Entertainment
‘Widow’s Bay’ Showrunner Katie Dippold Reveals How the Finale Twist Shapes Season 2
Editor’s note: The following contains spoilers for the Widow’s Bay Season 1 finale.
Horror was a big part of Katie Dippold’s childhood, spending summer nights in New Jersey in the ‘80s watching movies with her family. And then, she wrote the Widow’s Bay script as a spec for an episode of NBC’s Parks and Recreation, where she worked as a writer and co-producer. But that joke-focused version that felt more like a parody evolved over the years, eventually becoming a story full of quirky characters set in a quaint island town 40 miles off the coast of New England that is now a breakout hit for Apple TV.
In a town that feels like a cross between Amity Island from Jaws and Cabot Cove from Murder, She Wrote, Mayor Tom Loftis (Matthew Rhys) tried to boost tourism as strange events started to unfold, unleashing a centuries-old curse. Dealing with a sea hag wreaking havoc and a Boogeyman bent on destruction brought Tom together with Wyck (Stephen Root) and Patricia (Kate O’Flynn), each outcasts in their own way, as they worked together to get answers about how to break that curse before anyone else gets hurt. Instead, Tom learned a horrible truth that put his son (Kingston Rumi Southwick) directly in the path of danger in a way that they won’t be able to ignore in Season 2.
Creator/showrunner Dippold sat down with me for a conversation that dug into the evolution of the hit horror comedy series that has already gotten the greenlight for a second season and teased what’s next for this town and its residents. She also discussed the challenge of working with such a tricky tone, the fun of playing with horror tropes, what she loves about the trio of Tom, Wyck, and Patricia, how the finale reveal could play into Season 2, how far ahead she’s thought about the story, and whether this curse is fated.
‘Widow’s Bay’ Started as a Spec Script for ‘Parks and Recreation’ Writer Dippold
“The comedic voice was there, but it was very different.”
COLLIDER: It’s wild that you wrote the pilot for this so long ago that you submitted it to Parks and Rec to get hired for that show. How close is the pilot that we see now to the script that you wrote back then?
KATIE DIPPOLD: It’s very different, but the heart of it is the same. The comedic voice was there, but it was very different. It was very joke-focused. I think that version would have felt more like a parody. I don’t think I, myself, would have watched it, to be honest. I want the horror and the tension and the stakes to all be taken very seriously. I want it to feel like a real place. Over the many, many years, that’s the thing I kept working on. This was my novel. When a writer has their little side project, this was that. I just kept coming back to it. The big difference is that it feels more like a real place and there’s actually more tension.
What is it about the horror genre that you love, and what do you think comedy brings out in horror?
DIPPOLD: Horror was a big part of my childhood. I don’t know why my family watched horror movies all the time when I was very young. I just associate a summer night in New Jersey in the ‘80s with watching Friday the 13th, or something. My parents are pranksters. I remember my dad walking down the hallway doing [the Friday the 13th theme]. When I was 16 and Blair Witch came out, I opened my door and he had left the sticks outside the door. I also feel like, as an anxious person, I’ve always found horror to be cathartic. If you’re an anxious person, you’re always waiting for the shoe to drop. And so, when you watch a horror movie, you get to experience that bad thing that you were waiting for. It happens, but then you’re safe.
I find that very relaxing. It’s a very tricky tonal balance with comedy and horror because it’s very easy to do it wrong. It is very important to us to have the comedy never be undercut the horror tension, and also make sure the characters always behave and act like this is happening and this is terrifying and not ever treating it lightly. That was one of the hardest parts. In Episode 7, when a coffin comes up, it’s so easy to write in a lighthearted way, but no, what’s happening is crazy. They have to have lines that let them react to this crazy thing that’s happening. I’ve never experienced that, so in the writers’ room, it was like, “What would they say right now?”
Matthew Rhys’ Horror Series ‘Widow’s Bay’ Is Apple TV’s Weirdest, Boldest Show Yet | Review
‘Widow’s Bay’ premieres April 29 on Apple TV.
You’ve worked in comedy and in sketch comedy, but you’ve also been blending comedy with the spooky for a bit, with Ghostbusters and Haunted Mansion. As a horror fan, did you have a board of things you wanted to work into this show somewhere, and is there still a lot left over that you couldn’t do this season?
DIPPOLD: There is a lot still to do, I have to say. For the first season, the goal was finding these horror tropes that we could add our Widow’s Bay spin to, and that were things you could buy happening to this island, A fog felt like a good entry point. It feels very New England island town. If you go too far right away, you’re going to be like, “I don’t buy any of this,” so you have to really slowly take the audience there. There were some things that came up in Season 1 that felt too big or too weird, but I think you could eventually get there. It’s tricky. You want to stay with the familiar so you can have fun with it, but you also have to make sure that you can add enough of your spin.
Horror and Comedy Are Equally Important When It Comes to ‘Widow’s Bay’
“Sometimes an idea for an episode will start from a place of horror, and sometimes it will start from more of a comedic place, even if it ends up being the opposite.”
When it came to adding a sea hag or a Boogeyman, did you have other possibilities that you were choosing between, or were there very clear and specific choices?
DIPPOLD: Sometimes an idea for an episode will start from a place of horror, and sometimes it will start from more of a comedic place, even if it ends up being the opposite. For example, the inn was something where I was like, “Okay, Widow’s Bay has to have a spooky inn on this island that’s been around for centuries, and that has a Captain’s suite and all this lore within the building itself. It started from a place of really liking the idea of staying the night at the inn to prove it’s safe, and following Loftis around there. That started from more of a horror trope, but we then could use it because we were able to tie it to his emotional story, and it gave us a way to learn more about Loftis and see what he’s willing to do to bring tourists to the town and to just discover more about him.
And then, there were things like, for example, the sea hag episode. Going into this, I always wanted to do something with a hitchhiker. There’s a dark road on the island, he’s driving, and there’s some kind of hitchhiker. That started from a comedic place because I imagined that conversation with Patricia where she’s annoyed that he picked up a young woman and not an older woman. I always had that in my head. And then, in the [writers’] room, we started talking about a sea hag, and we brought all those things together. There are a lot of different ways in. We come at it from different angles.
As a horror fan, what’s it like to get to create the look of characters like that? How long did you think about what the Boogeyman should look like?
DIPPOLD: That’s so funny that you asked that. I would say it’s a challenging blast. Every episode taps into something, some kind of horror trope that we all know and love. But those tropes are usually their own movie, where they’ve had all year to think about what the Boogeyman’s mask looks like or what the book looks like in Episode 4. We were suddenly having to do all that really fast and doing so much of it. That was probably one of the more challenging things. You want the Boogeyman mask to be so special that it could have its own movie. That was always the creative challenge.
Showrunner Dippold Wants the Scary in ‘Widow’s Bay’ To Always Be Scary Without Feeling Too Human
“If [the Boogeyman] took off his mask and it was someone you know, it would feel like a different kind of place.”
Was it also important not to have a big reveal and have the Boogeyman be someone’s neighbor?
DIPPOLD: Yeah. It was a big goal for me for the scary to always be scary, and to never undercut it, as much as possible. That doesn’t mean you can’t break the rules, but for the most part, that was a goal. Some things I just want to feel supernatural. With the Boogeyman, I just wanted to feel like there was something buried underneath a cement basement that was trying to get its way out, and it finally does. Can it be supernatural? Sometimes if the horror feels too human, it just doesn’t feel right for this show. If he took off his mask and it was someone you know, it would feel like a different kind of place.
I loved the choice of Patricia following the Boogeyman with her shotgun pointed at him and even going with him all the way to the furnace.
DIPPOLD: Oh, good. Episode 8 is interesting because it’s the Boogeyman and he’s scary, but we are having fun with it. Originally, we talked about that being a flashback episode where you see exactly what happened in that year when she was 16. But we had this great actress and this character we’ve come to know and love, and it was ultimately more fun to watch this 40-year-old woman running through the streets of her town, claiming a Boogeyman is chasing her, and still no one believing her. As ridiculous and absurd as the episode is, I really didn’t want him to do much that was funny. But Patricia holding the shotgun to him is something I would do. Anytime a horror movie gets to the end, it’s like, “No, shoot him a thousand times.” I would cut him into different pieces and ship them off to different parts of the world. I would take it so far. Patricia is a little bit funny doing something we would all want to see someone do, which is make sure he’s dead, please.
‘Widow’s Bay’ Just Added a Horrific New Layer to the Town’s Creepy Lore With 1 Shocking Scene
Kate O’Flynn also talks about Patricia’s unlikely bond with town misfits Tom and Wyck.
Patricia is such an odd character that I’m curious how much of that you saw and how much of that was what Kate O’Flynn brought to that role?
DIPPOLD: Patricia was probably the most fun to pitch for in the writers’ room. Everyone really got that character. Part of the inspiration is my own mom. She’s pretty neurotic and will just say the things she wants to say. I feel like that’s something Patricia would do. It comes from that. But I also feel like there’s just an element of Patricia that wants to be seen. She wants someone to say, “I see you and you’re great.” That’s all she really wants. She doesn’t want to be left out. Kate O’Flynn is such an incredible performer. It’s so rare that you just see someone and you’re like, “Oh, this is that person.”
I don’t see the actor. And she’s nothing like this character. She’s this very sweet, lovely British woman that’s a wonderful theater actress. Every part she plays is so different. She’s really incredible. I really think she’s doing something very special here. She brought all these other layers to it, even with her gait. The way she walks is so funny to me. It’s like a Muppet in a way, but it’s still very realistic. I think she’s incredible. (Casting director) Allison Jones sent us her tape, and it was just such a wonderful surprise. It wasn’t exactly how I pictured it at all, but I was like, “Well, that’s Patricia.”
What do you love about the trio of Tom, Patricia and Wyck?
DIPPOLD: The three of those actors are so good together. Among those three characters, a lot of different things are happening, Loftis and Patricia have a co-dependent thing. He can be rude to her and bicker with her and is impatient with her, and she can throw it back at him. And then, Loftis and Wyck have a rough dynamic and they’re at odds. But also, there’s possibly a slight father-son dynamic in the making. And then, Wyck seems to be very kind to Patricia, even if he says things that can infuriate her. He seems to really care for her and has a soft spot for her, and I don’t know that she’s ever had anyone look at her that way before. I feel like these actors bring all these different layers that are really fun to watch.
I remember when we were shooting outside the church, and I was inside the church. We needed a shot for Episode 4 when Loftis, Patricia, and Wyck are going in from the truck to the church. I was inside the church, going over the script with two of the writers, Neil [Casey] and Kelly [Galuska], and I forgot that they were coming in. We were writing, but there were no cameras. The three of them came in, in character, and I was like, “Am I in the show?” It was so weird. When the three of them would walk onto set together, it was exciting. They have something together. It’s very, very fun.
The ‘Widow’s Bay’ Finale Almost Looked Different Before Ultimately Raising the Stakes for Tom Loftis
“There was a period of time when I wondered for a moment if the whole episode should just be Loftis talking to Ruth, and it’s just the two of them, the whole episode.”
There’s an interesting balance in the finale between this intimate conversation between Tom and Ruth, and then all the other people in town trapped in a confined space together while the tension continues to rise. Did you think about it in that way and how that would compare?
DIPPOLD: There was a period of time when I wondered for a moment if the whole episode should just be Loftis talking to Ruth, and it’s just the two of them, the whole episode. But you’ve spent this whole season with all these other characters, and you want to see what they’re doing and also how their stories are resolving. But also, seeing them in the shelter and it feeling claustrophobic and feeling like it’s all boiling and things are about to blow just to put more pressure on Loftis. I wanted, as much as possible, for the audience to really be with Loftis and really understand. If you go back to the shelter and see the tension rising, you can remember that. Otherwise, it could be easy to be like, “Oh, you know what? Just forget it. Just leave. Just don’t do anything. Just talk to Ruth and go home.” You need that reminder, whether that’s five people about to really tear each other apart down there or if the shelter is not going to hold or what Evan is getting into down deeper in the basement. Those are all things to raise the stakes for Loftis.
How do you think Loftis feels about learning that it’s actually the son he was trying to protect that’s going to be the issue? Is that something you want to explore more?
DIPPOLD: We’ll definitely have to get into it. I think he feels not good. Not to get too heavy, but you have these dreams of what life should be and I almost feel like I can Disnify things. What’s the Disney version of life? And when you start to realize all the horrors that exist in the real world, it’s hard to accept. There’s a lot of that acceptance at the end of the show, so that’s a big thing that we’re exploring.
Apple TV’s Best Series Since ‘Silo’ Is Officially Returning
Is it the next Martha’s Vineyard, or is it definitely cursed?
Dale found the video about the people needing to be sacrificed according to the number of bell tolls and flipped out, making everyone else flip out, but he doesn’t articulate what he’s seeing and how it makes him feel. With everything that comes out in the finale, are these residents just going to have to deal with things on a different level moving forward? They can’t just ignore that, can they?
DIPPOLD: Right. I guess the only way I can say it is that I feel like Season 1 is almost a prequel to living on a haunted island. Season 1 is slowly starting to realize what’s happening. I think there’s much more fun to be had in Season 2. But I don’t want to say any more than that.
What Tom Loftis Learns in the Season Finale of ‘Widow’s Bay’ Will Change His Life and Trajectory Forever
“I knew that he was going to have this dilemma, and I knew what would be revealed.”
This show existed for a while before you actually shot it, and it evolved over that time. At what point did you know where you would leave things in the finale? What made you decide to end it with Tom having all this information, but no one else having that information yet?
DIPPOLD: Going into the season, I knew I wanted to do something with the bloodline. I knew that I wanted Loftis to be presented with this horrible dilemma, something that really asks what kind of person and leader he is and really makes it not easy and makes it as complicated as possible. We had this debate in the writers’ room about what you would do, and everyone had different answers. When Wyck says, in Episode 9, “Just take a shotgun and shoot her in the back of the head,” I actually don’t know that he’s wrong. I do think that’s the kind thing to do. Loftis does something that I think I would do, deciding to just peacefully poison her to sleep, which seems like the easier way. But because it’s easier for Loftis, he pays the price for that. That leads to him finding out something that will change his life and trajectory forever.
I knew that he was going to have this dilemma, and I knew what would be revealed. Exactly how it was going to play out, I wasn’t sure. We talked about different options in the writers’ room. One of the writers pitched the Bechir move, which I thought was very interesting. I liked how it gave Kevin Carroll much more to do. It makes it interesting, going forward, that there is a man who’s a police detective that is willing to do anything to get off the island, and God help Loftis if he ever finds out about his son. The original ending, I wrote the draft of while we were in production. I can’t remember where it ended off, but Apple encouraged me to give more, and I did. I just can’t remember what exactly came out of that, but it was a whole process of figuring out exactly how to end it.
How far have you planned things out with this series, or at least thought about the story you’re telling? Do you have a good sense of Season 2 and Season 3?
DIPPOLD: I have a good sense of Season 2, in the sense of how I want it to feel, the kinds of stuff we can do, and more of the lore to show. I’ve always had an idea for how I think Loftis’ story should end. Whether that’s what we end up doing or not, I’m not sure, but there’s something I’ve always had in mind.
Do you see it being more full-on horror moving forward?
DIPPOLD: I think it’s always going to serve both.
If You Love the World of ‘Widow’s Bay,’ There Could Be Future Miniseries
“What happened at the inn over that New Year’s night could be a standalone six-episode season.”
Do you want to do more flashbacks?
DIPPOLD: Yes. I think it’d be fun to do more flashbacks. What I think could be very fun about this show and that I always had in mind was, if you build this world and people like being in this world, then aside from this story, there could be future miniseries. What happened at the inn over that New Year’s night could be a standalone six-episode season. I think there is all sorts of stuff you can do, as long as this world is established. I think there’s a lot of fun to be had.
You’re also playing with things that are fated, like the bells in town ringing with the number of people that need to be sacrificed. Is that predetermined and fated? Can anything be changed? Is that something you also want to delve deeper into?
DIPPOLD: Yes. These are the complications that would come up in Season 2.
Widow’s Bay is available to stream on Apple TV.
- Release Date
-
April 28, 2026
- Network
-
Apple TV
- Showrunner
-
Katie Dippold
- Directors
-
Sam Donovan, Andrew DeYoung, Hiro Murai, Ti West
- Writers
-
Alberto Roldán, Neil Casey, Kelly Galuska, Colton Dunn, Dave Harris, Katie Dippold, Mackenzie Dohr
Continue Reading
Lindsay Hubbard had a harsh wake-up call for Amanda Batula that didn’t air on Summer House: The Aftermath.
Lindsay, 39, confronted Amanda, 34, about her controversial relationship with West Wilson during the Summer House season 10 bonus episode, which aired Tuesday, June 16, on Bravo.
After the episode aired, Lindsay wrote via Threads, “Not seen/didn’t make the edit: I told Amanda at the end of that convo, in order to be friends with me, I need my friends to show ‘integrity, character, and better decision-making skills. And until that happens… unfortunately, there’s no place for people like that in my life.’”
Lindsay and Amanda filmed their scenes for Tuesday’s bonus episode on May 13, after the Summer House season 10 reunion, which filmed a month earlier.
In March, Amanda and West, 31, revealed that they were dating after weeks of speculation, much to the surprise of their castmates and Bravo fans alike. Amanda separated from estranged husband Kyle Cooke in January, while West previously dated Amanda’s friend, Ciara Miller.
“You and West made a very adult decision and now you have to deal with the very adult consequences that come with that. You can’t just be the ostrich who puts their head in the sand,” Lindsay told Amanda during the conversation.
“I am going through it and I feel it every day,” said Amanda. “I made some poor decisions.”
During the conversation, Lindsay also accused West of cheating.
“West, he’s already out there embarrassing you. You know who he was on the phone with this morning? Meija [Moreno],” Lindsay claimed, referring to West’s ex.
Lindsay alleged, “He f***ed Meija in March. He cheated on you and cheated on her.”
“This man is f***ing you up,” Lindsay continued.
“Yeah. Which I’m now realizing,” Amanda responded. “I wake up with the most anxiety about how I’ve f***ed up my entire life every single day.”
The fallout from Amanda Batula and West Wilson’s romance is continuing to plague the Summer House cast — and Lindsay Hubbard is still trying to navigate her friendships after the scandal. “Lindsay is not talking to West or Amanda,” a source exclusively tells Us Weekly, noting that West, 31, did “reach out to her” after […]
Amanda continued, “What’s so hard to stomach and process is I just want to be [loved]. I fought so hard for that with Kyle and I felt it so much from West. I just feel really f***ing stupid.”
Lindsay then warned Amanda, “The only way to save yourself in this moment is to separate yourself from the sinking ship that West Wilson is. Be the Rose on the Titanic. Let go of the hand.”
Us Weekly confirmed on Monday, June 15, that West will not be returning for Summer House season 11.
“It was a mutual decision between the network and West,” a source exclusively told Us, adding that West went into the season 10 reunion “already feeling like his time on the show was coming to an end.”
“It became even clearer that there wasn’t a long-term fit anymore,” the insider added. “He is at peace with the decision and is focusing on his podcast and other business ventures.”
Former “The Bachelor” star Colton Underwood is getting candid about his sexuality. In a new interview, the reality TV star and father of one admitted to previously having sexual encounters with married, straight men, noting that he believed their hook-up sessions would stay private because they both had a lot at stake. Elsewhere, in the interview, Underwood, who recently finished his stint on Peacock’s “The Traitors,” discussed being labeled “The Virgin Bachelor,” revealing that he was nervous people would look into his personal life as a result.
On the Tuesday, June 16, episode of “We Need to Talk,” Underwood opened up about navigating his life prior to coming out as gay in 2021. Speaking with the podcast host, Underwood admitted to “experimenting” with guys, hoping to better understand what he was feeling.
“I was careful on how I did everything,” he said.
In order to protect himself, Underwood said that he only hooked up with “married men.” He added, “[Married] ‘straight’ men.”
According to Underwood, while he was in the closet, he followed this one rule. “… that would be the only time I would ever hook up with men was if they were married… because they had more to lose than I did,” he said.
Colton Underwood Looks Back On Being Labeled ‘The Virgin Bachelor’ During His Run On Reality TV
Before becoming one of the most-talked-about reality stars of the last decade, Underwood played football at Illinois State before joining the practice squad of several NFL teams, including the Philadelphia Eagles and Oakland (now Las Vegas) Raiders.
After hanging up his cleats for good, Underwood joined the world of unscripted television, landing a spot on Becca Kufrin’s season of “The Bachelorette.” A year later, he was leading season 23 of “The Bachelor” in 2019.
On the “We Need to Talk” podcast, Underwood said that he wished he were more “vulnerable” and open about his struggles with his sexuality while filming the iconic dating series. “I think there could have been something just interesting in that conversation,” he said.
Underwood wasn’t exactly thrilled about his storyline on “The Bachelor” being about his virginity. However, that’s what the producers rolled with. “… I hated it ’cause I didn’t want that pressure, and then I also didn’t want people digging in because at that time I had hooked up with men,” he said.
Colton Underwood Said There Were ‘Many Reasons’ Why He Was Still A Virgin
Underwood’s struggle with his sexuality wasn’t the only reason he was a virgin at the time. According to him, his faith played a big role in that. Additionally, the reality star didn’t want to share more details about his personal life because he was still trying to learn about himself, revealing that he believed that if he slept with a woman, he’d become straight.
“I just was so good at convincing myself that the next step I will become straight. I need to get engaged. I need to get married. I need to lose my virginity. All of these different things were sort of steps to becoming straight,” he said.
Underwood Came Out As Gay To Robin Roberts In 2021
Underwood revealed that he was a gay man during an emotional sit-down interview with “Good Morning America” mainstay Robin Roberts in 2021.
“I’ve ran from myself for a long time. I’ve hated myself for a long time,” he said. “And I’m gay. And I came to terms with that earlier this year and have been processing it. And the next step in all of this was sort of letting people know.”
Another Celebrity Recently Came Out As Gay After Years Of Living In The Closet
According to a previous report from The Blast, rock singer Caleb Shomo recently opened up about the journey he underwent to accept himself as a “proudly gay man.”
While speaking with “Vanderpump Rules” alum Katie Maloney on her podcast, “Disrespectfully,” Shomo also recalled the moment he told his wife of 14-years that he was part of the LGBTQ+ community.
“I was just bawling my f-cking eyes out, trying so hard to verbalize,” he said. “And I really struggle to verbalize things, and this is obviously such an intense thing, and I’m feeling so nervous and so scared in the situation that it was really, really difficult to verbalize, and I didn’t verbalize it very well.”
Entertainment
See the “Young Washington” cast side-by-side with the historical figures they portray (exclusive)
:max_bytes(150000):strip_icc():format(jpeg)/young-washington-William-Franklyn-Miller-061526-a7b8da77016f40a0803074c0addedb74.jpg)
Rising star William Franklyn-Miller portrays the first U.S. president as a vulnerable twenty-something thrust into battle.
Season 8 of ‘Love Island USA’ has been full of twists and turns. As new bonds form and connections continue to be tested, the drama has been brewing in the villa. The internet has been tuned in daily, sharing its thoughts on certain Islanders. Well, amid the ongoing criticism, former Season 7 Islander Charlie Georgiou has entered the chat to defend his brother and current cast member, Zach Georgiou.
RELATED: Prayers Up! ‘Love Island USA’ Executive Producer Passes Away During Season 8 Production In Fiji
Charlie Georgiou Shares A Few Jokes While Reacting To The New Season Of ‘Love Island USA’
Since the new season of ‘Love Island USA’ aired, Charlie Georgiou has been tuned in and sharing his commentary on Threads. While he’s excited for the season, he’s especially hyped to see his brother Zach step into the villa. When the cast was first revealed, Charlie joked about Zach’s promo photo, writing, “Bro, he’s gonna freak when he sees they gave him that one D intro.”
Charlie also playfully shot his shot at Kenzie, who was coupled up with Zach at the time. However, after Kenzie became upset when Zach chose to pursue a connection with a bombshell, she shared that Charlie was the better-looking brother. Charlie then replied, “DW Kenzie, big bro will take care of you.” The official Love Island USA account responded with eye emojis, and Charlie replied, “She had me from the intro dance.”
Charlie Hops Into Big Brother Mode As He Responds To Criticism Surrounding Zach
While Charlie shared a few jokes about the season, he quickly switched into big brother mode to defend Zach. Many viewers have been questioning whether Zach was planting seeds of doubt in couples like Bryce and Trinity or KC and Aniya, so his connection with Kayda could make it to the end. As the conversation continued online, Charlie stepped in to share his perspective and defend his brother against the criticism. Charlie later took to his Instagram Story and addressed the criticism surrounding Zach’s conversation with Bryce and Trinity. Speaking in a video, he stated:
“I’m going to touch on this Bryce, Trinity, and Zach situation. Listen, as far as I’m aware, it was Bryce that came to Zach throughout the day, expressing his doubts and insecurities within his relationship with Trinity, and Zach simply gave him his opinion. So, to all the people talking about Zach needs to mind his own business respectfully, it was Bryce who brought his and Trinity’s business to Zach. So of course you’re gonna get an opinion back.”
Charlie also appeared to address criticism surrounding Zach’s comments about KC and Aniya during a villa challenge. At the time, Zach suggested that KC may have been playing it safe with Aniya rather than fully exploring other connections.
Responding to viewers on Threads, Charlie wrote, “Also anyone annoyed by Zach keeping it truthful in that challenge must be new to Love Island, what do you want them to do? Lie and sugarcoat their answers?”
Social Media Reacts
Folks quickly gathered under The Shade Room Teens to react to Charlie’s video. Some agreed with Charlie and said they appreciated Zach’s honesty in the villa. Others called Charlie a hypocrite, pointing out that he previously took issue with similar behavior during his own season.
Instagram user @_maverickk wrote, “idk i love zach he hasn’t done anything wrong imo
Instagram user @oralesundaymotivation wrote, “The house would be boring in Zach wasn’t there. Protect Charlie’s bloodline at all costs 😍😂”
While Instagram user @literallyy.k wrote, “charlie boo i still like you keep it cute”
Instagram user @sashacheyennex3_ wrote, “Oh please Zach is doing exactly what we know he’s doing he wants to win in order to do that you gotta eliminate strong couples HE KNOWS EXACTLY WHAT HE IS DOING 🤷🏾♀️ 🤷🏾♀️ “
Instagram user @spwmdntply added, “Wasn’t Charlie the same one complaining when Ace did it? It’s cool ur gonna be seeing ya brother soon”
While Instagram user @semajeejames wrote, “Charlie why is your brother flirting with Bryce when he’s in a couple with kayda?”
Instagram user @sademaariee wrote, “How can I vote Charlie out the villa for a second time ?????”
Instagram user @queennicky_ added, “Ya dragging it Zach keep it real”
While Instagram user @thecharnaemonique wrote, “he aint telling the truth CHARLIE! he aint explored either while he sitting up drinking tea in everyone else business!”
RELATED: Lizzo’s ‘Love Island USA’ Elimination Take Sparks Debate As Fans Rally Behind Melanie (VIDEO)
What Do You Think Roomies?
We need to say something disloyal about Steve Carell, a man we would defend in almost any court. The Four Seasons is better without him. At the end of Season 1, Nick (Carell) dies in a car accident just as he was starting his shiny new midlife crisis with Ginny (Erika Henningsen). On paper, this seemed like an insane decision by Tina Fey and company. You don’t cast the most recognizable face in the TV comedy pantheon and then write him out after eight episodes.
Except Fey and co-creators Lang Fisher and Tracey Wigfield did exactly that. With Season 2, there might’ve been some second-guessing. A finale without your biggest star is one thing; a whole season is another beast entirely. And yet the show’s sophomore outing, which hit Netflix on May 28, doesn’t slump; it soars, making comedic work of grief in a way few shows would dare.
‘The Four Seasons’ Season 2 Builds Its Best Vacations Around Nick’s Death
Season 1 of the Four Seasons was a pleasant, low-stakes hang. Three couples, four trips, one divorce bomb. As far as comedy premises go, it’s a goldmine. But Season 2 came with baggage, and not the kind you can tip a bellhop to carry. The first episode opens with the surviving friends hiking up a mountain to scatter Nick’s ashes. (As if we could forget this hedge-fund executive died doing DoorDash duty for a roomful of millennials he was trying to impress.) Every quarterly trip now has a ghost on the itinerary, and that turns out to be exactly what this ensemble needed.
Somehow, grief doesn’t suck the air out of the funny moments; it pressurizes them. Kate (Fey) and Jack (Will Forte) keep failing to comfort each other because they’re mourning at completely different speeds. Danny (Colman Domingo) and Claude (Marco Calvani) handle their grief the way plenty of couples do: by floating the baby question. The debate is hilarious and a little heartbreaking because we all know a baby has never once fixed an existential crisis, and on some level, so do they. When they bail on the idea and move to Claude’s hometown of Trento, Italy, instead, you get it. Sometimes the only answer to death is a dramatic change of address. And then there’s the odd couple nobody asked for: Anne (Kerri Kenney-Silver), the ex-wife, and Ginny, the girlfriend, stuck haggling over Nick’s estate before baby Gino turns them into reluctant co-parents. It’s the season’s strangest, sweetest pairing, and the show is smart enough to know it shouldn’t last.
‘The Four Seasons’ Season 2 Belongs to Will Forte and Kerri Kenney-Silver
Forte has spent his career being the weirdest guy in the room, so watching him play the season’s most grounded tragedy is a small revelation. Jack copes with Nick’s death the way a lot of mild-mannered men cope with anything: by holding everyone else together while privately falling apart, with a little help from a robust personal weed regimen and a newly-picked-up marathon hobby. Episode 8 is his season-best, and on paper it’s pure sitcom: Kate strong-arms a clearly not-okay Jack into running an Italian marathon to “turn this year around.” It’s two people having the fight they’ve been dodging for seven episodes, except now they’re having it mid-race, sweaty and furious, while strangers in foil blankets cheer them on. And Forte sells every second of it as a guy who can’t pinpoint when he stopped being okay. If we complain too much about fragile masculinity and men who can’t express their feelings, his Jack is the answer to that. But he’s not the only supporting player who finally gets their due in Season 2.
The Four Seasons’ first outing mostly used Anne as the wronged woman, the wife Nick discarded on the way to his new life. Season 2 hands Kenney-Silver the keys. Anne and Ginny start by squabbling over Nick’s estate and end up co-parenting baby Gino. Then, in the move that gives the finale its spine, Anne does the last thing anyone expects from her: she stays. While the rest of the group flies home from Italy, Anne volunteers to housesit Danny and Claude’s place in Trento… alone, in a country where she knows nobody. Then David Tennant strolls in as a charming local stranger, and the show closes on Anne flirting in broken Italian with the energy of a woman who has finally remembered she exists. It’s the most satisfying cliffhanger Netflix has produced in ages, and it belongs entirely to a character who spent her first season as collateral damage in someone else’s storyline.
For a while now, Netflix has been positioning The Four Seasons as its cozier answer to The White Lotus, but Season 1 never had the stakes to back that up. Season 2 does, and it gets there without a single murder mystery. Even when Carell returns for a flashback episode, the show resists the urge to build a shrine. Nick shows up as he actually was: charming, selfish, beloved, and, in a way, already gone. By killing him off and sticking to that choice, The Four Seasons didn’t lose its biggest star; it let him go and found its best self on the other side.
Though he first got some attention with Following, and then quite a bit more with Memento, Christopher Nolan is best known nowadays for making films on a massive scale. Those two early films of his weren’t really epics, by any means, and neither were Insomnia nor The Prestige, even if they got a bit bigger in scale, and had larger budgets. It wasn’t until Nolan started making some superhero films that he began leaning more towards crafting epics, and it’s that zone he’s generally stayed in for almost two decades now.
The Odyssey is about a month away, at the time of writing, and looks set to continue this trend of making epic movies, what with its runtime that comes in at just eight minutes shy of three hours, and a budget of approximately $250 million used to bring the whole thing to the big screen (hopefully, the biggest screen you can possibly see it on). The only fairly recent movie of Nolan’s that’s not being considered here is Dunkirk, which is almost an epic, but isn’t long enough to count in the traditional sense. It’s under two hours, whereas all the movies here hover around the 2.5-hour mark, and one is even right on three hours. This is a ranking of all Christopher Nolan’s epic movies to date, starting with the flawed yet interesting and ending with a couple of films that are pretty darn close to perfect overall.
6
‘The Dark Knight Rises’ (2012)
Concluding what ended up being a pretty massive blockbuster trilogy, The Dark Knight Rises is certainly flawed, though it would be a stretch to call it an outright terrible comic book/superhero movie. Batman Begins wasn’t quite an epic, while the second movie in the trilogy does count (and will be talked about more later on), but for better or worse, The Dark Knight Rises feels the most in line with what you usually find in the epic genre. It’s the closest to three hours long out of all the Nolan Batman movies, it feels like it juggles the most moving pieces narratively, and it also seems to cover a decently long period of time.
Bane is the main villain here, though there’s also some stuff relating to a past foe of Batman’s that’s a little silly, yet does at least kind of tie the events of Batman Begins to the events of The Dark Knight Rises, with an almost full-circle sort of thing achieved. There are parts of this trilogy-capper that are thrilling and successful at capturing some kind of spectacle, and then there are other sequences that feel hammy and goofy in ways the other two movies in the trilogy mostly avoided. At the end of the day – and at the end of this trilogy – The Dark Knight Rises is a bit messy, and definitely inconsistent, but still has enough to offer, as an epic, to keep it from being outright bad. It’s probably more the case that it’s just disappointing by the rather high standards of Christopher Nolan’s filmography.
5
‘Tenet’ (2020)
There’s also a messiness to Tenet, yet it’s an admirable movie, too. Christopher Nolan clearly had a weird vision here, and a desire to top some of his previous psychological thrillers, action movies, and sci-fi films, doing all that while also making the most spy/espionage-heavy flick he’s done to date. To try to summarize what’s going on here, Tenet is about a man known only as “the protagonist,” and he gets tangled up in a complex plot that involves objects that are able to travel backward in time. In time (ha), it also turns out that people can go backwards, like the objects, and then things get progressively wilder.
It’s always there to be rewatched, if you think it’s the sort of puzzle that might well come a little closer to being solved on repeat viewings, but there’s never any real guarantee of clarity.
Tenet has a lot of fun with set pieces that feature things going backwards and forwards simultaneously, and it’s also not really a movie that cares about whether you’re keeping up and having fun alongside it. You get what you can get out of Tenet, and hopefully, that’s a pretty decent amount. It’s always there to be rewatched, if you think it’s the sort of puzzle that might well come a little closer to being solved on repeat viewings, but there’s never any real guarantee of clarity. It’s a mind-bender, to put it mildly, and comes close to feeling like a parody of a Christopher Nolan movie at times. For the stuff that works, though, and the parts that are thrillingly strange rather than outright confusing (probably not as many parts cause confusion as you might fear), Tenet is still very much worthy of your attention.
4
‘Oppenheimer’ (2023)
Oppenheimer is huge, standing as Christopher Nolan’s longest movie to date, and also being the only one to hit the three-hour mark (even The Odyssey is confirmed to fall a little short of that). That might make Oppenheimer the most traditional epic of Nolan’s, with the content of the film also supporting that idea. It’s got so many different characters, the narrative spans a great deal of time, and Oppenheimer is also attempting to do a lot as a character study and a historical film at the same time. It’s about J. Robert Oppenheimer, and there’s a particular focus on his involvement with developing the first atomic bomb.
This makes Oppenheimer a World War II movie of sorts, but not one with any scenes of combat, since it’s more about making a weapon that’s intended to bring about a close to the war. But… it’s also about the aftermath of making such a weapon, and the consequences that might not have been fully appreciated until it was too late. Oppenheimer jumps around in time a lot, and spends a good deal of its runtime on certain things that happened after the atomic bombs were dropped on Hiroshima and Nagasaki. It is almost too much movie, but also, so much of this too-much movie is great. It might seem low on this ranking, but it should be stressed that it’s quite a bit better than both The Dark Knight Rises and Tenet.
3
‘Inception’ (2010)
While Oppenheimer might’ve felt the most like a traditional epic, out of any Christopher Nolan movie, Inception probably feels the least like one. Some of that comes down to the runtime, as it’s the only movie in this ranking that’s technically just short of 2.5 hours (by only two minutes, but still). Also, Inception races by in what feels like under two hours, since it is a phenomenally paced movie. You don’t really feel as though it has a runtime that could be considered epic, since everything is very finely crafted, there’s a generous amount of action, and the film never really stops being intriguing and/or surprising.
It is technically a heist movie, albeit in an unusual way, a bit like how Tenet was an unconventional spy movie. Inception has its main characters taking part in a heist that involves infiltrating someone’s subconscious, and there are a few different levels of dreaming that have to be traveled to, to carry out this plan. It’s a film that begins confidently, lays out exposition in an entertaining way, and then delivers some serious action and spectacle in its back half. Inception sees Nolan operating quite perfectly in blockbuster mode, so it also being something of an epic is really just icing on the (very, very layered) cake.
2
‘Interstellar’ (2014)
While it doesn’t span as much time as 2001: A Space Odyssey (which has the room to, since it’s a bit more abstract and mostly has different characters in each of its different segments), Interstellar spans about as much time as you could expect a sci-fi movie to, while focusing mostly on the same characters throughout. Admittedly, that’s partly because Interstellar involves different people experiencing time at a different rate, so maybe it doesn’t span a ton of time, depending on the perspective… but on Earth, decades and decades do pass.
This is a reliable source of drama for the film, and something that gives it a greater emotional punch than most other Christopher Nolan movies. On top of being moving, Interstellar is also spectacular to look at and listen to, all the while having a largely exciting story about going into deep space to ensure humanity can find a planet that’s not Earth to live on into the future. It begins with confidence, ends extremely well, and then, in between, distinguishes itself as one of the finest sci-fi epics of the century so far.
1
‘The Dark Knight’ (2008)
You can’t really go wrong with The Dark Knight, since it’s an amazingly well-written comic book movie that does a lot more than just feel like another comic book/superhero movie. It’s the perfect filling between the two pieces of (fairly good quality) bread that are Batman Begins and The Dark Knight Rises. Within the trilogy, The Dark Knight does the most by way of interesting things, and it also has the most compelling conflict out of any of the three movies, thanks to a perfectly cast Heath Ledger as a particularly engaging version of the Joker.
You can also compare The Dark Knight to Inception in the sense that it’s a long movie, yet it passes by in what feels like a flash, being a movie that never really slows down. You probably knew all that already, because most people seem to love The Dark Knight, and it doesn’t feel controversial to call it pretty much a masterpiece, but there it is anyway; there it is, being said again. It kind of is just that good.
Editor’s note: The following contains major spoilers for Your Fault: London.
Summary
While the second installment of the trilogy is called Your Fault: London, there is plenty of blame to go around, as miscommunication drives Noah (Asha Banks) and Nick (Matthew Broome) further apart and pushes their relationship to the brink. Just when they thought they were stronger and more in love than ever, life tested them with Noah pursuing her studies at Oxford and going to parties with friends while Nick juggled the demands of work and celebrated with a colleague. Small cracks start to fracture into feelings of doubt and jealousy, and Noah and Nick find themselves having to decide whether their love is still worth fighting for.
Co-stars Banks and Broome recently sat down with me to discuss the wild ride of Noah and Nick’s romance in this second installment of their love story, and how fans can rest assured that they’ll get to see more in the already shot Our Fault: London. During the interview, they discussed having fans embrace their Noah and Nick, the challenge of bickering in a car during a race scene, dressing up like a Spice Girl, whether Michael (Joel Nankervis) was manipulating Noah, the fight that turns into a moment of passion, Briar’s (Scarlett Rayner) history with Nick, that moment Nick realizes what happened between Noah and Michael, and the light at the end of the tunnel coming for Noah and Nick in the third film.
‘Your Fault: London’ Stars Asha Banks and Matthew Broome Are Happy That Fans Have Embraced Their Noah and Nick
“We wanted to do the second book and movie as much justice as the first.”
COLLIDER: How has it felt to experience the fan reception to your version of this story? When fans start saying you guys are the best Nick and Noah ever, does that make you more nervous or more excited to hear what they will have to say about this film and about the next film, Our Fault?
MATTHEW BROOME: The fans have their preferred, or they like both, or they like none, or whatever, but it’s nice to know that we have people on our side. At the beginning of the first film, we were coming into a fan base as strangers being like, “Please like us.” It’s nice to be putting something out there for people who really want to receive it.
ASHA BANKS: I think it’s equally daunting and nerve-wracking coming back, knowing that people responded well to the first one. It’s amazing. It’s the best. We’re so lucky that people loved it and that people allowed us to exist with Nicole [Wallace] and Gabriel [Guevara], who did such an amazing job of the characters already. They’ve all been very lovely and very receptive. But you’re so right, that almost made it more nerve-wracking coming back, because we had to deliver, and we wanted to do the second book and movie as much justice as the first.
I also feel like this is the movie where some fans are going to get a little upset.
BANKS: Yes. We’re like, “Stay on our side, please! Stay with us!”
Banks and Broome also talk about making Noah and Nick their own and exploring their romance amid the action scenes.
There’s a moment in this film when Nick has to race for Lion, and Noah gets in the car before the race starts. What was it like to shoot that scene, with the two of them bickering while also trying to win the race and being trapped in the car together? What is it like to do all of that in such a confined space?
BANKS: It was so hard. That was the hardest one of the second movie. Like you said, there were so many things at once. With the first film, we’d done a lot of driving, but alone in the car with each of us separately. And we’d done a scene in the car, but it was very stable, normal driving around London. And then, suddenly we were like, “Oh, damn, now we have to do our racing, but together in a scene where we’re bickering and it’s so fast-paced.” It’s so silent when you film. Obviously, our job as actors is to bring the stakes, but it feels so silly being in a car surrounded by screens, and we’re fighting and pretending to race.
BROOME: With the crew shaking the car and spraying water on it.
BANKS: That was really one where we had to hold each other and be like, “We’ve got this. We can do this.”
It looks cool. Even if all that silliness is going on, you would never know.
BANKS: Exactly. The VFX and the crew are basically what makes that amazing, and we were thinking too much about ourselves.
Asha, how was it to dress up as one of the Spice Girls and figure out exactly what that would look like?
BANKS: Oh, my goodness, it was amazing! That was the first thing I did in my fitting when I came in for the second film. They were like, “By the way, you’re going to be Posh Spice.” And they whipped out a wig, a bob, and tried to fit my amount of hair in a wig cap, which was quite difficult, but it was so much fun. I stopped myself from asking the question of how it was such a fantastic costume for a uni party. I was like, “You know what? This has to be iconic.” I loved it. It was so much fun.
There’s a moment when Michael is talking to Noah about her relationship having to be kept a secret and about Nick’s insecurities. Do you think he’s manipulating her in that moment, or do you think he’s just being honest with her in that moment?
BANKS: I think Michael was just being honest. Especially in that moment, he comes in with his heart on his sleeve. He does fall for Noah in ways. He can see that Nick isn’t being the man that he would be to her in that moment. I think that he’s being honest. I don’t personally feel like, in that moment, he’s manipulating her. But of course, she is in a vulnerable spot, and she’s going through ups and downs in her relationship, which is what makes it so interesting. It is a debate for both of them, and for Sophia. For a lot of this film, there are a lot of questions and a lot of debate about people’s intent. That’s what makes it so interesting.
Asha Banks and Matthew Broome Discuss That ‘Your Fault: London’ Fight That Quickly Turns to Passion
“I love that scene.”
There’s the fight that you guys have at Nick’s place, after he shows up at Oxford and finds Michael in Noah’s room, that ends up getting heated. When Nick tells Noah that she’s his, they go from fighting to undressing each other pretty quickly. How was it to find that shift? What was it like to figure that moment out and to work that scene out because it does get a bit physical too and it shifts quite a bit throughout that whole sequence?
BANKS: I love that scene.
BROOME: It’s the release of tension. It’s like a musical where when words are not enough, you start singing. They’re either going to fight or …
BANKS: The other.
BROOME: … the other.
BANKS: We worked so much on that scene, in terms of the script as well. That was so important, making the shift feel like it made sense, and it only really made sense if the argument comes to a point of such intense passion.
BROOME: At the end of the day, they just want each other. That’s all.
BANKS: That’s what they’re saying.
BROOME: They just want each other.
BANKS: It was actually such a fun scene to film.
BROOME: It was.
BANKS: They do go through so much in such a short space of time and the stakes are so high. “Fame is a Gun,” by Addison Rae, is the song that is over the scene in the film, and we were playing that song as we filmed it.
BROOME: I feel like it was our first heightened, intense argument. We talked a lot about how, by this point, Noah and Nick have argued loads. They know how to push each other’s buttons. They know what each other’s going to do to piss each other off. So, we were like, “How do we incorporate that into it?” They attempt to talk like adults before they end up screaming at each other and taking each other’s clothes off.
My mind immediately went to what might have happened behind the scenes. Whenever there’s a scene where somebody has to pick someone else up, I’m always like, “Please just don’t let him have dropped her in that moment.”
BANKS: I know. Thank you! I was safe.
Matthew, knowing how Briar is and the history that Nick has with her, why do you think he believed her when she tells him that Noah has moved on and is happy without him and is with Michael?
BROOME: Because I think that’s everything that he is worried about happening and thinks is happening. He’s driving himself insane with this idea of, “Something is going to go on there. If I don’t stop it or if I stray too far, then that’s what’s going to happen, inevitably.” There’s probably a bit of ego involved with him going, “I knew it. And also, that’s the worst thing I ever want to hear.” I think the weight of, “I saw the threat coming and let it happen,” stresses him out.
The Chaos of ‘Your Fault: London’ Continues To Build Until the Cliffhanger Ending
“There’s so much that has to happen in a short space of time.”
So much happens at the end of this, with Nick and Sophia kissing where Noah can see them, Briar dropping the bomb that she used to be with Nick, and Nick learning that Noah and Michael aren’t actually together. What was all of that like to play out, having them be so at odds with each other and having all of that spiral all at once?
BROOME: That was a really tough day. I struggled with that day because you are having to get all the reveals happening at once on this staircase, and you have to play that beat and that beat.
BANKS: Yeah, that was definitely a challenging day because it’s such an important scene as well. There’s so much that has to happen in a short space of time, and each moment has to be given its own spotlight of explanation. As an audience member, you have to be able to pick up each piece in order to track what’s happening, so it was definitely a hard one to figure out. And then, add a grand staircase to it, which is where we played the scene. It was difficult. It’s hard in moments like that because you have such a gut instinct for what your character would do and how they would react, but it’s in those moments where you remember the technicalities of filming and where you have to step yourself back from your character a bit and remember that each person’s moment is integral in making the puzzle of the scene work, especially when you watch it in the edit. So much happens on the day and you remember the chaos. And then, you watch the edit and you’re like, “Oh, it makes complete sense.” The directors are amazing and they know what they’re doing, and they can piece together something and so seamlessly make it feel impactful, but with the chaos, that is true to the scene.
And yet somehow it doesn’t just stop there. This whole thing just keeps spiraling. Asha, how hard was it to shoot the moment when Nick realizes that Noah was with Michael? So much is going on, but you’re not saying much in that scene. It’s all just coming from your reaction.
BANKS: It was hard, emotionally, but it was easy. By that point, we’d filmed a lot of the film, and I find it easier sometimes to feel the emotions and react when that’s all you’re doing. I know Matt so well now. Watching Matt as Nick discover this is heartbreaking because I feel like you get to a point where you just are the person.
BROOME: It’s the moment that is so close. If that didn’t happen, they would probably have spoken it out. But it’s just the final, “Oh, no.”
BANKS: And it was exhausting to film, which was helpful, ultimately. I think we did [Matt’s] coverage first. And by the time that they turned around onto me, I was exhausted and I was like, “Oh, my goodness, this is heartbreaking.” But it was a lovely scene to film.
Wallace also talks about completing Noah and Nick’s story with ‘Culpa Nuestra,’ due out in 2025.
Do you think Noah felt guilt in that moment? Do you think she blamed Nick? What do you think was going on with her in that moment?
BANKS: Oh, God, I think all of it at once. She has a numbness just overriding everything because it’s too much to handle in that moment. I think that a lot of their trouble comes from miscommunication, and that is one of the biggest moments of that in the film. She knows Nick and she knows that there’s nothing that she can do in that moment to talk him ‘round. She has ultimately made a mistake because of a miscommunication of what she thought happened with him and all the chaos. I do think it’s one of the only times in the film, probably, that Noah gives in. She can’t take it, in that moment.
Matthew, what was it like to have that moment between Nick and Michael? Was it hard for you to justify that level of violence from Nick, or do you feel like everything was just building up to that?
BROOME: As me, Matthew, it’s hard to justify that. But as Nick, everything up until that, with the amount of times that’s what he’s wanted to do, if he was film one Nick, he would have punched him, probably immediately. But he’s tried to do the good thing every time and not do it. That is the last straw before it explodes. With all that pent-up anger and frustration, the old Nick just comes out. He’s like Hulk in that moment. He can’t control that anymore. It’s gone. And I do believe that Michael is triggering him in that moment. He’s saying the things that he knows are going to get to Nick. It’s almost like a mutual understanding for both of them that this is going to happen. Not to justify violence, but playing Nick, I get it at that point.
Fear Not, Noah and Nick’s Story Will Continue in ‘Our Fault: London’
“You’re going to get to watch us again in a whole different phase of our lives.”
Because fans are obviously going to be left crushed at the end of Your Fault, what are you most looking forward to them getting to see with Our Fault? And how does it feel for you guys to have been able to actually complete the trilogy?
BANKS: It feels great. It’s really nice, knowing how crushed fans are probably going to be at the end of this movie and how much they’ve been through, for us to be able to say, “There’s another one. The story is not over. There’s more coming.”
BROOME: You’re going to get to watch us again in a whole different phase of our lives. The characters are older and moved on and more mature. We get to watch them handle it differently.
BANKS: There’s a light at the end of the tunnel.
BROOME: Or is there?
BANKS: Or is there?
Apple TV’s 2-Part Drama Is Perfect for ‘Bridgerton’ Fans Waiting for Season 5
From high drama to excessive mess, this period drama is a bingeable companion experience to ‘Bridgerton.’
Along with returning to Nick and Noah for these movies, you guys each have TV series that you’ve gotten to do for two seasons, with A Good Girl’s Guide to Murder and The Buccaneers. Having done it with these movies and with your TV shows, what have you found you each most enjoy about getting to return to a character that you’ve already played and that you already know? How different has that experience been?
BROOME: I love the fact that I, as an actor, have grown and I can put that into my character growing up and also just evolving as a human. I find that really exciting. In that year, I’ve absorbed so much in my day-to-day and in my life that I can now use as experience. It gives me an opportunity to show a side of me and the character that I’ve not got to before, and I find that exciting instead of going for the same. You’re not going, “I must react exactly how I did in the first.” It gives you the space to evolve, and I find that really exciting as an actor.
BANKS: Yeah, I agree. I had a bit of a strange experience because I returned to both Cara, in a Good Girl’s Guide to Murder, and Noah, in Your Fault, basically at the same time. We were filming Season 2 just before I filmed the second My Fault movie. Before that, I knew that they were both coming again, but I had never returned to a character, so I think I was very nervous. Coming back to a character, you that thing of, “Do I know how to come back to this and play this character again? Who is she? What did I do? How did I speak?”
BROOME: And then, you realize you are her, which makes it easier.
BANKS: Yeah. Going back to Season 2 of Good Girl’s made me realize that immediately. And then, I felt much more relieved about coming back to Noah and feeling very excited to grow. We felt that being able to play a new Noah and Nick, where they are very comfortable with each other and know each other very well, as we do, was so much fun. In the first film, there wasn’t able to be as much of Asha and Matt within our characters.
BROOME: Yeah. I’m really excited for fans to see that side of our dynamic because it might, at times, be like, “Is this Nick?” You’ve never seen him in a year relationship. He’s never seen himself in a year relationship before. This is all new to him, and [the fans]. That’s fun and exciting.
Thank you guys for talking to me. It was fun to take the ride with this movie. Even though I knew what was coming, essentially, I still kept forgetting that there was more to keep spiraling.
BANKS: There’s always more. Thank you!
Your Fault: London is available to stream on Prime Video.
- Release Date
-
June 17, 2026
- Director
-
Charlotte Fassler, Dani Girdwood
- Writers
-
Bella Heesom, Melissa Osborne, Mercedes Ron
Steven Spielberg’s latest UFO blockbuster is generating debate far beyond extraterrestrials and government secrets.
“Disclosure Day,” which has already attracted more than two million moviegoers, centers on a world-changing release of classified UFO files and the fallout that follows.
However, while the film explores whether humanity is alone in the universe, it also tackles a more controversial question: what happens to religious belief if proof of alien life finally arrives?
That premise has sparked renewed discussion among Christians, UFO researchers, and disclosure advocates alike.
Spoiler Alert: This article contains major plot details and ending revelations from Steven Spielberg’s “Disclosure Day.”
Unlike many alien-themed films that focus primarily on science or invasion scenarios, Steven Spielberg’s “Disclosure Day” directly confronts the question of how the confirmation of extraterrestrial life could affect Christianity.
The story unfolds after the Donald Trump administration releases previously classified UFO files containing new evidence that humanity is not alone.
One of the movie’s central figures is Jane Blankenship, a former nun played by Eve Hewson, who fears the revelation could fundamentally challenge her understanding of faith.
Blankenship worries that the disclosure might force believers to reconsider everything they know about God, Jesus, and the Bible.
According to UFO investigator Chris Ramsay, the film touches on a genuine fear shared by many Christians who believe confirmation of alien life could raise difficult questions about creation, humanity’s role in the universe, and God’s relationship with other intelligent beings.
‘Disclosure Day’ Is Built Around A Former Nun’s Crisis Of Faith
Blankenship’s struggle becomes one of the film’s emotional anchors. She is the girlfriend of cybersecurity whistleblower Dr. Daniel Kellner, played by Josh O’Connor, who joins efforts to expose decades of hidden evidence about extraterrestrial life.
After the couple become targets of the mysterious WARDEX corporation for leaking classified information, Blankenship seeks refuge at her former convent. There, she reconnects with Sister Maura, played by Elizabeth Marvel.
Rather than reinforcing Blankenship’s fears, Sister Maura encourages her to adopt a broader perspective about faith and the universe. As the story progresses, the main character begins to reconsider her assumptions.
Instead of viewing extraterrestrial life as a threat to religion, she ultimately concludes that a vast universe filled with life could strengthen belief in a creator rather than weaken it.
Steven Spielberg Addresses Concerns Shared By UFO Researchers
Ramsay praised Steven Spielberg for tackling a subject many disclosure advocates have discussed for years.
“If you’re faced with this brand new truth… that here are other beings, it puts into question a lot of the things that people may have read in the Bible,” he told the Daily Mail.
The issue has gained attention from politicians and commentators alike. Some have suggested that concerns about religious disruption are among the reasons governments have been reluctant to fully release UFO information.
Ramsay believes Spielberg intentionally included the faith-based subplot because many Americans could view disclosure as an existential challenge.
“He obviously understands that a vast majority of the American population, specifically being Christians, might see disclosure as this existential sort of problem that they have to inevitably face,” Ramsay revealed.
The researcher argued that the filmmaker’s message was ultimately one of reassurance rather than conflict.
“I think that was Spielberg’s way of softening the blow,” Ramsay continued, adding, “Just because there might be life out there, or even visiting us, doesn’t mean God doesn’t exist. He would have created them too, right?”
Spielberg Packs Decades Of UFO Lore Into ‘Disclosure Day’
Beyond religion, Ramsay was impressed by the sheer scope of UFO topics covered in “Disclosure Day.” “I think it was an absolutely Herculean task which was set before him,” he said.
The researcher noted that Steven Spielberg incorporated ideas spanning nearly 80 years of UFO history, including crash retrieval claims, alien contact reports, psychic phenomena, remote viewing, and telepathy.
Remote viewing, which gained notoriety through the Cold War-era Stargate program, is also referenced in the film. Ramsay appreciated that Spielberg acknowledged government interest in psychic research, even if the abilities were dramatized for Hollywood audiences.
The film also explores the world of UFO experiencers, individuals who claim direct encounters with non-human intelligence.
Ramsay pointed to scenes involving unusual animals and alleged psychic aftereffects as examples of concepts frequently discussed within UFO communities.
‘Disclosure Day’s’ Most Chilling Scene Left Researchers Talking
One sequence in particular stood out to Ramsay. The scene follows Emily Blunt’s character, Margaret Fairchild, as she trails a series of animals through a snowy forest toward what appears to be a comforting home.
As she gets closer, the illusion suddenly vanishes, revealing a sterile white room where a child lies on a floating metallic slab under the watch of a gray alien.
“When that transition happened, I got the chills through my whole body,” Ramsay said, further noting, “I thought that they landed that was very, very accurate [to reports].”
He also pointed out Fairchild’s sudden psychic abilities after her encounter. She begins speaking Russian, appears capable of reading minds, and experiences episodes resembling clairvoyance.
“That’s something that’s actually been documented quite extensively with experiencers,” Ramsay told the Daily Mail.
Although he questioned Spielberg’s portrayal of extraterrestrials communicating through clicking sounds rather than telepathy, Ramsay left the theater impressed.
The film concludes with media clips featuring unexplained sightings and conspiracy theories, leaving him wishing the 79-year-old had gone one step further.
“How amazing of an opportunity would that have been for disclosure? For people gathered in the theater, eating popcorn and being told… this movie features footage from a real, live, non-human crash retrieval. For me, that would have been disclosure – and in the most American way,” he said.
Entertainment
JD Vance addresses on “The View” controversial 'childless cat ladies' insult that Taylor Swift responded to: 'Boneheaded'
:max_bytes(150000):strip_icc():format(jpeg)/JD-Vance-The-View-061626-7-0da1bfd9793e4cd38d4763a89008da3c.jpg)
“Did that comment actually shed light on something and start a discussion? Or did it just close people down?” Vance asked on “The View.”
Entertainment
10 Years Later, Prime Video’s All-Star Western Is So Good, You’ll Wish You Found It Sooner
Jon Cassar’s no-frills western drama, Forsaken, follows John Henry Clayton, played by Keifer Sutherland, a former hot-shot gunfighter, who returns home seeking redemption and reconciliation. However, upon his arrival, Clayton quickly realizes things aren’t quite like he left them. An old love lost to time, new ruthless land-grabbing antagonists, and his estranged father force this homeward-bound cowboy to question whether he can truly leave his violent past behind. Ten years later, Prime Video’s well-loved western picture is still celebrated by critics and audiences alike.
Many say the film benefits from the expertly cast on-screen pair of real-life father and son, Donald and Kiefer Sutherland. Additionally, the film includes a further star-studded cast, including but not limited to: Demi Moore as Clayton’s forlorn old flame Mary Alice Watson and Brian Cox as an unscrupulous land baron and Clayton’s primary antagonist. This, combined with the classically riveting grit of an old western, makes for a truly incredible watch.
‘Forsaken’ Embraces Traditionalism for Unadulterated Western Fun
To state it plainly, this film makes no attempt at reinventing the wheel, per se. However, within it’s traditional western attributes belies its defining strengths. Take the premise itself, for example. How many old, warn out, morally-grey-hero-returning-home flics have audiences seen? More likely than not: infinity. Tons of so-called reinventions of this classic premise have been slapped across silver screens worldwide. However, Forsaken digs into this cliche with reckless abandon. In fact, the script even begins with a classic: “Well, well, well…” Upon Clayton’s fateful return.
John Henry Clayton, a lone gunman, attempts to leave his life of violence behind in hopes of appeasing his preacher father, Reverend Clayton. As he returns home, he is met with an unexpected threat. A railroad is coming, and a ruthless property developer, by the name of James McCurdy, expects each townie in its wake to close up shop and ditch the place. To say the very least, he’s willing to resort to just about anything to make it happen. As McCurdy and his gang begin to resort to violence, Clayton finds it increasingly difficult to let sleeping dogs lie, as his violent past creeps its way to the present. This, combined with the wonderful depth captured between each of the lead characters, allow the film to rise from a boring remake, to a classic benchmark.
The 15 Best Western Movies of the 2020s So Far, Ranked
“A rock and a hard place is what we call Monday.”
The Characters that Truly Make ‘Forsaken’
In a film such as Forsaken, expert characterization and portrayal are each essential qualities for success. In each respect, this picture did not disappoint. In particular, both Moore and Cox’s performances struck as rather convincing and, more than that, truly entertaining.
Despite how little screentime was afforded to Demi Moore’s character, her portrayal of Mary Alice Watson was poignantly modest and understated in a highly believable manor. The essence of her character is her wistful, barely there, almost ghostly presence. She is a past love, whose flickering flame still seems to haunt Clayton, with whom she has wonderful chemistry with. Flowers are certainly deserved in respect to her bittersweet realism. And despite her “B-plot” title, it woudlve been nice to see more of her. Cox, on the other hand, is perfect in opposition to the almost translucent quality of Watson. Cox provides a truly menacing presence to the screen. And that very realistically grounds both the film and the town’s defining threat. His authoritative control and humorous, hammy, depiction push the film even further into the classic southern archetype. He creates a truly palpable tension on screen through his sharp conviction and pure villainy.
In summary, Jon Cassar‘s Forsaken is a film for those looking to indulge in cliche western entertainment. The unrelenting revisiting of classic tropes makes for a truly fun watch, and the expert portrayals of each player involved ground the film expertly. This terribly underrated western is often forgotten and left out of conversations for one possible reason. The genre of western dramas has become so convoluted, audiences have lost touch with classics. Filmmakers are throwing far too many overly modernized twists at what could already be considered enough respectively. Forsaken digs into the beauty of sticking to what the genre knows, and executes it perfectly.
- Release Date
-
September 16, 2015
- Runtime
-
90 minutes
- Director
-
Jon Cassar
Crypto World25 seconds ago
Profit pressure persists for U.S. miners amid AI cloud mining boom
Entertainment1 minute ago
Lindsay Hubbard Reveals Unseen Aftermath Moment With Amanda
NewsBeat5 minutes ago
Cyclist seriously injured in hit-and-run crash
-
Business3 days agoNo Jackpot Winner as $257 Million Prize Rolls Over to $269 Million Monday Draw
-
Crypto World6 days agoOppenheimer backs SpaceX as $70 billion retail frenzy builds
-
Fashion5 days agoWeekend Open Thread: Tuckernuck – Corporette.com
-
Crypto World6 days agoMarkets Rally as SpaceX IPO Looms Amid Iran Tensions and Inflation Surge
-
Crypto World3 days agoZimbabwe Requires Crypto Businesses to Register Annually Under New FIU Regulations
-
Tech5 days agoNanoClaw integrates JFrog registries to secure AI agent downloads
-
Tech5 days agoThis Week In Security: Microsoft On Microsoft, Register Your Domains, Linux On ARM, And FreeBSD Joins The File Cache Club
-
Crypto World4 days agoBitget enters Argentina’s regulated crypto market through PSAV registration
-
Tech6 days agoDutton Ranch star claims they ‘didn’t see any disruption’ on set following Chad Feehan’s exit from Yellowstone spinoff fueled by Taylor Sheridan clash rumors
-
NewsBeat6 days agoEl Nino has formed in the Pacific and could set records, forecasters say
-
Politics6 days agoPolitics Home | Healey Resignation Is “Colossal Failure Of Government”, Says Former Labour Defence Secretary
-
Entertainment6 days agoDonnie Wahlberg & More Heat Up Las Vegas at Circa’s Barry’s Downtown Prime
-
Tech6 days agoOpendoor Ends India Operations, Fueling a Bigger Conversation About AI and Outsourcing
-
Politics6 days agoBelfast burns, while Met chief points finger at Iran and Russia
-
Sports6 days agoFirst Time Since 1971: Australia Register Historic Low In ODI Cricket
-
Business6 days agoAT&T: Verizon's 27% Outperformance Sets Up A Solid Entry Point
-
NewsBeat5 days agoFBI searches office of Ohio voter registration group
-
Tech6 days agoAnthropic is spending $150M to embed 1,000 AI fellows inside nonprofits. No degree required.
-
Politics6 days agoModi thanks Trump for wishes as US attacks Indian seafarers
-
Entertainment6 days ago‘The Pitt’s Fan-Favorite Doctor Confirms Noah Wyle Gave His Blessing to Return [Exclusive]
You must be logged in to post a comment Login