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A Liza Minnelli doc and an '80s L.A. slasher for your weekend rotting

A Liza Minnelli doc and an '80s L.A. slasher for your weekend rotting

Welcome to Screen Gab, the newsletter for everyone just trying to find all that jazz.
In this week's edition, we recommend two films that bring the comforts of nostalgia: 'Liza: A Truly Terrific Absolutely True Story,' a film that spotlights Liza Minnelli's life in the 1970s, and 'Out of the Dark,' a 1988 L.A. slasher that our film critic Amy Nicholson recently rediscovered.
Also in Screen Gab No. 176, we help refresh your memory on where 'The Last of Us' left off and 'Yellowjackets' star Sarah Desjardins stops by to unpack her character's mommy issues.
Must-read stories you might have missed
After a 15-hour shift on 'The Pitt,' Noah Wyle reviews Dr. Robby's day: The star and executive producer of Max's hit medical drama spoke with The Times about the whirlwind first season.
Shape-shifting Will Poulter is getting too good to sideline: The London-born actor is distinctive in a flurry of recent work, including the movies 'Warfare' and 'Death of a Unicorn,' plus a new episode of 'Black Mirror.'
'The Conners' are saying goodbye: The cast and producers of the 'Roseanne' spin-off speak about the show's topical storylines.
After decades of pushing, stunts will get their own Oscar: The Oscars will finally honor stunt performers with a new award for achievement in stunt design, debuting at the 100th Academy Awards in 2028.
Recommendations from the film and TV experts at The Times
'Liza: A Truly Terrific Absolutely True Story' (PBS.org)
Bruce David Klein's documentary on Liza Minnelli, presented under the umbrella of PBS' 'American Masters' series, will be catnip to (us) fans, but those not already in that club may be persuaded to join. 'Liza,' which dutifully surveys the star's professional and personal life — multiple marriages and miscarriages, stints in rehab — presents Minnelli as more than the sum of her influences, yet very much shaped by her associations with Kay Thompson, Charles Aznavour, Bob Fosse, Fred Ebb and Halston, not to mention the genetic inheritance from parents Judy Garland and Vincente Minnelli. Both enormously successful and somehow — at least in my mind — underrated, Minnelli's stock in trade has been a particular, powerful combination of vulnerability and determination, of seeming like the strange yet compelling kid in the back of the class. The testimony of various friends and lovers and mentors (they all seem to blur together) including Ben Vereen, Michael Feinstein, makeup artist Christina Smith, Ebb and his songwriting partner, John Kander — who wrote the score for 'Cabaret,' Minnelli's breakthrough film, and 'Liza with a Z,' her Emmy-winning television concert — paint a warm, unaffected person you might like to know and who would make you feel she was glad to know you. — Robert Lloyd
'Out of the Dark' (Shudder, Tubi)
This 1988 sleazy slasher flick is about a clown-masked serial killer who murders the actresses of a phone-sex hotline in downtown Los Angeles. There's a lot of nudity, saxophones and electric guitars, with corpses dumped from MacArthur Park to Studio City's El Royale Hotel. I can't costume it as a classy noir even with a shot of a spiral staircase swirling into the 3rd Street Tunnel. But director Michael Schroeder delivers all the schlock you want while juicing this pulp into something weirder, like casting 'Harold and Maude's' Bud Cort as a lovelorn accountant and butching up the cult legend Divine into a mustachioed male LAPD detective. If you dig top-tier retro L.A. trash, make this a double feature with 1989's 'Death Spa' (Tubi). — Amy Nicholson
Everything you need to know about the film or TV series everyone's talking about
After a two-year wait, everyone's favorite fungal zombie apocalypse show is finally back: The second season of 'The Last of Us' premieres Sunday.
Created by Craig Mazin and Neil Druckmann, HBO's acclaimed survival drama is set in a world that has been ravaged by the outbreak of a mysterious mutant cordyceps fungus that turns human hosts into horrific, mindless monsters. An adaptation of the hit video game of the same name, the nine-episode first season followed gruff smuggler-turned-surrogate father figure Joel (Pedro Pascal) and his teen charge Ellie (Bella Ramsey) on a cross-country journey to help find a way to save the world. Ellie's immunity to the fungus potentially holds the key to a cure.
Check out the handy guide staff writer Tracy Brown, our trusty 'The Last of Us' expert, assembled to help get you up to speed.
READ MORE >> 'The Last of Us' Season 2 is arriving soon. Here's a Season 1 recap
A weekly chat with actors, writers, directors and more about what they're working on — and what they're watching
Like mother, like daughter? It's an all too valid observation with this week's Season 3 finale of 'Yellowjackets' including a stunning revelation about Callie, the moody teenage daughter of Shauna (Melanie Lynskey) played by Sarah Desjardins. No spoilers here. Let's just say Callie's curiosity about her mother's time in the wildnerness has caught up with her. In this week's Guest Spot, Desjardins discussed her character's state of mind, what she's watching and more. — Matt Brennan and Yvonne Villarreal
One of the key developments this season is the bond Callie forms with Lottie before her death. At one point, Lottie asks her how she would describe herself without embarrassment, shame or fear, and she deflects. What was the answer going through her head that she wasn't ready to speak yet?
I personally think that Callie is feeling lost, confused and scared. Part of that fear is coming from this inner knowing she has that she is a very powerful person. She doesn't know what to do. She doesn't know what that means. I think she's scared of what she's capable of. I think Callie is also lonely. She wants love. She wants to be seen and heard. She knows she is very worthy of both those things, but like anyone would in her environment, she doubts herself. I love her very much.
'Yellowjackets' has become renowned for casting high-profile actors as the adult versions of the Yellowjackets, as well as recurring and guest stars. Who would you be most excited to see join for a Season 4 and why?
Can Sarah Snook join us? PLEASE. Need I explain why? She is a powerhouse and endlessly captivating.
What have you watched recently that you're recommending to everyone you know?
'The Studio' [AppleTV+]. I am such a sucker for projects about our industry but, also, it is just so incredible. I love the way it's shot, the performances; it's such a fun, hilarious ride every episode.
What's your go-to 'comfort watch,' the film or TV show you return to again and again?
TV shows I am always going between [are] 'Gilmore Girls' [Netflix], 'The Office' [Peacock] and 'Friends' [Max]. The two films that come to mind are 'Crazy, Stupid, Love' [VOD] and 'It's Complicated' [Starz, VOD]. Truly can't count how many times I've seen either.

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How to Watch the ‘28 Days Later' Movies in Order
How to Watch the ‘28 Days Later' Movies in Order

Cosmopolitan

time10 hours ago

  • Cosmopolitan

How to Watch the ‘28 Days Later' Movies in Order

Before we had HBO shelling cordyceps and Pedro Pascal smut, we had the 2002 hit 28 Days Later. Two decades later, in the abyss of The Last of Us hiatus, the original 'infected' are returning. With the long-anticipated 28 Years Later at our fingertips—rumored to be the first film in a new trilogy—it's time to revisit the nightmare. Here's your guide to watching the 28 Days Later franchise in the proper order, plus a preview of what's to come. Directed by Danny Boyle and written by Alex Garland, the mother wound that is 28 Days Later opens on a crew of animal rights activists who accidentally release a deadly lab-grown virus into society. 28 days later, Cillian Murphy wakes from a coma and finds himself in a deserted, post-apocalyptic London. What follows is equal parts horror and psychological drama, with the survivors navigating a world where the line between humanity and monstrosity blurs. The film originally was considered a piece of lost media, since it was so hard to find on streaming and home video. Back in February 2024, producer Andrew Macdonald bought back the rights to film, allowing it return to streaming and now we can watch it for ourselves again. Stream Now on Amazon Prime Boyle and Garland returned in 2007 with a new iteration, directed by Juan Carlos Fresnadillo. The sequel takes place six months after the events of the first film. The virus is 'contained,' and NATO forces are repopulating a secure zone in London. But a new outbreak—fueled by a carrier with natural immunity—spirals into chaos. This sequel trades the intimacy of the original for broader scale, faster pacing, and some truly haunting visuals (the helicopter scene lives in infamy). 28 Weeks Later expands the universe and introduces the idea that the virus might never truly be eradicated. It's also the movie that confirmed: containment is a myth. Stream Now on Disney+ Landing in theaters on June 20, 2025, 28 Years Later picks up three decades after the original film's timeline, following a group of survivors living on a small, heavily-defended island. Our main players here are a father and son who leave the island to traverse the infected-populated mainland. With the original team at the helm, the film is written by Alex Garland and directed by Danny Boyle. Cillian Murphy hive, stand down. The stars of this film include Jodie Comer, Aaron Taylor-Johnson, and Ralph Fiennes. If the first two films were about shock and spread, 28 Years Later may look at legacy. What does the world look like after generations of rage—both viral and political? How have survivors evolved? And can the infection ever truly be cured? Much like The Last of Us and the (read: actually good) films in the broader zombie canon, the 28 Days Later franchise is a reflection of our anxieties—about science, government, violence, and each other. Sigh. Reality bites. Buy Tickets to '28 Years Later' Now

Why this author wrote about creative women as they aged: ‘They made much of less'
Why this author wrote about creative women as they aged: ‘They made much of less'

Los Angeles Times

time13 hours ago

  • Los Angeles Times

Why this author wrote about creative women as they aged: ‘They made much of less'

In this week's newsletter, we have a chat with Susan Gubar, whose new book, 'Grand Finales: The Creative Longevity of Women Artists,' profiles seven creators who found a second wind in their advancing years. We also look at recent releases reviewed in The Times. And a local bookseller tells us what's selling right now. Seventeen years ago, Susan Gubar was handed a death sentence. A distinguished professor emerita of English and women's studies at Indiana University and the co-author (with Sandra M. Gilbert) of 1979's 'The Madwoman in the Attic,' a groundbreaking work of feminist literary theory, Gubar in 2008 was staring down a terminal cancer diagnosis. A clinical trial involving an experimental drug prolonged her life and gave her the impetus to tackle a new project about seven artists — George Eliot, Colette, Georgia O'Keeffe, Isak Dinesen, Marianne Moore, Louise Bourgeois, Mary Lou Williams, Gwendolyn Brooks and Katherine Dunham — who entered a new phase of creative ferment and productivity as they grew older. I talked to Gubar about her new book, the myth of old age and the persistent stereotypes attached to female artists who may be perceived as having outlived their usefulness as creators. (Please note: The Times may earn a commission through links to whose fees support independent bookstores.) Can you talk about how the book came about? In 2008, I was told that I had 3-5 years to live with late-stage ovarian cancer. The standard treatment was ineffectual. But then in 2012, my oncologist encouraged me to enroll in a clinical trial that was experimenting with a new drug. After nine years in the trial, she then urged me to take 'a drug holiday' since long-term use of the medication could cause leukemia. I am still on that holiday. An unanticipated old age made me appreciate the wonderful gifts longevity can bestow. In researching your subjects, what do they all share in common? All of my subjects are artists who experienced the losses of aging. They needed canes and wheelchairs and helpers while they suffered the pains of various diseases and regimens. One coped with blindness, another with deafness and still others with the loss of intimates. Yet in the face of such deficits, they used their art to exhibit their audacity, mojo, chutzpah, bravado. They're exemplars of Geezer Machismo. All of your subjects are women, who have a much tougher time in terms of earning respect and attention as they age. Can you speak to the obstacles they had to overcome as they reinvented themselves as artists in their advanced years? The stereotypical old lady is invisible or risible, but we know that many elderly women thrive. My old ladies did not approach their life stories as prime-and-decline narratives. Instead they reinvented themselves. In part, they managed to do this by changing their objectives as artists. They moved from the stage to the page or from elite to popular forms. Some of them underwent religious or political conversions that energized their last years. They fully understood the losses of old age, but they did not settle for less. Instead, they made much of less. What's interesting about these artists is that — contrary, I must admit, to what I thought would have been the case — these women were supported by men who became their benefactors, and helped them to negotiate their careers. Quite a few of the women that I write about were helped by much younger men in their lives, who became facilitators. This is true for George Eliot, Colette, Georgia O'Keeffe, Louise Bourgeoise, Mary Lou Williams and others. Williams, the great jazz pianist, was helped by a Jesuit named Father O'Brien, who helped her get control of her copyrights. Georgia O'Keeffe, in contrast, has been championed by photographer Alfred Stieglitz, but she had to leave him in her midlife to establish her autonomy late in life. He was very controlling, even though he definitely established her reputation. She was aided in her later years by a man young enough to be her grandson. You are an octogenarian, and writing a book isn't easy, as you know. Where do you find the inspiration and the strength to keep going as a creator? What keeps me going is what kept my subjects flourishing in their seventies, eighties or nineties. Any sort of creative activity involves expression, which is a great antidote to depression. It may take the form of sculpting, painting, playing an instrument, teaching a dance routine, making a quilt or a garden, establishing a park or a prize, you name it. Without my two current writing projects, I'd be lost. Even (or maybe especially) in our dismal political climate, ongoing creative projects make each day an adventure. Heather Scott Partington reviews 'Fox,' Joyce Carol Oates' mystery novel about a murdered pedophile. 'Fox has the bones of a potboiler but is supported by the sinew of the author's elegant structure and syntax,' writes Partington . Leigh Haber weighs in on Jess Walter's book 'So Far Gone,' calling the author a 'slyly adept social critic [who has] clearly invested his protagonist with all of the outrage and heartbreak he himself feels about the dark course our world has taken.' Daniel Felsenthal thinks Geoff Dyer's memoir 'Homework' is somewhat meandering, yet 'bursts with working-class pride, a fond and mournful belief in the possibility of the British welfare state.' And Paula L. Woods talked to five mystery writers about the inspirations for their new books. This week, we're talking about hot books with Nat Eastman, the manager of Chevalier's Books on Larchmont Boulevard in Hollywood, the oldest independent bookstore in Los Angeles. What books are selling in the store right now? We've been moving Percival Everett's 'James' and Ocean Vuong's 'The Emperor of Gladness' hand over fist. Thanks to BookTok, Asako Yuzuki's 'Butter' has become a mainstay on our bestseller list. We also had the honor of hosting Bryan Byrdlong for a reading from his debut poetry collection 'Strange Flowers,' and we've been handselling it right and left ever since. What are your perennial sellers? Kaya Doi's series of picture books, 'Chirri and Chirra,' is a smash hit around here. Joan Didion and bell hooks are reliable customer favorites as well. As an indie shop, though, we love the deeper cuts too — whether that's 'Água Viva,' literally any Yoko Ogawa work or something from our zine collection. Are you seeing more young people buying books? Despite all the reports about declining literacy rates among young folk, our children's section makes up a quarter of our sales. We really try to carve out a space for the next generation of readers with programs like storytime, a middle-grade book club and summer-reading punch cards. To us, messy shelves are annoying everywhere except the kids' section!

I finally binged 'The Bear' to catch up before season 4 — and it's transformed how I watch TV
I finally binged 'The Bear' to catch up before season 4 — and it's transformed how I watch TV

Tom's Guide

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  • Tom's Guide

I finally binged 'The Bear' to catch up before season 4 — and it's transformed how I watch TV

In the fast-paced world of streaming, the newest releases tend to steal the spotlight. The best streaming services like Max, Netflix, and Disney Plus constantly push their latest shows and movies to the forefront. But that makes it hard to catch up on all the must-watch TV shows if you're not much of a binge-watcher (guilty) or tend to be skeptical of anything that's universally hyped (also guilty). The latter may sound overly cynical (eh, I can be guilty of that too), but you have to understand that, out here near Chicago, people adore "The Bear." They will not shut up about it. The onslaught of "The Bear" recommendations began with literally the first episode, which includes a one-line shoutout about Rockford, where I'm based, that was the talk of the town for weeks. I wish I was exaggerating. Tired of hearing about how much I just have to watch "The Bear," I finally sat down at the start of the month to check out Hulu's Emmy-winning comedy-drama series. With "The Bear" season 4 premiering on June 25, I doubted I'd be able to catch up in time. And I was wrong. Turns out, binge-watching is for me after all — and my sleep schedule already hates me for it. I severely underestimated how bingeable "The Bear" would be. The hype was all well-deserved. Pretty much from the first episode, I was glued to my couch, devouring all three seasons in just a few short weeks. I can already feel you seasoned binge-watchers shaking your heads — that must be a snail's pace by comparison — but like I said, I don't tend to binge-watch shows. Every once in a while, one like "Yellowjackets" gets its hooks into me, but I thought it was the exception rather than the rule. After two or three episodes, my attention span tends to be on its dying legs; meanwhile, my actual legs are itching to get up and do something else after sitting for so long. I prefer savoring series, taking regular breaks to reflect on what happened, sit with the characters' choices for a bit, and appreciate the pacing or overarching themes. Even the juiciest of cliffhangers are rarely enough to convince me to hit "next episode" once I'm tired of watching TV for the day. But "The Bear" has made a binge-watcher out of me yet. While I considered pacing myself, "The Bear" felt almost tailor-made for a binge. Between the short episode lengths (a bite-sized 30 minutes) and the way each installment plays out like a self-contained stage play, I found myself only hungry for more by the time the credits rolled. Set in Chicago, "The Bear" tells the story of fine-dining chef Carmy (Jeremy Allen White) who returns home to rescue his late brother's floundering restaurant — and it's nothing short of remarkable. The dizzying highs and crushing lows as Carmy whips The Beef into the restaurant he and his brother always dreamed of having are captivating to watch unfold. Part of that secret sauce is how each episode adds new ingredients to play with. Flashbacks that illuminate each character's motivations and struggles. Explosive fights (and there are a lot of those) that reveal more than the characters mean to. Or small moments that add up to heart-wrenching realizations several episodes — or even seasons — later. With its raw, chaotic portrayal of family dynamics and mouth-watering food, I'm not surprised "The Bear's" achieved such cult status. The constant simmer of conflict threatened to burn me out at times, but then a quieter, more reflective episode would reset my palette. I particularly enjoyed season 3's debut episode, "Tomorrow," which completely upended my understanding of who Carmy is with a series of contemplative, devastating flashbacks of his career. I adore it anytime a show makes me fall in love with a character I initially despised, and Ebon Moss-Bachrach's Cousin Richie is one for the history books. He goes from a complete asshole to an asshole worth cheering for. Beneath the bravado and outbursts, he's grieving, insecure, and trying (however messily) to find his place in a world that's evolving without him. One of my favorite moments in the show so far was seeing him belt out Taylor Swift's "Love Story" in the car after coming into his own in season 2. While there's truly no universal rule for how to watch TV shows, "The Bear" has made me reconsider my stance on binge-watching. As much as I prefer giving stories space to breathe between episodes, I can't deny that "The Bear" was improved by devouring its twists and turns in an insatiable marathon. Binge-watching still isn't my default, but for the right show, it can be the ideal way to experience things.

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