THE BEAST IN ME Starring: Claire Danes, Matthew Rhys, Brittany Snow, Natalie Morales, David Lyons, Tim Guinee, Hettienne Park, Aleyse Shannon, and Jonathan Banks Creator: Gabe Rotter QUENTIN Though overstuffed and a tad convoluted, Netflix’s The Beast in Me is an extremely bingeable thriller that thrives on the cat-and-mouse interplay between Aggie (Claire Danes, leaning fully into her patented “cry face”) and Nile (a charmingly slimy Matthew Rhys). It can, admittedly, get a little silly, but the tension and cliffhangers play into the basest appetites of murder mystery fans. One can’t help to click “play next episode” to get much needed answers about the latest reveal. It’s not exactly prestige television, of course, but it remains entertaining as a slightly more upscale version of a Harlan Coben miniseries.

A MURDER AT THE END OF THE WORLD Starring: Emma Corrin, Brit Marling, Clive Owen, Harris Dickinson, Alice Braga, Joan Chen, Raúl Esparza, Jermaine Fowler, Ryan J. Haddad, Pegah Ferydoni, Javed Khan, Louis Cancelmi, and Edoardo Ballerini Creators: Brit Marling and Zal Batmanglij PAIGE To creators Brit Marling and Zal Batmanglij’s credit, A Murder at the End of the World provides a software update to the crime thriller genre. Thanks to the sincere performances of Emma Corrin and Harris Dickinson, this stylish and atmospheric whodunnit manages to be both compelling and unsettling. Overall, I quite enjoyed this The Girl with the Dragon Tattoo- type of murder mystery despite its flaws, including lackluster pacing due to the time jumps and a final product that maybe wasn’t entirely gratifying. QUENTIN Buried somewhere in A Murder at the End of the World , a sort of Knives Out meets True Detective murder mystery, is a good show. In fact, there are two good shows. However, the two storylines (one told in present day, the other in flashbacks) are constantly fighting with each other for screen time. This results in two half-hearted mysteries that are poorly developed, a problem that is exacerbated by the fact that the series is oddly just seven episodes. Also, I’m not sure I’d call it predictable, per se, but I guessed the murderer pretty early on; do with that what you will.

Previous December 31, 2024 Next A BITESIZE CHAT WITH JAY BARUCHEL Jay Baruchel (Goon , She's Outta My League , How to Train Your Dragon ) is here to discuss his first foray into horror filmmaking, Random Acts of Violence . BB: First off, I'll say that I really enjoyed your approach to this film and how you tried to set it apart from other horror films. I know you’ve been vocal about the current state of horror being stagnant, and I was wondering if you could elaborate a bit more on that. JB: Oh gosh, yeah, fair… I guess as a fan of the genre, I find myself rarely scared by anything that I see. Rare is the horror film that is a good movie and actually scares me, and I just also kind of developed a bit of a personal distaste for this idea of what a horror film had to be. It's basically like 10-15 years ago, a bunch of investors realized that they could put a little money into something that would make them a bunch, and then, all of a sudden, we had this whole rash of contained-genre films, which are very transparent in why they were created. For me, it's an art form that is terribly important to me and I cannot separate my love of cinema from my love of horror movies; and I think, when it's at its best, it's a very pure, very direct art form and it lends itself to some pretty special stuff. So I went out and tried to make the movie that I wished was out there. BB: Actors are often asked who they want to act alongside, but they don't really give the director's standpoint a lot of focus. So, now that you’re making a name for yourself behind the camera, who are some of the actors you’d like to work with as a director? JB: Oh wow, what a cool question! They’re all too cool for me, I suspect, but, if I ever got the chance to direct Val Kilmer, I would be able to die a happy man. And, obviously, you could do a lot worse than Daniel Day-Lewis. I’ve gotten to act alongside Gary Oldman; getting to direct him would be a dream. So those would be my guys, I think. BB: You mentioned earlier not being able to separate love of cinema from love of the horror genre, but it's often a fine line between comedy and horror. Your film enters all the way into some pretty gory territory. How do you go from movies like the How to Train Your Dragon series and Tropic Thunder to something as dark as [Random Acts of Violence ]? JB: It comes down to… I’m very, very proud of, and honored to have, the acting career that I’ve had, but that’s like, you know, what I do for a living; and I hate saying that because it inherently sounds like I'm sort of dismissing it to a degree, which I really am not. I have been lucky enough to live off of my acting for quite some time, and, as a result, I’ve gotten to be a part of some pretty special films; but the movies I was watching at home and the stuff I was reading - everything I was sort of interested in myself - has been pretty consistent the whole time. I was always interested in, and a fan of, horror movies and action movies, and was always reading a shitload of true crime. So, for whatever reason, I was just always interested more in “strong medicine” as an audience member. So I knew that if ever I was lucky enough to get the chance to create an articulated vision in a movie, it would probably be something like that. So it’s like the movies that I’m in and the movies that I watch are sometimes different. BB: One of the things that comes up in the film is the idea of the balance between horror as an art form and fetishizing evil. What do you think the difference is between those? JB: That’s a very good question… Now, I think it’s a question that we don’t necessarily provide a clear answer to, which is deliberate, because I think there is some stuff which the film kind of takes a specific moral philosophy and standpoint on; but there’s other stuff that is more… kind of contributing to a debate in a conversation that I feel should happen. That being said, there are movies that I watch, and I know in my heart of hearts when something feels truthful and something feels kind of, yeah, fetishistic. And I’d point to a Quebecoise movie called, in English - 7 Days ; and in French - Les 7 Jours du Talion ; by Podz, and that movie is really harsh. It’s just one guy torturing another guy in a room for a whole fucking movie, and a great degree of realism and verisimilitude. It’s a fucking hard watch, but never once does it feel cheap or false; and never once does it feel like a love letter to violence; and it doesn’t seem to be sort of wallowing in it. So I think to answer the question, I think that’s kind of hard. It’s this almost amorphous thing that we call truth. I think that you can tell when something warrants its aesthetic and you can tell when something is ugly for the sake of ugly. I think you can; I can, anyway. But again, I think it’s a terribly relative thing, because every single one of us watches the same movie and we’re each going to have some different reaction to it, so that would be my kind of instinct is that it speaks to more the truth behind it. Why is Seven important, and a lot of other movies about a serial killer aren’t? BB: I saw a lot of influence from 70s Italian horror, I just wanted to know what other influences you put into the direction of this? JB: I definitely think there is some degree of giallo in the movie’s DNA. I think that when you see that, you’re seeing a lot of Karim Hussain’s influence because that’s an era and genre that’s really important to him. You know, for me, I think there’s some really important and beautiful stuff to be taken from it, but I’d be lying if I said it was my go-to. However, I saw ways that aspects of it would work pretty well in our flick. But for me the other kind of big influences would be The Red Shoes by [Michael] Powell & [Emeric] Pressburger, a British film from the 40s about a belly dancer, which is like not remotely scary - well not scary in a horror sense, scary in a different sense - I mean, most people don’t call that film scary, but there’s just a sort of a weird energy to it that I can’t put my finger on, but anyway, it was right for this movie. And then I say the two films that informed the energy of the violence in our movie the most would be Irreversible and David Fincher's Zodiac . They kind of both approached violence in a super honest, realistic way that allowed it to be kinda clumsy and stoppy and sort of really, really, you know, gritty as a result. So, those would be our big inspirations. BB: You adapted this one from a comic book. I was wondering if you could talk to me about the idea of bringing a comic book to screen. How you did it, using the art in the movie? And how your experience with Captain Canuck leant to that? JB: Oh awesome! It really starts from there being a really interesting story, an interesting kind of starting off viewpoint in the comic book and it just kind of got stuck in Jesse [Chabot]’s head, and in my head... Then, at a certain point, it becomes the only thing that matters is serving the story as well as we can, and so we allow the document we’re creating to start to live its own life, which means it’s beholden to its source material, but only to a certain point. There lives a moment where the movie starts to want to be something of its own, and you have to kind of decide is this thing it wants to be, that is different than the comic, is it worth doing? And then in terms of the aesthetic, I think maybe subconsciously we wanted it to look like that, but I think more than anything our way in with our camera, and our lighting, and our colour pallets was more just, kind of, arch. We wanted really strong arch colours in light and shadow, and that happens to be how a lot of comics are kind of created, so it ends up looking like that. Now, in terms of what did my experience with Chapter House and Captain Canuck lend to it? I knew exactly what it would be like to be on a Comic-Con tour and the kind of headaches that the owner has to look forward to arriving at a venue. So there is, I think, there is some bit in the movie where I’m yelling at the guy who owns the comic book shop about a fucking box that he can’t find that we sent and that’s shit that seems to happen at every Comic-Con. So that seems to be a bit of a comic industry banality that could be something funny and real. So, I definitely took some of my years in admin in that world [to inform the] vibes in this movie. BB: There are two scenes in the film that stand out for me, in that they’re kind of like opposites of each other. One is the autograph signing that features fans that are a little too into the Slasherman comic and then later in the film the police interrogation where the officer is expressing great disdain towards the comic. How do you feel these scenes comment on horror culture as a whole? JB: Yes, that’s an awesome question! That’s the thing I think I wanted to show… We’re trying to talk about, you know… It’s an inherently kind of relative experience as an audience member consuming a work of art, but we also… I was trying my best to show every bad thing that can come from this. It’s more about this idea that one can divorce oneself from responsibility for anything one puts out into the world, which I think is as absurd as the concept that video games and comics make people kill people. I think those are both are very facile, silly, absurd, philosophes... So, basically, how those two scenes compliment each other, it’s like this is what it could look like. It’s like when you’re caught in something that you looked the other way on. When Todd has made a Faustian bargain and even if he thinks he’s ultimately… that his book is victimized by critics, he still, part of him as a rational man has to agree with at least part of what they’re saying. He knows, ultimately, that even if he believes his work has more merit than people seem to believe it does, he knows what his fan base looks like and he knows ultimately how it will come across in the cold light of day. So it’s about the specter of responsibility that he was able to keep at arms length, kind of getting closer and closer to him until the end. BB: With this film, along with Man Seeking Woman and Goon , you film in Canada often. I know Georges St. Pierre always said that he enjoys fighting in Canada for a comfort level. What exactly is the thing that draws you towards shooting in Canada, and is it particularly important to you? JB: It’s two things. I think one of them is what he said, you know, this is my home; this is where I’m from and this is where I’m most comfortable. The other piece of it is, I feel, what many could call a silly obligation to English-Canadian cinema. I want to know that, for better or worse, I contributed to the cinematic language of my country, and I want to know that I added something to our cultural tapestry. You know, this is sort of part of why… it would be more convenient, I think, for me to have gone elsewhere, potentially, but I know that at the end of the day, even if I got to create some really special stuff, I would have contributed to another country’s culture. And this is… for me, my great shame is that I never joined the army, if I’m being perfectly frank. That’s not a joke, that’s like something I will always… it’s haunted me since I was a kid, that I didn’t do what a lot of my uncles and my granddad and my cousins did. Now, please, I don’t mean to say that I am comparing this movie to what any of my uncles or granddad or cousin did in joining the army, but it is in some way, a way that I can kind of contribute and help. Because listen, countries come and go, but art sticks around, and I would like to add to this country as best as I can. BB: You touched on working in the comic industry a bit, and then you mentioned that your taste in films has pretty much stayed the same throughout the years. Can you tell me what are some of your major comic book and horror film influences? JB: Alan Moore's From Hell, I think, is as good a use of the comic book medium as has ever been created. I would also put Preacher , everything Garth Ennis did in Preacher up there. Everything Garth Ennis did for The Punisher - for the years that he wrote The Punisher - really, really, really important to me. And then I would have to say for horror flicks, it would be The Exorcist , the original The Texas Chainsaw Massacre by Toby Hooper, and John Carpenter’s The Thing . And to be honest, I still think The Exorcist , probably the scariest movie ever made... But, I think, what might be neck and neck with it is a movie people don’t think of as a horror movie, but I think I would argue that 2001: A Space Odyssey is probably the scariest movie ever made. So, you know, I will spend my life trying to recreate even a moment from that film. BB: You mentioned Preacher and The Exorcist. , and there is a ton of religious imagery used in this film. I was wondering why you chose to use that and why do you hate Christmas? JB: Hahaha, no fair! That’s a very good question. So I’m kind of a child of two cultures to a degree. My dad is Sephardic Jewish, first generation. My mom is sort of dyed-in-the-wool Irish, English, Scottish, Canadian, and deeply Catholic. And some of the most impactful, not necessarily best, but most impactful moments in my childhood are tied to religion and Catholicism, specifically. I was in Catholic school from grades 1-6 and have hated myself the entire time as a result of it. I’d like to tell people that I was raised with two different, but very potent, forms of guilt from Jewish culture and Catholic culture. But, it all kind of seems to stem from like… This is the best way I can say it: I remember my mom reading me the Bible when I was a kid and she got to the story about Noah, and I started bawling my eyes out uncontrollably. Three years old, bawling my eyes out, like “why would God want to do this?” And then you know, Catholicism has a lot of really beautiful stuff in it, but it is very, very deeply viled. You grow up going to church, and class, and seeing Christ, you know, eviscerated, brutalized and you know it’s it drilled into you. So there’s kind of… It’s impossible for me to kind of separate blood from awe because it was drilled into me from childhood and from years, and years, and years in church. And you know, my relationship with the church is still kind of like a weird, tenuous one. I reject most of it, and yet I still feel a degree of safety and comfort when I’m in one, and so there’s a sort of push and pull in me that kind of finds its way out and manifests itself in this movie. BB: Lastly, this film seemed like you wanted to subvert some horror tropes. I’m not sure if that’s something that you added organically or if that came from the source material. Can you chat a bit about your approach to horror tropes and why you were kind of kicking them a bit? JB: Yeah, for sure… Your work should reflect what you actually believe, you know? And even if we enjoy kind of, on a surface level, you know, your kind of standard type of slasher films sometimes, even if that scratches a certain itch for us, we’re also able to discuss and talk about why this is maybe not the best and is potentially irresponsible and all this different shit. And it’s just like the point of something is a conversation that Jesse [Chabot] and I always seem to get into, and I think we were lucky enough to have known each other since high school, but also the high school we went to was a fine arts high school. So, this concept of “what is the point?” and “why does one do this?” and “what does this mean?” - this is just shit that was drilled into us. Of course, when we started writing this thing, you know… our intellects were commensurate with our age and, in sort of time passing, we evolve. Ideally, that document should evolve along with us. So, every year that the movie didn’t happen, we go back to the document, open the hood up and be like “ok, how can we make this better?” and we’d [discover] “well I don’t fucking think that way anymore” and “holy shit, this is a bit fucking exploitative!” or “this is kinda thin,” or “this is kind of shitty.” And so, the dielectric in the film is a conversation that Jesse and I had about our script over the course of a decade, and we realized that that would be the most honest, truthful way to do it - to actually not let that conversation inform how we write the thing, but to actually put it into the movie and almost build the movie a bit around it. Make sure to check out Random Acts of Violence now on VOD and Shudder. Interview conducted on July 24th, 2020 by Nick van Dinther. Photo Credits: Banner - The Montrealer; Photo 1 - Elevation Pictures; Photo 2 - Entertainment One

THE BEAR: SEASON THREE Starring: Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Lionel Boyce, Liza Colón-Zayas, Abby Elliott, Matty Matheson, Ricky Staffieri, Corey Hendrix, and Oliver Platt Creator: Christopher Storer PRESTON I want to excuse this season like a mother would excuse her execrable child: “It’s not Timmy’s fault that he bit a teacher, he was just tired from his exhausting gaming marathon!” My best attempt is that Richie (Ebon Moss-Bachrach) wins me over completely, the celebrity chef cameos are killer, and Neil Fak (Matty Matheson) provides much needed comic relief. Tragically though, the previously successful nonlinear structure becomes a regressive hindrance, the plotline goes nowhere fast, and the episodes are disjointed. Let’s hope this is all to whet the appetite for a redemptive Season Four. PAIGE Season Three of The Bear continues to do a fantastic job of blending the tranquility and mayhem that make this series so remarkable, even though this crop of episodes is missing a few appetizing ingredients. Frustratingly, nothing is resolved, leaving the story thinner than in its previous exquisite seasons, and each episode plays more like a collage of artistic images than a plot-driven narrative. Don’t get me wrong, the aura of the show is still there, and the performances are its best feature; however, it needs to beef itself back up to deliver what we loved about Seasons One and Two. QUENTIN Even though it boasts the same top-notch acting, celebrity cameos, and food porn that contributed to the first two seasons’ success, The Bear is starting to show some cracks in its storytelling (a point punctuated by an unsatisfying and lazy “to be continued” tag on the finale). For whatever reason, the show’s writers made this season almost entirely about character development, and in the process, sacrificed anything that resembles an actual narrative arc for the titular restaurant. Each episode is more like a character vignette, with a couple even feeling like filler. It’s not a terrible season by any means, but it’s a definite step backwards. ADRIANO It's with a heavy heart that I say I was underwhelmed with the third season of The Bear . After its pitch-perfect second season, the bar was always gonna be high for the follow-up. But while the performances are still top-notch, the energy is still kinetic, and more than any season, I was more into the creative filmmaking on display, I don't feel like anything was accomplished. At least for the first eight episodes, I felt like we were going in circles to arrive at no destination. A pretty disappointing third season to an otherwise outstanding show. AMARÚ Season Three of The Bear is one of transition. It’s as stressful, well-acted, frenetic, and funny (it’s a comedy right?) as the first two seasons, but the direction and plot structure takes those familiar vibes and presents them in a new, artistic, and swing-for-the-fences way. There’s less of a narrative thru-line, making this more of a stop-gap season between stories, and that doesn’t always translate as naturally to the show’s grounded history, but it emphasizes each character’s journey in a way that highlights the cast’s tremendous talent. The art-house approach may not work 100 percent, but I appreciate the attempt at something new. KATIE Season Three of The Bear, one of the greatest shows on TV, delves deep into the psyche and past of its protagonists, favouring character study over driving the narrative forward. This season took a more complex and abstract approach, with some episodes consisting of montages of beautiful food, creative editing, and compelling performances, and although this is definitely not a bad thing, it demands more patience and willingness to focus on the moment. I felt I got to know each character far more intimately, setting us up for hopefully a more productive next season, enhanced by all of this previous character development.

BLINDSPOTTING: SEASON TWO Starring: Jasmine Cephas Jones, Rafael Casal, Jaylen Barron, Atticus Woodward, Benjamin Earl Turner, Candace Nicholas-Lippman, and Helen Hunt Creators: Daveed Diggs, Rafael Casal AMARÚ After two seasons and a movie, Blindspotting is a perfect three for three. The show isn’t objectively unflawed, but it builds on its strengths to create a more beautifully ambitious second season. The entire ensemble shines brighter without taking away from leads Jasmine Cephas Jones (Ashley) and Rafael Casal (Miles). The screenplay’s grounded blend of dramedy with powerful free-verse performative art realistically highlights the mental toll that being resilient has on families of the incarcerated. But what makes it perfect is that everything is rooted in Oakland’s cultural influence, as seen with the various “Yay Area'' cameos that only add to the show’s brilliance. Three. For. Three.

BAD MONKEY: SEASON ONE Starring: Vince Vaughn, Natalie Martinez, Meredith Hagner, Rob Delaney, Michelle Monaghan, Jodie Turner-Smith, Ronald Peet, John Ortiz, and L. Scott Caldwell Creator: Bill Lawrence QUENTIN One’s enjoyment of Bad Monkey will completely depend on how much one enjoys Tom Petty songs and Vince Vaughn’s schtick because that’s about all this show has to offer. Although they are technically (and too conveniently) connected, the way-too-many storylines are a convoluted mess. From episode to episode, it often feels like you are watching several different shows at once. On top of that, the vibe is extremely dated. It’s very reminiscent of the quirky, brightly colored shows of USA Network’s “Characters Welcome” era. That said, Vaughn is his typical fast-talking self, which, if nothing else, kept me coming back for each episode. ADRIANO Bad Monkey sees a return to form for Vince Vaughn's fast-talking comedy stylings, which I've been aching for. Sadly, the show around him is pretty messy. It's not bad, and it can be interesting; however, there's just a tad too much going on, and a lot of it struggled to keep my interest outside of Vaughn's storyline. Admittedly, the show looks nice, the overall ensemble bounces off Vaughn excellently, and the show's use of the Florida Keys is actually quite great. Ultimately, I wanted a fun “Vince Vaughn comedy” and I mostly got it, so I can't totally complain.

Previous Next July 10, 2023 WRITTEN BY: ADRIANO Emmy nominations are right around the corner, and things are much different this year because The Television Academy decided to shift its voting process from an unlimited ballot to a more simplified system that rewards passion. That change could make for a very different, and hopefully, much cleaner collection of nominees. Since I have a lot to cover, let’s jump right in! Without further ado, I present my predictions for the 75th Primetime Emmy Award nominees. The official nominees will be announced on July 12, 2023. DRAMA CATEGORIES This year, the drama categories are bound to be dominated by one show in particular: Succession . All but guaranteed to win the top prize, you could honestly predict Succession in every drama category (where eligible) and it would be valid. Brian Cox’ confounding placement in the Lead Actor category aside, you can make a solid case that just about every actor from the series deserves to win. After being awarded the top prize for its previous two seasons, not to mention that this season - its final season - was the series’ most critically acclaimed, make no mistake… Succession is going out with a bang! As for the non- Succession shows, place your bets on good years for Better Call Saul, The Last of Us , and The White Lotus , all of which are primed for nominations in Series and Acting. Next up, most likely, are Emmy darling The Crown and newcomer Andor , though maybe not as likely as the aforementioned shows due to the latter’s lack of popularity and the former’s mixed reception. That said, their performances at the winter awards point to a decent nomination haul. Other shows that could perform well and earn a nomination for the top prize are returning Emmy juggernauts Yellowjackets and The Handmaid’s Tale . Yellowjackets is primed for, at worst, an acting nomination for Melanie Lynskey, but, overall, it could suffer from this season’s more mixed reception relative to Season One. Similarly, Handmaid’s muted response this season could hurt the show. Another returning Emmy nominee is The Boys . While its early release date can be tough to overcome, its rising popularity, increased acclaim, political relevance, and recent uptick in buzz due to some stellar campaigning could push the show to several nominations. New shows like The Old Man could receive some acting nods, but possibly come up short of an Outstanding Drama Series nod due to a tepid response to the show overall. Lastly, you have House of the Dragon . Obviously, the Emmys have a soft spot for Game of Thrones , even awarding the show for its divisive final season, and Dragon was a mostly well-received and popular show. However, its performance at the guild awards makes me think the show’s hype has severely suffered since it has been off the air, and with HBO’s attention elsewhere, I have a feeling this spinoff might not impress the way one might think a Game of Thrones show would. Outstanding Drama Series: Succession The Last of Us The White Lotus Better Call Saul The Crown Andor Yellowjackets The Boys Outstanding Lead Actor in a Drama Series: Kieran Culkin - Succession Bob Odenkirk - Better Call Saul Jeremy Strong - Succession Pedro Pascal - The Last of Us Diego Luna - Andor Jeff Bridges - The Old Man Outstanding Lead Actress in a Drama Series: Sarah Snook - Succession Melanie Lynskey - Yellowjackets Bella Ramsey - The Last of Us Imelda Staunton - The Crown Emma D’Arcy - House of the Dragon Elisabeth Moss - The Handmaid’s Tale Outstanding Supporting Actor in a Drama Series: Matthew MacFadyen - Succession F. Murray Abraham - The White Lotus Alan Ruck - Succession Alexander Skarsgård - Succession Jonathan Pryce - The Crown Jonathan Banks - Better Call Saul Michael Imperioli - The White Lotus John Lithgow - The Old Man Outstanding Supporting Actress in a Drama Series: Jennifer Coolidge - The White Lotus Rhea Seehorn - Better Call Saul Aubrey Plaza - The White Lotus Elizabeth Debicki - The Crown Meghan Fahy - The White Lotus Carol Burnett - Better Call Saul J. Smith-Cameron - Succession Sabrina Impacciatore - The White Lotus Outstanding Direction for a Drama Series: Mark Mylod - “Connor’s Wedding,” Succession Peter Hoar - “Long, Long Time,” The Last Of Us Mike White - “Arrividerci,” The White Lotus Andrij Parekh - “America Decides,” Succession Benjamin Caron - “Rix Road,” Andor Anya Adams - “Burial,” Yellowjackets Peter Gould - “Saul Gone,” Better Call Saul Outstanding Writing for a Drama Series: Jesse Armstrong - “Connor’s Wedding,” Succession Mike White - “Arrividerci,” The White Lotus Craig Mazin - “Long, Long Time,” The Last Of Us Peter Gould - “Saul Gone,” Better Call Saul Peter Morgan - “Gunpowder,” The Crown Jessica Chou - “Herogasm,” The Boys Tony Gilroy - “Rix Road,” Andor COMEDY CATEGORIES There’s certainly a mustachioed elephant in the room in the comedy categories. There’s no doubt in my mind that the reigning back-to-back champion, Ted Lasso , is going to return to receive a handful of nominations. However, the final season's mixed reception amongst critics and audiences alike makes me think it could miss some key nominations, especially since something has come along that could end its streak. I’m talking about Abbott Elementary . Even more critically acclaimed and beloved by audiences than the series’ award-winning first season, Abbott Elementary swept the winter awards (granted, Ted Lasso wasn’t in the running), and in my opinion, is bound to overperform on nomination morning. I expect more acting nominations than it received last year (four), and it could possibly take the top prize. Returning Emmy favorites Barry and Only Murders in the Building are bound to hear their name called on July 12, although the latter’s early release date could result in missing out on some major nominations. A new show certain to receive attention is The Bear . With its second season airing recently to rave reviews, and Jeremy Allen White on a nice win streak for the role, I can’t imagine a world where The Bear doesn’t receive an Outstanding Comedy Series nomination. For the remaining three slots in Outstanding Comedy Series, you have returning favorites The Marvelous Mrs. Maisel and What We Do in the Shadows . Both shows could suffer from the new voting system, especially a show like Shadows since it has spent its Emmy run on the bottom half of the lineup. As for Maisel , the show hit a rough patch in terms of its viewership, buzz is at an all-time low, and while its final season wasn’t bad per se, it certainly wasn’t what it once was. That said, it ended on such a high note that I suspect the three main players will once again get nominations, so it’s still very much in the hunt. As for the new shows in contention, Poker Face is a big question mark. Rian Johnson’s mystery series has many possibilities above the line, and it’s positioned to be Peacock’s first foray into the Emmy race. Shrinking also has what it takes to get in, and it’s a shoo-in for, at worst, a Supporting Actor nomination and possible win for Harrison Ford. That said, the show’s slighter nature may not be every voter's cup of tea. And finally, you have Wednesday , which wasn’t exactly critically acclaimed, but its popularity and cultural impact could be enough to garner some votes, especially with Netflix’ recent awards push. Outstanding Comedy Series: Abbott Elementary Ted Lasso The Bear Barry Only Murders in the Building The Marvelous Mrs. Maisel Shrinking What We Do in the Shadows Outstanding Lead Actor in a Comedy Series: Jeremy Allen White - The Bear Jason Sudeikis - Ted Lasso Bill Hader - Barry Steve Martin - Only Murders in the Building Jason Segel - Shrinking Outstanding Lead Actress in a Comedy Series: Quinta Brunson - Abbott Elementary Jenna Ortega - Wednesday Rachel Brosnahan - The Marvelous Mrs. Maisel Natasha Lyonne - Poker Face Christina Applegate - Dead to Me Outstanding Supporting Actor in a Comedy Series: Harrison Ford - Shrinking Brett Goldstein - Ted Lasso Tyler James Williams - Abbott Elementary Henry Winkler - Barry Anthony Carrigan - Barry Tony Shalhoub - The Marvelous Mrs. Maisel Chris Perfetti - Abbott Elementary Outstanding Supporting Actress in a Comedy Series: Sheryl Lee Ralph - Abbott Elementary Hannah Waddingham - Ted Lasso Janelle James - Abbott Elementary Ayo Edebiri - The Bear Lisa Ann Walter - Abbott Elementary Alex Borstein - The Marvelous Mrs. Maisel Juno Temple - Ted Lasso Outstanding Direction in a Comedy Series: Bill Hader - “wow,” Barry Christopher Storer - “Review,” The Bear Declan Lowney - “So Long, Farewell,” Ted Lasso Randall Einhorn - “Teacher’s Conference,” Abbott Elementary Amy Sherman-Palladino - “Four Minutes,” The Marvelous Mrs. Maisel Gail Mancuso - “That ‘90’s Pilot,” That ‘90s Show Outstanding Writing in a Comedy Series: Quinta Brunson - “Development Day,” Abbott Elementary Brendan Hunt, Joe Kelly, and Jason Sudeikis - “So Long, Farewell,” Ted Lasso Christopher Storer - “System,” The Bear Bill Hader - “wow,” Barry John Hoffman, Matteo Borghese, and Rob Turbovsky - “I Know Who Did It,” Only Murders In the Building Bill Lawrence, Jason Segel, and Brett Goldstein - “Coin Flip,” Shrinking Marika Sawyer - “Go Flip Yourself,” What We Do in the Shadows LIMITED CATEGORIES To be blunt, this collection of categories is rough. It’s just slim pickings, which is why if my predictions seem to resemble other predictions you’ve seen, it’s because there aren't a lot of realistic options to choose from. Nonetheless, there are three shows that I’m fairly confident will not only score a nomination for the top prize, but multiple acting, writing, and/or directing nods based on their performances at the winter awards and popularity: Beef, Black Bird , and Dahmer: Monster - The Jeffrey Dahmer Story . Beyond those three, Daisy Jones & The Six and Fleishman is in Trouble seem like pretty safe bets, although one of these missing wouldn’t fully surprise me. Daisy Jones is a reasonably popular show, and it’s a very easy show for the average voter to get on board with, which could very well lead to multiple acting nominations. However, the show’s generally middling reviews could hold it back. As for Fleishman is in Trouble , reviews are glowing, but it never really took off. Plus, other than Claire Danes, none of the actors are seriously poised for a nomination. Still though, like I said above, there aren’t a lot of options otherwise. The most likely option aside from those mentioned thus far is George & Tammy. It was received well enough, and stars Jessica Chastain and (maybe) Michael Shannon will most certainly earn nods. The main hurdle this miniseries faces is that it came and went so quickly that I don’t know how many voters actually saw it or will go out of their way to vote for it. The only other options I’m really considering are The English, Love & Death, The Patient , and Welcome to Chippendales, and that is mostly because they might receive major acting nominations. Outstanding Limited Series: Black Bird Beef Dahmer: Monster - The Jeffrey Dahmer Story Fleishman is in Trouble Daisy Jones & The Six Outstanding Lead Actress in a Limited Series: Ali Wong - Beef Jessica Chastain - George & Tammy Riley Keough - Daisy Jones & The Six Lizzy Caplan - Fleishman is in Trouble Elizabeth Olsen - Love & Death Rachel Weisz - Dead Ringers Outstanding Lead Actor in a Limited Series: Evan Peters - Dahmer: Monster - The Jeffrey Dahmer Story Taron Egerton - Black Bird Steven Yeun - Beef Jesse Eisenberg - Fleishman is in Trouble Michael Shannon - George & Tammy Steve Carell - The Patient Outstanding Supporting Actress in a Limited Series: Niecy Nash-Betts - Dahmer: Monster - The Jeffrey Dahmer Story Claire Danes - Fleishman is in Trouble Camila Morrone - Daisy Jones & The Six Maria Bello - Beef Ashley Park - Beef Michael Learnerd - Dahmer: Monster - The Jeffrey Dahmer Story Nabiyah Be - Daisy Jones & The Six Outstanding Supporting Actor in a Limited Series: Paul Walter Hauser - Black Bird Richard Jenkins - Dahmer: Monster - The Jeffrey Dahmer Story Ray Liotta - Black Bird Young Mazino - Beef Joseph Lee - Beef Domhnall Gleeson - The Patient Rodney Burford Jr. - Dahmer: Monster - The Jeffrey Dahmer Story Outstanding Directing for a Limited Series: Michaël Roskam - “Pilot,” Black Bird Lee Sung Jin - “Figures Of Light,” Beef Paris Barclay - “Silenced,” Dahmer: Monster - The Jeffrey Dahmer Story Valerie Faris and Jonathan Dayton - “Me-Time,” Fleishman Is In Trouble Jake Schreier - “The Great Fabricator,” Beef Joe Chappelle - “The Place I Lie,” Black Bird Outstanding Writing for a Limited Series: Lee Sung Jin - “The Bird’s Don’t Sing, They Screech In Pain,” Beef Dennis Lehane - “The Place I Lie,” Black Bird Ryan Murphy and Ian Brennan - “Bad Meat,” Dahmer: Monster - The Jeffrey Dahmer Story David McMillan and Janet Mock - “Silenced,” Dahmer: Monster - The Jeffrey Dahmer Story Taffy Brodesser-Akner - “Me-Time,” Fleishman Is In Trouble Scott Neustadter - “Track 5: Fire,” Daisy Jones & The Six

Previous Next With the social media powerhouse that is Greta Gerwig's next feature Barbie, we decided it was time for the Bitesize crew to put their brains together to compile Bitesize Breakdown's consensus Top Five Films Directed by Actors. For inclusion on this list, the director needed to have an established acting career in film or television prior to their directorial debut. Sadly, this means legends like Mel Brooks and Orson Welles, as well as some modern-day auteurs like Taika Waititi, were ineligible. Each writer ranks his or her top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. TROPIC THUNDER What can I say about Tropic Thunder that hasn’t been said a million times already? It’s a comedy classic and a cinematic icon. Ben Stiller’s direction gives the film a dark yet superbly funny vibe that, as funny as it was, had me gawking at the craft of it all. Not to mention, in my opinion, the ensemble of this film is an all-timer. Each member of the cast gives an iconic performance, from Stiller’s Tugg Speedman to Tom Cruise’s Les Grossman to Robert Downey Jr.’s Oscar-nominated performance as Kirk Lazarus. A wild satire about the lengths actors will go to give a good performance, Tropic Thunder will live on forever. - Adriano 4. ARGO Anyone who dislikes Ben Affleck as a director can Argo fuck themselves! He’s five for five in my mind, and Argo is his best film to date. He is one of the most talented actor-turned-directors of his generation. On top of that, he’s the only actor-turned-director on this list to have directed a Best Picture winner (for this film, in particular). Argo is a tense political thriller that is well crafted from top to bottom with its incredible screenplay, superb performances, and, of course, brilliant direction from Ben Affleck. - Paige 3. A QUIET PLACE There are many films directed by actors, but few actor-turned-directors put their personal stamp on things like John Krasinski did with A Quiet Place . This horror film thrives because of the decisions made behind the camera. Krasinski turns every sound into its own character, and he keeps you on the edge of your seat waiting to see which crack of a branch or buzz of children's toy will end up costing the Abbott family. It's a film that maintains tension through its entire runtime, and, honestly, that's quite the feat. Plus, if you were lucky enough to see it in theaters with a well-behaved audience, the experience was unforgettable. - Nick 2. THE PRINCESS BRIDE I'll explain, and I'll use small words so that you'll be sure to understand, you warthog-faced buffoons… The Princess Bride belongs on many a Top 5 list. As for Rob Reiner’s status as an “established actor” before stepping behind the camera? He was a series regular on legendary sitcom All in the Family , a role for which he earned five Emmy and five Golden Globe nominations (winning two Emmys). As for Bride , it has been recognized by numerous publications as one of the greatest comedies, love stories, and family films of all time. Plus, it won the 1988 Hugo Award for Best Dramatic Presentation, and it was added to the U.S. National Film Registry for being culturally, historically, and aesthetically significant. What more needs to be said? Leave it off this list!? Inconceivable! - Quentin 1. GET OUT I think it’s about time to admit recency bias is no longer a thing when it comes to Jordan Peele’s Get Out. Every year that passes with another person saying “too soon” just makes that phrase feel more and more disingenuous. The sketch comic-turned-actor-turned-director’s filmmaking debut will do nothing but grow in stature as we age, cementing itself not only as a classic horror film, but also as a cinematic and cultural icon. Peele’s impeccable use of tone, music, suspense, and comedy…not to mention his ability to get chilling performances out of veteran actors, first-time leads, comedians, and character actors alike…is the reason I’m going to avoid The Sunken Place for the rest of my natural life. Not many movies can boast that kind of staying power both on and off the screen. Get that teacup the hell away from me!!! - Amarú HONORABLE MENTIONS A STAR IS BORN (2018) LIFE IS BEAUTIFUL A LEAGUE OF THEIR OWN A BRONX TALE STAND BY ME Photo Credits: Photo 1, 3 - Paramount Pictures; Photo 2 - Warner Bros.; Photo 4 - 20th Century Studios; Photo 5 - Universal Pictures

AGENT ELVIS: SEASON ONE Starring: Matthew McConaughey, Kaitlin Olson, Johnny Knoxville, Don Cheadle, Niecy Nash, and Tom Kenny Creators: Priscilla Presley, John Eddie, and Mike Arnold QUENTIN Agent Elvis probably won’t go down as the next great animated series for adults, but it certainly has enough positives to make it an entertaining watch. After taking a few episodes to find its stride, the needle drops, revisionist history, pop culture references, silky Texas drawl of Matthew McConaughey, and scene-stealing work from Don Cheadle make this more than just another 30-minute diversion. The cherry on top is the vivid and propulsive animation, not to mention Scatter, The King’s cocaine-addled monkey. Mileage may vary for non-Elvis fans, but for me, it was a great mixture of 60s lore, Archer , and Adult Swim’s Black Dynamite .

LANDMAN: SEASON ONE Starring: Billy Bob Thornton, Ali Larter, Jacob Lofland, Michelle Randolph, Paulina Chávez, Kayla Wallace, Mark Collie, James Jordan, Demi Moore, and Jon Hamm Creators: Taylor Sheridan and Christian Wallace QUENTIN For better or worse, Landman is more of the same from prolific show creator Taylor Sheridan. On one hand, you have a stellar cast (Billy Bob Thornton, especially) willing the show to be better than it should be through sheer charisma and screen presence (not unlike Sylvester Stallone in Tulsa King ), as well as the dusty blue-collar vibe that Sheridan loves so much. On the other hand, Sheridan still can’t write a nuanced female character to save his life, and there are uninteresting and undercooked tangents shoehorned in to pad the season. That said, if you like Sheridan’s other shows, you’ll probably like this one too. PRESTON After Yellowstone took a dive following the departure of Kevin Costner, it is refreshing to see Taylor Sheridan (creator) attack another gritty, blue-collar world with an equally exceptional lead in Billy Bob Thornton. That said, Landman has some minor problems (don’t we all), specifically the borderline exploitative sexualization of his daughter, the inclusion of a lawyer and widow that operate at unbalanced extremes, and narratives that meander a bit too much; still, none of these issues have restricted my enjoyment or anticipation of every new episode. I hope this show is around for a while, but I’m already sold on whatever Sheridan’s next project is.

SAUSAGE PARTY: FOODTOPIA Starring: Seth Rogen, Kristen Wiig, Michael Cera, Edward Norton, Will Forte, and Sam Richardson Creators: Seth Rogen, Evan Goldberg, and Conrad Vernon QUENTIN It’s always easy to review things like Foodtopia because if you enjoyed Sausage Party , then you’ll enjoy this sequel series (and vice versa). Nothing I can say will convert you, and you likely already know if you’re in or out. That said, since we’re here… It has the same raunchy comedy and incredible food punnery as the film; however, while it’s still very clever, the commentary, which skewers politics instead of religion, isn’t quite as sharp. Also, as should be expected, there is a slight downgrade in the animation quality. But, like I said, if you’re a fan, you’re a fan; Foodtopia won’t disappoint.

Previous Next October 31, 2024 WRITTEN BY: THE BITESIZE CREW When it comes to horror movies, most people probably would agree that the villain is perhaps the most important aspect. Sure, clever concepts, jump scares, eerie atmosphere, and all that other stuff certainly matter, but if you can nail the villain, the rest of the movie can honestly be pretty lacking and still come out a winner on the other side. As we approach Halloween, the Bitesize crew has been discussing how great the horror genre has been in 2024, especially on the villain front. Several movies were name-dropped in the group chat, including Alien: Romulus , Strange Darling , and Blink Twice , but the conversation became more focused at the mention of two movies: Longlegs and Heretic , both of which feature against-type performances from great actors. Longlegs , of course, features an instantly iconic horror villain played by Nicolas Cage. Cage certainly is no stranger to the horror game, but he is almost never a full-on villain (horror or otherwise), so his performance as Longlegs was a bit against type. He has even gone so far as to say he’ll never play a serial killer again because it’s just too dark. Then you have Heretic , where the typically charming, snarky, and affable Hugh Grant dives headfirst in horror villainy, doing everything he can to subvert your expectations and preconceived notions about his reputation. Both movies are terrific, at least partly, because of those unexpected performances, which got us to throw out our own horror pitches featuring against-type performances from typically “good guy” actors and actresses. So, hey, Hollywood, hear us out… GEORGE CLOONEY AS AN OBSESSIVE STALKER (AND HIMSELF) Full disclosure: My pitch is a bit of a rip off. However, since nothing in Hollywood is truly original, away we go… In 2005, it was announced that Brad Pitt would star in the comedy Chad Schmidt , which was about a struggling actor named Chad Schmidt who happened to look like Pitt. Pitt was to play both roles. Unfortunately, that movie fell apart, but the idea has never left my mind. As such, I want to repurpose it as a horror movie. However, instead of Pitt, who has played some dark, murderous characters in his career (not to mention the unfavorable tabloid stories), let’s go with his best bud, Hollywood Golden Boy George Clooney. Clooney has, technically, played “bad guys,” but not to the psychopathic degree I’m thinking here. Much like Pitt in Schmidt , Clooney will play two roles: himself — the handsome, fun-loving, mega-wattage, well-respected, award-winning, A-list movie star that he is in real life; and his stalker, a man that looks like Clooney from The Wasteland — unkempt, dirty, scarred, balding, and slightly off. He looks like someone tried to draw Clooney from memory. He’s hated, disrespected, lonely, forgotten, and unseen, which he’s bitter about because, in Clooney, he sees the life that he should be living. Eventually, he has a psychotic break, and his simple obsession escalates to viciously murderous stalking as he attempts to take over Clooney’s life. Given that this film can touch on themes of celebrity, obsession, fandoms, public perception, and the American Dream, all of which Clooney probably has some personal thoughts on, Clooney could be well-suited to direct. That said, Clooney’s directorial career has been hit and miss, so maybe we play it safe with David Fincher. - Quentin SAOIRSE RONAN AS AN 18TH CENTURY VAMPIRE In this atmospheric, 18th-century-set, slow-burn gothic horror, Saoirse Ronan stars as the deathly pale but eerily beautiful Mary. She resides in a small, rural puritanical community with her pious family, all of whom have been cursed with immortality by a centuries-old vampire who mocked their faith and devotion. The townspeople find Mary unnerving as her and her family try to live unassumingly alongside the human population. Other than taking the necessary amount of blood required to function, they’re seeking a simple, honest life, attempting to suppress their true nature so they can quietly move on when their eternal youth and the occasional disappearance become suspicious. However, Mary secretly longs to explore her bloodthirsty desires, murder the god-fearing townsfolk, and exploit her true power. As the family prepares to relocate again, the local church gains a new priest. He is immediately suspicious of them and is determined to solve the mysterious crimes. For her part, Mary is fascinated by him, but infuriated by his efforts to expose them, so she sets out to manipulate him, lead him astray, and disrupt his investigation by any means necessary. The film could be directed by Mike Flanagan, who is able to create the chilling tone, and has proven successful in handling religious themes before. Plus, Ronan would be alluring as a vampire, and it would be incredible to see her show her range and darker side. – Katie DEWANDA WISE AND JESSE WILLIAMS AS A CHARMING BUT ENIGMATIC COUPLE WHO AREN’T WHAT THEY SEEM Pardon me as I pander to Jamie Foxx fans for a second, but whenever I see DeWanda Wise or Jesse Williams on my screen, I always imagine Foxx whispering to me, “you looked in his eyes, didn’t you?” That Prince-inspired joke immediately comes to mind when I see Wise’s and Williams’ strikingly beautiful gazes. Those eyes that you can’t help but getting lost in would be one of the central conceits in a psychological thriller that sees Wise and Williams as the couple you wish you were (the other conceit would be Black Don’t Crack because they for damn sure don’t look their actual ages). Imagine our movie opens with two famous up-and-coming actors, like Zendaya and Tom Holland, who meet Wise and Williams at an outing, à la Speak No Evil . The older couple catches their attention with a look, and the young co-stars can’t help but get drawn in. Over the course of the night, Holland and Zendaya get more and more comfortable, eventually agreeing to join Williams and Wise in group outings and get-togethers. As their friendship grows, mysterious things that can’t be explained increasingly happen. If this sounds familiar, it’s because you’ve seen this movie before. However, no matter how many times I’ve seen stories like Blink Twice or Midsommar, if the script is well written, the cast is entertaining, and the mystery behind the older couple is unique, I’m always game to watch another version, and seeing Williams and Wise, who are often cast as the best friend/intriguing neighbor type, tapping into something nefarious and downright dastardly would be a blast to see. Plus, using their ageless looks and dazzling eyes can add any number of supernatural elements to the mystery of their cult-like power over others. – Amarú JASON MOMOA AS A PRETERNATURAL RASPUTIN What if what Russia has become today, with its aggressive foreign policy, human rights issues, and authoritarian political leanings, was more insidiously provoked by one historically mysterious man, Grigori Rasputin? Looking back at history, how did this illiterate peasant rise to be, essentially, the proxy co-ruler of Russia? His influence was undeniable, as almost immediately following his assassination in 1916, the House of Romanov, the tsarist rulers for over three centuries, lost power. He didn’t get into that position of power by wielding geo-political know-how, either. Instead, he used religious charlatanism to coerce his victims into sexual debauchery while advancing his hedonistic tendencies, all for the supposed holy cause. Let’s lean into the spiritually evil component here to paint the story of a Satanic man who poisons a nation through the lens of a supremely dark, horror period piece. For me, an unlikely Jason Momoa would be terrific as Rasputin. He can certainly look the part, and it would give him the opportunity to showcase his acting chops in the horror genre, especially with the help of Robert Eggers behind the camera. Also, for what it’s worth, I’m not the first Bitesizer to make a case for a film about the Siberian mystic (read Quentin’s article HERE ), and perhaps together he and I can make this Rasputin film dream of ours come true. Or perhaps a rhapsodic ritual is needed to convince you… – Preston ELLEN DEGENERES AS A CHILD-MURDERING “KAREN” Mirroring the allegations from Ellen DeGeneres' real life, the film begins with her leaning into her lovable (albeit somewhat nosy) persona as Julie, the newest resident of a quiet, white-picket-fence neighborhood. As a proverbial ray of sunshine, Julie is immediately loved by all, especially the community mothers. However, the honeymoon period soon wears off as she begins to show her true colours as an off-kilter "Karen." She becomes a nightmare as her nosy tendencies turn into complaints about everything from the upkeep of surrounding properties to the way her neighbours raise their children. She's highly annoying, but relatively harmless. However, something about her just seems off, so when the neighbourhood children start to disappear, all eyes turn to the increasingly unbalanced outsider. Comedians heading into horror isn’t new territory, but it’s a place where I think DeGeneres could thrive. I mean, her career has taken a 180° turn, so why not lean into that? Once the film really starts to take off, it gives her a chance to channel someone truly sinister, complete with blood, gore, and, of course, murder. The unhinged Julie is the perfect comeback role for an actress ready to shed that squeaky clean daytime persona, and no other director can bring it all together like Sam Raimi. A mix of laughs, thrills, and chills, this has all the potential to be a modern-day horror hit. – Nick GLEN POWELL AS A SERIAL KILLER Picture this: One of our newest and brightest movie stars — a man known for his wicked charm and leading man charisma — suddenly decides to play with our expectations by playing the role of a blood-thirsty killer. Glen Powell truly is the perfect movie star, so much so that, even though he has only headlined a few titles, we already picture him as the quintessential “hero.” So, what would a slasher film look like with Powell using his rugged good looks and ear-to-ear smile to form the character of a serial killer? You could play it as a misdirect to inflict a surprise reveal, but honestly, the idea of the audience knowing he's the killer, watching him charm characters and possible victims could be even scarier. Personally, even when well done, the idea of a creepy-looking person being the killer is not as interesting as when it's the person you’d least expect, and for my money right now, Powell is the last person I can imagine as a psychopath. – Adriano TOM HANKS AS A LOVING GRANDPA WITH A PAST Fun fact: Tom Hanks’ first movie role was in the low-budget slasher He Knows You're Alone (1980). However, as his career has progressed, he has earned the title of “America’s Dad” because of his penchant for heartwarming, family-friendly roles. But have you ever wondered if he has a darker side that is just lurking to come out and play? I know I sure have! I’d love to see him let it out in a return to the horror genre. On the anniversary of his wife’s passing, Ed’s (Hanks) grandkids decide to spend the weekend at grandpa’s house while their parents go on vacation. While there, the adolescent teens stumble upon a bunch of old newspaper clippings about “The Stranger,” a famous serial killer from the past that was never caught. At first, they find it a little odd that gentle ol’ grandpa has a scrapbook about a murderer, but then they find a box full of random jewelry — jewelry that is mentioned in the news articles as missing items from the victims. This is when they begin to realize that maybe their grandfather isn’t so innocent after all. As they try to play it cool until the end of the weekend, Ed’s demeanor completely changes (imagine John Goodman’s character in 10 Cloverfield Lane ) when he realizes someone has gone through his belongings to see something that should not have been seen. This is when things take a sinister turn. His secret can’t get out, and he will do whatever it takes to protect himself, even if that means ditching his pitch-perfect grandpa persona to reveal his true inner demon to the ones he loves most. – Paige