‘Stick': The First TV Golf Sitcom Hits Most of Its Marks

TV-MA | 10 episodes | Comedy, Drama, Sports | 2025
Having grown up with golf (my dad was a pro golfer), I'm particularly drawn to features about the sport. There haven't been many of them, and, of those, only a few are very good. There's 'Tin Cup' (1996), 'Caddyshack' (1980), and 'The Greatest Game Ever Played' (2005). That's pretty much it. Adam Sandler's 'Happy Gilmore' (1996) has a big cult following, but I didn't care for it as I don't care much for Sandler in general.

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Yahoo

a day ago

• Yahoo

Shanghai Launches Merged Film and TV Market With Industry-Public Hybrid Model

Shanghai's newly merged International Film & TV Market kicked off Saturday at the Shanghai Exhibition Center, launching a five-day event that combines professional industry networking with public cultural experiences. The market, running through June 25, represents the consolidation of the Shanghai International Film Festival Market (SIFF Market) and Shanghai TV Festival Market (STVF Market) into a single comprehensive platform. More from Variety Giuseppe Tornatore Reflects on Chinese Audience Love, Shelved Sci-Fi Project at Shanghai Film Festival Paolo Genovese Brings 'Madly' to China via Italian Screens Initiative at Shanghai Film Festival Marco Mueller's WIP Lab Relocates to Shanghai Film Academy for December Showcase The event is housed at the Shanghai Exhibition Center, originally built in 1955 as the Sino-Soviet Friendship Building. The major landmark draws heavily on Russian and Empire style neoclassical architecture and spans 93,000 square metres, making it one of the largest integrated building complexes in central Shanghai. Chen Guo, managing director of Shanghai International Film & TV Events Center, says the consolidation reflects broader industry trends. 'The industry's evolving trend where content creation, technological applications, and talent mobility increasingly blur the lines between film and television,' Chen explains. 'Many outstanding companies and creators develop across both sectors. This integration aims to break down invisible resource barriers and build a comprehensive, efficient platform that congregates film, series, technology, capital, and talent.' The market's most distinctive feature is its dual-track approach. Professional activities take place inside the Shanghai Exhibition Center, with dedicated meeting zones, display areas, and industry salons designed for efficient business interactions. Meanwhile, outdoor markets serve as platforms for public engagement, featuring immersive IP experiences and cultural products. 'We turn industry achievements into tangible cultural offerings for the audience,' Chen notes. 'This stimulates public enthusiasm for film and TV culture, provides valuable feedback, and fosters innovation in content and business models.' The approach aims to bridge professional efficiency with popular appeal, allowing audiences to immerse themselves in storytelling while providing industry professionals with direct consumer insights. The outdoor market emphasizes openness and interaction, with themed exhibitions such as the 'I Am What I Am' film, where audiences immerse themselves in the story, or TVB's exclusive products that recall childhood memories. The market builds on deal-making success from its predecessor events. Last year's markets recorded over 200 exhibitors and 40,000 visits, with notable achievements including a Korean delegation that generated 107 business negotiations between Chinese and Korean companies, resulting in deals valued at approximately $56.3 million. The Korea Creative Content Agency (KOCCA) organized a delegation including major broadcasters KBS, MBC, SBS, CJ ENM, and SLL, bringing 13 leading Korean companies to showcase content at the Korea Pavilion. This year's market has expanded international participation with a dedicated International Zone featuring an International Negotiation Area designed for global buyer-seller interactions, with 50 overseas exhibitors already participating. Organizers are targeting even greater international involvement in future editions, aiming to attract more top-tier international producers and streaming platforms. The market is showcasing emerging technologies reshaping content creation and distribution through its UHD HUB, which features experience zones dedicated to AI and XR technologies. A standout attraction is an XR large-space project about Qin Shi Huang's Tomb, allowing audiences to experience historical content within a virtual environment. AI applications are particularly prominent, with demonstrations of multi-language AI voice-over and video translation technologies designed to help Chinese content reach global markets more efficiently. The Shanghai International Film Festival's SIFF ING-AIGC program highlights work from young creators utilizing AI in their projects. The merger eliminates what Chen describes as 'invisible barriers that once separated film and TV markets,' bringing together film producers, TV production companies, streaming platforms, tech suppliers, creators, and investors in a unified space. Activities are designed to be medium-agnostic, with forums, expert sessions, and buyer salons applying to both film and TV sectors. 'The IP project promotion event doesn't emphasize the medium but focuses on compelling stories and IPs to attract suitable development partners,' Chen explains. This borderless approach enhances opportunities for cross-field collaboration, talent mobility, and technology sharing. Programming is curated around real industry demands, with IP promotion activities driven by booming interest in adaptations and franchise development. Aligned with national strategies for ultrahigh-definition video, the UHD HUB presents cutting-edge technology, reflecting industry hotspots and addressing pain points. 'All activities are designed around real demands, ensuring relevance—focusing on the latest industry frontiers, technological up-gradings, and creative innovations,' Chen says. While acknowledging the importance of transaction volume, attendance, and press visibility, organizers are taking a broader view of success. 'We place greater emphasis on soft power and long-term effects,' Chen says, focusing on the market's role in fostering cross-sector collaborations, providing cutting-edge industry knowledge, and offering platforms for innovative projects and emerging talent. The ultimate goal is for the market to become 'a renowned hub for global thought exchange and industry innovation, regarded as a continuous creator of projects' that advances both Chinese and global entertainment ecosystems. Looking beyond this inaugural merged edition, organizers plan continued refinement focused on internationalization, industry leadership, and enhanced interactivity. Plans include establishing forward-looking technology innovation zones and expanding the successful Cinemart initiative that creates channels between industry professionals and the public. 'We aim to establish this as a new cultural landmark that embodies Shanghai's distinctive charm,' Chen concludes. Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar

New York Post

2 days ago

• New York Post

‘Jaws' turns 50: How other classic movies bit off the shark's signature riff — from ‘Caddyshack' to ‘Clerks'

Like the killer great white shark, the 'Jaws' theme song took a big bite out of movie history. The terrifying two-note theme of the 1975 summer blockbuster — which turns 50 on June 20 — has been riffed on in other classic films for its cultural impact that is still striking fang-crunching fear in the masses five decades later. Composer John Williams' menacing motif has been referenced — and ripped on — in other big films that have taken it from horror to humor. 9 'Jaws' defined the summer blockbuster after its release on June 20, 1975. Courtesy Everett Collection 'I think it's a compliment when anything becomes parodied that much, like, if you work your way into a popular comedy movie or something,' film music historian Tim Greiving — who wrote the upcoming biography 'John Williams: A Composer's Life' — exclusively told The Post. ''It's, like, acknowledging that this is something that is so culturally important, or that everybody recognizes it, that you can kind of play on it. If it was a little more obscure, the reference wouldn't work. I'll take it as a compliment.' But while the theme has been spoofed, Williams — who won his first of four Oscars for Best Original Score for 'Jaws' — took it very seriously. 'I think that serious intention comes through in the music and keeps it from being campy,' said Greiving. 9 Richard Dreyfuss and Roy Scheider co-starred in 1975's 'Jaws.' Courtesy Everett Collection Still, the theme has been played for laughs in classic comedies such as 'Airplane!' and 'Caddyshack.' 'The funny thing is, John Williams has talked about [how] sometimes he plays it in concert, and people start laughing, and it's not supposed to make you laugh, although it made ['Jaws' director] Steven Spielberg laugh when he first heard it,' said Greiving. 'So it has this interesting psychological effect now.' 'But I think at its core, it still does what it was supposed to do — which is freak you out.' Here, we dive into seven films that have sunk their teeth into the 'Jaws' theme. '1941' 9 Dan Aykroyd and John Belushi co-starred in the 1979 war comedy '1941.' Courtesy Everett Collection The opening scene of Spielberg's 1979 war comedy pays homage to the 'Jaws' theme. with Susan Backlinie — who played Chrissie Watkins, the shark's first victim in 'Jaws.' 'Airplane!' 9 Julie Hagerty, Leslie Nielsen and Peter Graves took 1980's 'Airplane!' to comic heights. ©Paramount/Courtesy Everett Col As what appears to be a fin — but turns out to be a 747 — cuts through the clouds, the sinister riff of 'Jaws' takes this 1980 disaster comedy off in its opening credits. 'Caddyshack' 9 Ted Knight and Chevy Chase were golfing goofballs in 1980's 'Caddyshack.' ©Orion Pictures Corp/Courtesy Everett Collection When a candy bar is mistaken for a turd in a swimming pool, the 'Jaws' theme heightens the horror in the 1980 comedy starring Billy Murray and Chevy Chase. '9 1/2 Weeks' 9 Mickey Rourke and Kim Basinger steamed up the screen in 1986's '9 1/2 Weeks.' ©Orion Pictures Corp/Courtesy Everett Collection When a kid claims that his friend can fart the 'Jaws' theme in this 1986 erotic drama, Mickey Rourke mimics it. How sexy. 'Spaceballs' 9 Bill Pullman and John Candy parodied 'Stars Wars' in 1987's 'Spaceballs.' Mel Brooks' 1987 'Star Wars' parody plays off the menacing motif from 'Jaws' while chasing a rebel ship. 'Back to the Future II' 9 Michael J. Fox and Christopher Lloyd reunited for 'Back to the Future II' in 1989. The shark tale's theme plays as Michael J. Fox's Marty McFly encounters an advertisement for 'Jaws 19' — the 18th sequel to the original — when he travels to 2015. 'Clerks' 9 Brian O'Halloran and Jeff Anderson co-starred in Kevin Smith's directorial debut 'Clerks' in 1994. Jeff Anderson's character in Kevin Smith's 1994 cult classic dips into the 'Jaws' theme as his triangular tortilla chip cuts through some 'thick & chunky' salsa.

Boston Globe

2 days ago

• Boston Globe

Dennis Lehane says his goal with ‘Smoke' was to ‘look at chaos chaotically'

(Lehane also says audiences are 'way too smart now' for late episode reveals. He originally showed Dave starting a fire in the pilot, but that was too soon. Then he tried the third episode, but that was too long. 'It was like Goldilocks — the second episode was just right.') Advertisement The 59-year-old Boston native is best known for his literary crime novels like 'Mystic River,' 'Shutter Island,' and 'Gone Baby Gone,' and for depicting his hometown in all its complexities in 'The Given Day' and ' But Lehane, who broke into TV when he was recruited to write for 'The Wire,' has been returning to the screen more frequently of late, writing for 'Mr. Mercedes' and 'The Outsider' before developing ' Advertisement Still, Lehane isn't jumping into any old story, saying he turned down producer Kary Antholis four times for 'Blackbird.' When Antholis pitched a podcast about a serial arsonist that he'd hosted called 'Firebug,' Lehane wasn't that interested, in part because there'd previously been a poorly received HBO movie about the same man called 'Point of Origin.' 'But I loved the pathology of the real guy, John Orr, and the absolute insanity of being an arsonist who's also an arson investigator who's writing a book about an arson investigator chasing an arsonist with facts that only the real arsonist would know,' Lehane says. 'There was something so beautifully American about that.' (Note that Lehane speaks almost as profanely as his characters, so, for realism, you can periodically insert your own enthusiastic expletives.) Lehane kept one more detail from Orr's story: As a firefighter he'd once been trapped in a fire and he ran toward his own reflection, thinking it was another firefighter. 'I said, 'That's our opening, man.' That's the whole story, metaphorically speaking,' he recalls. 'Almost everything else I threw out. I just wanted to tell this story about emotional and psychological chaos, because that's the time we're living in right now.' The story is one of a white man with a grievance lifestyle, who loses himself to his own petty frustrations, something Lehane says he saw in friends growing up in Boston. 'I have friends who were angry about their life after being passed over for becoming a police officer and I'd think, 'Have you looked at your psych eval' and I'd want to say, 'You always ask everybody else to take ownership, so take ownership of who you are.'' Advertisement Lehane fleshed out the story with wholly fictional characters. Dave's unwelcome new partner, Michelle Calderone (Jurnee Smollett), is a dogged police detective with scars and ghosts of her own, who follows her instincts but also her own rules. Greg Kinnear in "Smoke." Apple TV+ Dave's boss Harvey (Greg Kinnear), who can be a charmer or a bully, is pressuring them for results, but he has blind spots of his own. Esposito (John Leguizamo) is Dave's former partner who now makes 'tasteful porn for discerning customers,' Lehane says wryly. And, most significantly, Freddy (Ntare Guma Mbaho Mwine) is the second arsonist Dave and Michelle are chasing. While Dave's fires are typically set in supermarkets (Orr was dubbed the Frito Bandito arsonist) in a way that allowed people to escape, Freddy's rage propels him to attack individuals who seem happy, aiming to harm. 'There's this weird part of me that creates sympathetic monsters,' Lehane says. 'Freddy commits acts of pure evil and needs to be in jail. But he's a tragic guy, the loneliest man on earth. Dave is running around with his white victimization narration that I can't stand, where he's the victim. But Freddy truly is the victim of our society. He was vomited out into the world and never had a chance.' Freddy is loosely inspired by a Washington D.C., arsonist who said that working in fast food as an adult is akin to slavery, Lehane says. 'I kept that and the fact that he's African-American, so he's a perfect counterpoint to Dave.' Advertisement Amid the show's life-and-death stakes and explorations of racism, misogyny, and injustice is plenty of humor, especially in the banter between Egerton's, Smollett's, and Kinnear's characters. 'We need humor right now,' Lehane says. 'How else are we supposed to deal with the madness we're living in, with politicians being arrested for speaking out. We're watching the death of the Republic, literally. So you laugh because you don't want to cry. That's the best you can do.' Lehane, who emphasizes his collaborative approach to creating, says Kinnear kept encouraging him during the writing to deepen Harvey. 'He'd say, 'I don't feel Harvey yet,'' Lehane recalls. 'When I came up with his character's daughter, that's when we found him.' He views Egerton, who also starred in 'Black Bird,' as a 'creative partner. We push each other. We're a dangerous combination.' He points to a sex scene that might evoke (nervous) laughter if it didn't quickly become so shocking. Lehane says Egerton called one weekend and said the kinky scene 'needs a bit more. I said, 'More? Dave lights somebody's belly on fire. What the…'' Inspired, they went 'so far beyond the pale that we had to dial it back,' but the final result, with Dave dancing self-indulgently above his bound partner, captures something essential about the character. 'When we were trying to pick the song, Taron said, 'Since I was a little boy, my dream was to dance to David Bowie on screen.'' The song choice, 'Heroes,' further enhances Dave's delusions. Lehane says that his team really dove into how 'whacked out this story was.' 'People rarely embrace tonally wild shows, but we just decided to go for broke,' he adds. 'We're looking at chaos chaotically.' Advertisement It all started with that sex scene, when his producing partner's research uncovered the idea of 'streaking' or setting someone (safely) on fire. 'I said, 'No way,' but that's when the show really came into its own,' Lehane says. ''Seinfeld' became 'Seinfeld' with 'The Pony Remark' episode [where Jerry mentions hating anyone who had a pony and his cousin, who proudly had one, gets angry and soon dies]. We feel like 'Smoke' really becomes 'Smoke' with the streaking scene.'