currently streaming on Hulu.