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Buzz Feed
3 days ago
- Entertainment
- Buzz Feed
11 TV Show Episodes To Celebrate Pride Month
Will and Grace — "Queens for a Day Part 1 and 2" (Season 7, Episodes 10 and 11) A lot of things happen in this Thanksgiving episode of Will and Grace. Will Truman tries to impress his boyfriend, Vince D'Angelo's family, and Vince's sister, Ro D'Angelo, reveals a secret about her sexuality to Jack McFarland. It's hilarious and worth watching in June, even if it's set in November. Never Have I Ever "...Been a Big Fat Liar" (Season 1, Episode 7) In this episode, Fabiola Torres comes out to her mom, Elise Torres, making this a positive and uplifting Pride Month watch. Ginny and Georgia — "Latkes Are Lit" (Season 2, Episode 5) In "Latkes Are Lit," Maxine Baxer and Sophie Sanchez plan to take their relationship further. The OC — "Lonely Hearts Club" (Season 2, Episode 12) The OC fans still talk about Olivia Wilde's guest appearance as Alex Kelly. She makes the show edgier, and in "The Lonely Hearts Club," Alex and Marissa take their relationship to the next level. Golden Girls — "Scared Straight" (Season 4, Episode 9) In Golden Girls, "Scared Straight," Blanche Devereaux's brother, Clayton Hollingsworth, comes to visit. Blanche tries to set him up on dates with women, until he finally reveals why he's not interested. Survival of the Thickest — "Are You Crying, B***?" (Season 1, Episode 4) In this empowering episode of Survival of the Thickest, Marley tells her therapist, Anita how liberating she feels after experiencing her queer side. Grey's Anatomy — "White Wedding" (Season 7, Episode 20) In this romantic episode of Grey's Anatomy, the couple Callie Torres and Arizona Robbins finally tie the knot despite the challenges they face during their big day. Grace and Frankie — "The End" (Season 1, Episode 1) A show about two women whose husbands leave them for each other is a given to watch during Pride Month. Grace Hanson and Frankie Bergstein receive the shocking news that their husbands, Sol Bergstein and Robert Hanson, have been in love with each other. And Just Like That — "Tragically Hip" (Season 1, Episode 5) Such a prominent character, who fans have known for years, explores a change in her sexuality. In And Just Like That, "Tragically Hip" Miranda Hobbs experiences her first queer hookup with Che Diaz. She then has a realization about her sexual preference. Harlem — "Pride" (Season 2, Episode 5) After Quinn Joseph goes through a breakup with her ex-girlfriend, Isabela Benitez-Santiago, she's ready to let loose at New York's Pride. But she ends up drunk and a mess. In the meantime, Tye Reynolds thinks about leaving her LGBTQ+ dating app to start a new one. In the middle of her decision, many couples reveal their romantic success stories with the app. Modern Family — "The Wedding Part 1 and 2" (Season 5, Episodes 23 and 24) In this special episode of Modern Family, Mitchell Pritchett and Cameron Tucker officially say I do. After seasons worth of love and watching them raise a witty daughter, to see TV's hilarious couple finally be legally tied to one another is exciting and emotional. Throughout part 1 and part 2 of the episodes, the two face multiple challenges from wildfires to stolen venues, but of course, they eventually get the celebration they deserve. Looking for more LGBTQ+ or Pride content? Then check out all of BuzzFeed's posts celebrating Pride 2025.
Time of India
6 days ago
- Entertainment
- Time of India
Adam Brody wanted to host 'Blue's Clues': Tried really hard, didn't get it
Actor Adam Brody , best known for his role in the drama series "The OC", says he tried very hard to get a hosting gig for a kids' television show "Blue's Clues". "Blue's Clues" premiered in 1996 and ran for six seasons until 2006. Actor and musician hosted the show till 2002. After his exit, actor and host Donovan Patton , took upon the hosting role for fifth and sixth season. Brody said he just shifted to Los Angeles at that point. Nobody Wants This Trailer: Kristen Bell, Adam Brody, Justine Lupe Starrer Nobody Wants This Official Trailer "I really wanted 'Blue's Clues' early on when I first moved to L A I tried really hard. It's like 1999. I didn't get it. But I would've loved it," he told entertainment news outlet The Hollywood Reporter. The 45-year-old actor added he tried to get Henry Parker's role in the 1998 drama series "Dawson's Creek". It eventually went to Michael Pitt. "There's an early 'Dawson's Creek' role. It really made me nervous to read with Scott Speedman. I was sweating. I believe (the role) went to Michael Pitt. They wanted pouting lips," he said. Brody made his debut in 2000 with the drama film "Growing Up Brady", where he essayed the role of Barry Williams. The film was directed by Richard A Colla. He then went on to star in projects such as "Once and Again" and "Shazam!", among others.
The Age
11-06-2025
- Entertainment
- The Age
30 going on 13: How old is too old to play a teenager on TV?
I was 12 years old when I first laid eyes on bad boy Ryan Atwood (Benjamin McKenzie), lighting up outside the Cohens' Newport Beach mansion on The OC. 'Who are you?' asked his new neighbour and eventual love interest Marissa Cooper (Mischa Barton) in the show's pilot. 'Whoever you want me to be,' he famously replied, his eyes locked as tight on her as his ratty leather choker was wrapped around his neck. It was many years until I learnt that the actor who played this 16-year-old heartthrob was actually almost a decade older than the troubled teen he portrayed. And, aged 25 at the show's premiere, McKenzie was significantly older than Barton, who was just 17. It puts a weird spin on the Ryan and Marissa clippings from Dolly magazine that patchworked my bedroom walls – and an even more uncomfortable lens on the show after Barton's subsequent claims the actors dated during filming. But, in the history of film and television, there's nothing strange about an adult man whacking on a leather jacket and calling himself a highschool. James Dean was a similar age (24) when he portrayed 17-year-old Jim Stark in Rebel Without a Cause – a film that is popularly credited with defining the very concept of a 'teenager' and is a direct reference point for that opening episode of The OC. (Much like Barton, Dean's co-star Natalie Wood was also much younger – 16 – at the time of filming.) It's actually exceedingly rare that a teenager is cast for these roles at all. Olivia Newton-John and John Travolta were 29 and 23, respectively, when they starred as high-school sweethearts in Grease. Rachel McAdams was 25 when she portrayed queen bee Regina George in Mean Girls. Andrew Garfield was 27 when he played 17-year-old Peter Parker in The Amazing Spider-Man. Zendaya, Jacob Elordi and Sydney Sweeney were all in their early 20s at the start of high-school drama Euphoria (meaning the long-anticipated third season will feature an unavoidable time jump) – as were most of the cast of other recent teen shows such as Sex Education and Riverdale. I've been thinking a lot about this, ever since watching Overcompensating. The debut sitcom from Benito Skinner, based on his college experiences from the early 2010s, has recently faced some pushback over its casting. Skinner, 31, plays a fictionalised version of himself as a college freshman (who are generally 18 or 19 years old). And he's joined by other actors predominantly aged from their late 20s to mid-30s (including season two The White Lotus alumnus Adam DiMarco, who is 35). Loading 'After several years of development, Overcompensating arrives at a time when Skinner … can no longer plausibly pass for the teenage version of himself,' one critic wrote in Slate. 'He looks more out of place than Ben Platt did playing a teen in 2021's Dear Evan Hansen.' (Another one for the list! Platt was 27 when he played the 17-year-old outcast.) So why does this keep happening? There are some big logistical factors at play: the first is that it's simply much harder to film with underage actors. Local legislation will often dictate talent under a certain age must be accompanied by a parent, can only work reduced hours and will need on-set tutors. Older actors also usually have more experience and, often, some name recognition that bolsters the project. Zendaya and Cole Sprouse, for instance, became stars through the Disney Channel well before appearing as teens on Euphoria and Riverdale. Having actors who are above the age of consent also helps make certain plot lines feel slightly less perverted to watch (see: basically everything that happens on Gossip Girl). There, however, are some real downsides to this. The first is that actual teenagers grow up thinking they should look like Blake Lively. The 'teenage girls' we watch on film and TV generally have clear skin, full chests and roughly 500 times the self-confidence of the average 16-year-old. And, with broad chests and big arms, the boys aren't much better. Plus, there's always going to be a 'how do you do, fellow kids' inauthenticity to seeing a 27-year-old try to capture what it means to be 17 today. Loading This is what drove then-uni student Jamie Brittain to create Skins back in 2006. Explaining the origins of his famously unfiltered teen drama, he told DigitalSpy it was a direct response to 'deeply patronising' series such as Dawson's Creek and The OC. 'Everyone looked so perfect,' he said. 'It drove me crazy. They were aggressively promoting the notion of [Seth Cohen (played by Adam Brody)] as this virgin nerd … but he was one of the sexiest men on television! And he was a man, as well – he was not a teenager!' Instead, Brittain and his team scouted for no-name teens to join his cast (except for 17-year-old Nicholas Hoult, who had been a child actor in About a Boy). That led to the discovery of Daniel Kaluuya, then 18 and also writing on the show, and Dev Patel, who was 16 when he landed the role of gangly and fun-loving Anwar. When the cast aged out of the roles, they created a whole new generation of teens to focus on. This was revolutionary for me at the time, a 15-year-old watching people my age having the same heartbreaks, house parties and hugely emotional reactions to Crystal Castles. But it turns out there are whole separate issues worth considering when you have actual 17-year-olds doing sex scenes, years before on-set intimacy co-ordinators are common practice. Speaking on her podcast, now in her 30s, original Skins cast member April Pearson (Michelle) admitted: 'I do feel like I was too young … There's a difference between being officially old enough and mentally old enough.' Mischa Barton has said the same of her time on The OC. She has recently spoken about coming into the show as a virgin, 'a kid', and feeling pressured to grow up quickly and meet the expectations of her character. After being thrust into the spotlight and frequently sexualised at a young age, she was also hounded by paparazzi, leading to breakdowns and PTSD. Loading So maybe Skinner is on to something by leaning in to the absurdity of older actors on Overcompensating. It worked for Maya Erskine and Anna Konkle, who were 32 when they started playing 13-year-old versions of themselves in Pen15. Set in 2000, with the cargo pants and MSN Messenger plot lines to prove it, that show was also a satire of a very specific era in their lives. Skinner's on-screen sister Mary Beth Barone (age 33) recently made the point on their podcast saying,'I wouldn't want younger actors to play these parts. They wouldn't be able to nail the millennial cringe of that time period.' Skinner added: 'I get what [people] are saying. But at the same time … all of us having space from that time in our lives allows us to be more comfortable.'
Sydney Morning Herald
11-06-2025
- Entertainment
- Sydney Morning Herald
30 going on 13: How old is too old to play a teenager on TV?
I was 12 years old when I first laid eyes on bad boy Ryan Atwood (Benjamin McKenzie), lighting up outside the Cohens' Newport Beach mansion on The OC. 'Who are you?' asked his new neighbour and eventual love interest Marissa Cooper (Mischa Barton) in the show's pilot. 'Whoever you want me to be,' he famously replied, his eyes locked as tight on her as his ratty leather choker was wrapped around his neck. It was many years until I learnt that the actor who played this 16-year-old heartthrob was actually almost a decade older than the troubled teen he portrayed. And, aged 25 at the show's premiere, McKenzie was significantly older than Barton, who was just 17. It puts a weird spin on the Ryan and Marissa clippings from Dolly magazine that patchworked my bedroom walls – and an even more uncomfortable lens on the show after Barton's subsequent claims the actors dated during filming. But, in the history of film and television, there's nothing strange about an adult man whacking on a leather jacket and calling himself a highschool. James Dean was a similar age (24) when he portrayed 17-year-old Jim Stark in Rebel Without a Cause – a film that is popularly credited with defining the very concept of a 'teenager' and is a direct reference point for that opening episode of The OC. (Much like Barton, Dean's co-star Natalie Wood was also much younger – 16 – at the time of filming.) It's actually exceedingly rare that a teenager is cast for these roles at all. Olivia Newton-John and John Travolta were 29 and 23, respectively, when they starred as high-school sweethearts in Grease. Rachel McAdams was 25 when she portrayed queen bee Regina George in Mean Girls. Andrew Garfield was 27 when he played 17-year-old Peter Parker in The Amazing Spider-Man. Zendaya, Jacob Elordi and Sydney Sweeney were all in their early 20s at the start of high-school drama Euphoria (meaning the long-anticipated third season will feature an unavoidable time jump) – as were most of the cast of other recent teen shows such as Sex Education and Riverdale. I've been thinking a lot about this, ever since watching Overcompensating. The debut sitcom from Benito Skinner, based on his college experiences from the early 2010s, has recently faced some pushback over its casting. Skinner, 31, plays a fictionalised version of himself as a college freshman (who are generally 18 or 19 years old). And he's joined by other actors predominantly aged from their late 20s to mid-30s (including season two The White Lotus alumnus Adam DiMarco, who is 35). Loading 'After several years of development, Overcompensating arrives at a time when Skinner … can no longer plausibly pass for the teenage version of himself,' one critic wrote in Slate. 'He looks more out of place than Ben Platt did playing a teen in 2021's Dear Evan Hansen.' (Another one for the list! Platt was 27 when he played the 17-year-old outcast.) So why does this keep happening? There are some big logistical factors at play: the first is that it's simply much harder to film with underage actors. Local legislation will often dictate talent under a certain age must be accompanied by a parent, can only work reduced hours and will need on-set tutors. Older actors also usually have more experience and, often, some name recognition that bolsters the project. Zendaya and Cole Sprouse, for instance, became stars through the Disney Channel well before appearing as teens on Euphoria and Riverdale. Having actors who are above the age of consent also helps make certain plot lines feel slightly less perverted to watch (see: basically everything that happens on Gossip Girl). There, however, are some real downsides to this. The first is that actual teenagers grow up thinking they should look like Blake Lively. The 'teenage girls' we watch on film and TV generally have clear skin, full chests and roughly 500 times the self-confidence of the average 16-year-old. And, with broad chests and big arms, the boys aren't much better. Plus, there's always going to be a 'how do you do, fellow kids' inauthenticity to seeing a 27-year-old try to capture what it means to be 17 today. Loading This is what drove then-uni student Jamie Brittain to create Skins back in 2006. Explaining the origins of his famously unfiltered teen drama, he told DigitalSpy it was a direct response to 'deeply patronising' series such as Dawson's Creek and The OC. 'Everyone looked so perfect,' he said. 'It drove me crazy. They were aggressively promoting the notion of [Seth Cohen (played by Adam Brody)] as this virgin nerd … but he was one of the sexiest men on television! And he was a man, as well – he was not a teenager!' Instead, Brittain and his team scouted for no-name teens to join his cast (except for 17-year-old Nicholas Hoult, who had been a child actor in About a Boy). That led to the discovery of Daniel Kaluuya, then 18 and also writing on the show, and Dev Patel, who was 16 when he landed the role of gangly and fun-loving Anwar. When the cast aged out of the roles, they created a whole new generation of teens to focus on. This was revolutionary for me at the time, a 15-year-old watching people my age having the same heartbreaks, house parties and hugely emotional reactions to Crystal Castles. But it turns out there are whole separate issues worth considering when you have actual 17-year-olds doing sex scenes, years before on-set intimacy co-ordinators are common practice. Speaking on her podcast, now in her 30s, original Skins cast member April Pearson (Michelle) admitted: 'I do feel like I was too young … There's a difference between being officially old enough and mentally old enough.' Mischa Barton has said the same of her time on The OC. She has recently spoken about coming into the show as a virgin, 'a kid', and feeling pressured to grow up quickly and meet the expectations of her character. After being thrust into the spotlight and frequently sexualised at a young age, she was also hounded by paparazzi, leading to breakdowns and PTSD. Loading So maybe Skinner is on to something by leaning in to the absurdity of older actors on Overcompensating. It worked for Maya Erskine and Anna Konkle, who were 32 when they started playing 13-year-old versions of themselves in Pen15. Set in 2000, with the cargo pants and MSN Messenger plot lines to prove it, that show was also a satire of a very specific era in their lives. Skinner's on-screen sister Mary Beth Barone (age 33) recently made the point on their podcast saying,'I wouldn't want younger actors to play these parts. They wouldn't be able to nail the millennial cringe of that time period.' Skinner added: 'I get what [people] are saying. But at the same time … all of us having space from that time in our lives allows us to be more comfortable.'
Time Out
06-06-2025
- Entertainment
- Time Out
Oscar at the Crown
Well, this is certainly different: a dystopian musical tribute to the life and works of Oscar Wilde in a basement venue dressed to look like a mashup of a Berlin club and Mad Max: Beyond the Thunderdrome. If you're eagerly looking for a meaty plot, you're in for slim pickings. Originating in New York and the brainchild of its book-writer Mark Mauriello (also playing 'Oscar'), this is a production big on vibes: a loud confection of shiny surfaces, breathless choreography and a thumping, punky score. If the kids from Fame were queer fugitives hiding underground from a totalitarian state in a climate-wrecked near future, it might be a bit like this. That's basically also the premise. For these social renegades and misfits on the run, Noughties pop culture has become their religion, evil step-mum Julie Cooper from The OC their goddess and The Real Housewives their saints. This show is not bezzie mates with understatement, as Mauriello goes nuclear on how performance is reality. As the rise of Twitter gets thrown into the mix, it's about as deep as a puddle and as subversive as taking a photo of your middle finger in front of Trump Tower. But in spite of this – maybe even because of its raucous earnestness – it sweeps you up. And as part of the in-show musical re-telling of his life that the characters stage every night, the re-imagining of Wilde as the original social media influencer is absurdly enjoyable. Andrew Barret Cox's score is a frantically vibrating wall of sound into which the show's well-intentioned switch to giving the perspective of Wilde's wife collides with an energy-sapping jolt. And the attempt to connect the grim outside world of the show's universe to the themes of Wilde's life – that reality will get you, even if you pretend it doesn't exist – involves some Frankenstein's monster stitching together. But director Shira Milikowsky's production wisely lives on adrenalin, powered by a cast of actors and dancers who don't pause for a second as they fling themselves around the dancefloor and stage. Is this a great show? No. Does the plot make sense? Not really. Will it sweep you up in its brash spectacle and attitude, if you let it? Just maybe, yes.
