Television

ABC

‘The Resident’ gives away boxes of personal protective equipment to Atlanta’s Grady Memorial Hospital, while ‘Station 19’ pledge their N95 respirator masks to the City of Ontario Fire Department.
Mar 20, 2020
AceShowbiz – TV medical dramas, including “The Resident” and “The Good Doctor”, have donated masks to hospitals and medical centres amid the ongoing coronavirus pandemic.
While production on several shows has shut down amid the global health crisis, many of the sets have donated masks, gloves and gowns from their wardrobe departments to real health professionals facing shortages.
Fox’s “The Resident” gave boxes of personal protective equipment to Atlanta’s Grady Memorial Hospital, with Dr. Karen Law, a rheumatologist at the hospital, writing on Instagram: “Thank you for this incredibly generous donation of #PPE from your set, including gowns, masks, gloves, and all the things our healthcare workers need to provide safe care for our community during #COVID19.”

ABC’s “The Good Doctor”, which films in Vancouver, Canada, is also planning to donate the cast’s personal protective equipment to the area’s hospitals, reported Fox News, and “Grey’s Anatomy” spinoff “Station 19” has pledged their N95 respirator masks to the City of Ontario Fire Department.
Hospitals are facing shortages due to the influx of coronavirus cases and since much of the equipment is made in China. The country has increased the production of masks since facing a similar shortage, as Covid-19 broke out in the city of Wuhan, China, in December (19).
Globally, more than 219,700 cases of coronavirus have been registered, resulting in a death toll of over 8,900 since the outbreak began.

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Season 1, Episode 9: ‘Et in Arcadia Ego, Part 1’In much of “Star Trek: The Next Generation,” the character Data is essentially a fish out of water. He is the lone android in a crowd of humanoids in almost all the rooms he is in. It falls on him to understand everyone else. In this week’s episode of “Star Trek: Picard,” we get a look at a world in which it is the humans who are the outsiders and the androids who are the dominant majority.All it takes is for the La Sirena to travel to the fourth planet of the Ghulion system to find what they’ve long been looking for: Soji’s home planet. Note how much of Picard is about the separate identities of similar-looking people. Rios has several hologram versions of himself to run his ship. Soji and Dahj are twin androids, which is to say nothing of the similar looking ones on their home planet, like Sutra. In the early episodes of “Picard,” we see Data. In “Et in Arcadia Ego, Part 1,” we see a Data look-alike, a human named Dr. Altan Inigo Soong.The crew heads to the Coppelius station, where they meet several androids. Arcana, one of the first androids the team encounters at Coppelius, refers to Picard as captain rather than admiral. That is, until Altan shows up and calls him admiral. It’s a subtle touch, emphasizing the contrast between the Picard Data knew back then and who Picard is now.It is always a pleasure to see Brent Spiner onscreen in “Trek,” Data or not. Spiner has played several Soongs in the history of “Trek,” including the semi-nefarious Dr. Arik Soong, who had an arc in “Star Trek: Enterprise.” Data’s father, Noonian Soong, was Data’s designer and, Altan presents himself as Noonian’s human son.Altan and Sutra seem to be in charge on Ghulion IV. Where the Zhat Vash see synthetic life as something to be stopped at all costs, Sutra sees an opportunity. After a mind-meld with Jurati in which she sees the Admonition, Sutra sees a premonition of sorts for android domination, as does Altan. (This same premonition is seen as a warning by Romulans.) There are other synthetics out there, the two note, and it’s time to bring them altogether. Screw organic life, Sutra says, much to Picard’s chagrin.Soji even turns on Picard, allowing him to be placed under house arrest. This wouldn’t be the first time an android had less-than-noble intentions in Trek, of course. Data’s brother Lore was a thorn in Picard’s side multiple times in the course of “The Next Generation.” It appears that Sutra takes more after him than Data.Much of this series has been set up to end in a battle between the Romulans and Picard. Now, we have a new layer to deal with: Picard isn’t trying only to save the synthetics from the Romulans, he also has to save them from themselves. But it feels a little late in the game to introduce a new villain when the first ones have barely been fleshed out. I realize there is another season of “Picard” coming, but I would have liked to learn a bit more about Narek and Rizzo.Picard’s relentless optimism, which somehow seems to be increasing with each episode, is one example of the show’s creators staying true to his core. On one hand, it seems that the androids should definitely follow Picard and let him lead them to a safe place. After all, he is true to his convictions and righteous. On the other, Sutra and Altan make a good point: Why would Starfleet ever listen to Picard if they haven’t in the past? Particularly after the Mars incident? If anything, the smart thing to do is to throw your lot in with synthetics who are smarter, stronger and quicker than anything coming their way.One way or another, fun episode, and I have no idea where this season ends.Odds and Ends:Jurati rightly asks if she’s still under arrest near the beginning of the episode. Rios says there’s been a change of plans. I imagine Jurati, in a very “Arrested Development” way, saying, “Well that was a freebie.” (Of course, she ends up siding with possibly homicidal androids by the end of the episode, so maybe Picard will regret not locking her up.)One of the best lines of the whole series is when Picard says, “Well, hope and the odds make poor bedfellows.” Of course, Picard delivers it with gusto.The scene when Picard says goodbye to Elnor on the crashed Borg cube is a touching one, and it has the emotional weight of mentor’s saying farewell to a mentee. Except that for much of this season, Elnor’s arc, if you can call it that, has been separate from Picard’s, so it felt a bit contrived. The terminal nature of Picard’s illness is brought up multiple times in this episode, including with Elnor. Every interaction he has is given with an air of finality. We know he is not dying this season, though.Spot 2! A clone of Data’s old cat was a nice callback.My assumption is that the Borg cube ends up being a crucial defense against the fleet of Romulan warbirds in the season finale. Otherwise, it seems like a waste of the most terrifying vessel in the history of “Star Trek.” It didn’t exactly do much in this episode. More

Two strangers approach a man named George on the streets of San Francisco.“George,” one of them says, “would you yourself participate in a program of inter-protoplasm flow?”George doesn’t hesitate. “If I needed it, I guess I would,” he says.One of the strangers, earnestly impressing on George the seriousness of that commitment, elaborates:“If you knew that you were going to have all of your — let’s face it — your insides taken out or sucked out of you and in return you were going to have the insides of another person placed into the interior of your body, either the insides of one other person or many other people, would you participate in such a program?”George again affirms, “Yes, if I needed it.” Only when the two try to get him to accompany them to a lab, right then and there, to have the procedure done does George balk.The two ersatz medical experts were Mal Sharpe and Jim Coyle, and the exchange, immortalized in an audio track, took place in the early 1960s, one of countless pranks the pair sprung on unsuspecting passers-by decades before “Impractical Jokers” and present-day late-night hosts thought of working similar comedic territory.Mr. Coyle stayed in the punking game only a short while, but Mr. Sharpe made something of a career out of it, influencing the whole field of ambush humor.“Coyle and Sharpe were pioneers of an entire genre of comedy, the Man on the Street bit,” Charlie Todd, founder of the comedy collective Improv Everywhere, said by email. “Every late-night host and YouTube prankster owes a bit of their act to Coyle and Sharpe.”Mr. Sharpe, who was well known in the Bay Area for his wacky interviews and also as a jazz trombonist, died on March 10 at his home in Berkeley, Calif. He was 83. His daughter, Jennifer Sharpe, said his health had diminished since he underwent heart surgery three and a half years ago.Mr. Sharpe first met Mr. Coyle in 1959 when they were bunking at the same San Francisco rooming house. Mr. Coyle asked Mr. Sharpe what he did for a living, and Mr. Sharpe said he specialized in animal-to-human brain transplants and was himself waiting to receive a flamingo brain. Mr. Coyle, in turn, gave Mr. Sharpe his biography: Although he looked 23, he said, he was 80 and had a pension from serving in the Spanish-American War.With such an introduction the two hit it off and began exchanging comedic ideas. They went their separate ways briefly, but returned to San Francisco in 1961 and began pranking in earnest.They used a tape recorder hidden in a briefcase to record their absurd encounters. Comedy albums were enjoying a surge of popularity, driven by the enormous success of Bob Newhart’s 1960 record, “The Button-Down Mind of Bob Newhart,” and the pair had hopes of landing a record deal with their recordings. Although the first company they tried rejected them, they were eventually signed by Warner Brothers Records, which in 1963 released “The Absurd Imposters.”Its track list gives the flavor of the enterprise: “Selling Insects to a Clothing Store” is one; “Carpenter, Give Us Your Lunch” another. And then there was “Mutant Zebra-Eel in a Paint Store,” in which they tried to persuade a merchant to exhibit a new life form in his shop window.“It’s a cross between a zebra and certain type of sea eel,” one of them explains, “and it’s almost entirely zebralike physically. The eel influence is only in the legs.”The album didn’t sell all that well, but disc jockeys started playing the cuts, and KGO radio in San Francisco signed the pair to do a show, “Coyle and Sharpe on the Loose.”“C & S, who had never done radio work before, were suddenly faced with the terror of filling 18 hours of airtime a week,” Jennifer Sharpe wrote in liner notes for a 1995 album drawn from the tapes from this period. To get better audio quality, they abandoned the hidden recorder and went to a straight-on interview method with microphone and recorder in full view.About a decade ago, Jesse Thorn, founder of the Maximum Fun podcast network, turned some of Coyle & Sharpe’s best material into bite-size podcasts.“What makes it work so amazingly,” Mr. Thorn said in a phone interview, “is that Jim was a genuine weirdo who was also an actual con man, and Mal was an actual cool guy who could pass for a square.”The moment — space exploration just beginning; science asserting itself — was also right, since many of the pair’s bits involved concepts that were on the edge of science fiction.“What you had,” Mr. Thorn said, “was people who were used to living in a world of wonder, and science is the one delivering the wonder.”Malcolm Sharpe was born on April 2, 1936, in Cambridge, Mass. His father, Ralph, who died when Malcolm was 4, managed a shoe store. His mother, Carolyn (Varnick) Sharpe, worked in a clothing store during World War II.Mr. Sharpe enrolled in Boston University’s public relations and communication program, earning a bachelor’s degree in 1958. He later pursued a master’s degree in broadcast communications at Michigan State University. His interest in jazz led him to San Francisco, drawn, he said, by an image on the cover of an album by the San Francisco jazz musician Turk Murphy.He and Mr. Coyle, who died in 1993, called their pranks “terrorizations,” but generally the pranksters and their targets parted as friends thanks to Mr. Sharpe’s genial personality.Well, except for that time the two got arrested.“We were interviewing this guy and told him that we wanted to borrow his car for a few hours to go to a restaurant,” Mr. Sharpe related to The New York Times in 2000. “He said, ‘How do I know you’re going to bring it back?’ We said that would be the great thing for him: We would bring it back and then he’d have more trust in human beings. And he called the police.”The two made a television pilot, but nothing came of it, and in the mid-1960s Mr. Coyle abandoned the partnership. Mr. Sharpe, though, kept doing on-the-street interviews, working in radio and advertising and releasing two albums on his own. In the early 1970s he had a nationally syndicated television show, “Street People.” He worked for several radio stations doing street interviews, and for years he was a host of “Back on Basin Street,” a jazz program on KCSM in the Bay Area. He also had his own jazz band, Big Money in Jazz.In 1964 Mr. Sharpe married Sandra Lee Wemple; in addition to his daughter, his wife survives him.The Coyle and Sharpe radio show lasted only two years. Although Mr. Sharpe did plenty of pranking on his own afterward, he told San Francisco Weekly in 1995 that his partnership with Mr. Coyle was in a class by itself.“You hate to think your best stuff was the first stuff you did, but in a way I’ve always felt that way,” he said. “That stuff was much more artistic, and had more validity and somehow was out there on a level that I really didn’t do again in many ways.” More

Netflix/Robert Viglasky

Though lamenting over the loss of months of hard work prepping the start of filming because of coronavirus, Anthony Byrne encourages others to ‘find the positive in all of this and use it’.
Mar 19, 2020
AceShowbiz – “Peaky Blinders” director Anthony Byrne was gutted when he had to postpone filming for the sixth season of the hit show because so much work had gone into the production.
The coronavirus pandemic forced producers to put the series on hold and Byrne admits he’s still struggling with the decision, because he was all set to start.
Posting a photo of Cillian Murphy’s character Tommy Shelby drowning his sorrows in a pub on Instagram, the director writes, “We were so close to the start of filming Season 6. Months of hard work by our very talented, dedicated and hardworking crew. Sets were built, costumes were made. Cameras and lenses tested. Locations were booked. All the prep was done. It’s a real shame not to be able to make it for you at this time.”
“But I personally want to thank the crew that I’ve spent months working with and I want to send my love and support to them and everyone else. We are in this together.”
He added, “These are extraordinary times and we must be extraordinary in them. Remember who we all are as a people and look out for those around you who will find these times challenging. Dig deep. It will pass.”
“Read that book that’s been staring at you for years. Write a poem, script, novel. Listen to music. Watch movies. Be creative. Make art. Share. Find the positive in all of this and use it. We will be better for it in the long run… Love & Respect to you all.”
Production on “Peaky Blinders” was suspended on Monday (March 16) over coronavirus fears.
“After much consideration, and in light of the developing situation concerning Covid-19, the start of production of ‘Peaky Blinders’ series 6 has been postponed,” a statement read. “Huge thanks to our incredible cast and crew, and to all our amazing fans for their continued support.”

Production on most major TV dramas and comedies and movies has shut down as a result of the global pandemic.

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Every Sunday night for six years, Louis Kornfeld and Rick Andrews have walked onstage at the Magnet Theater in Manhattan and created a refined hourlong play from scratch. These impromptu comedies stand out in a New York improv scene filled with quick-hit jokes and formulaic patterns, appearing more like scripted theater than almost any other improv show in the city.In an attempt to figure out how elite improvisers think so quickly, and on the same page, I debriefed with shorter, bearded Kornfeld, 38, and the taller, clean-shaven Andrews, 33, right after they left the stage, then again two days after their performance, with the assistance of video to try to break down the unspoken process they use to build a show together. (Though the theater has suspended operations because of the coronavirus, Kornfeld & Andrews and other shows normally staged there are being livestreamed on Twitch TV.)When Kornfeld and Andrews discuss their work, they can sound almost mystical, rarely talking about creating a show so much as discovering something that was already there. But what also becomes clear was that despite how effortless their shows seemingly come together, an extraordinary amount of action goes on inside their heads in every moment.The openingKornfeld: All we need to begin our show is the suggestion of a non-geographic location.”Audience member: “Bowling alley.”At the start of any improv scene, every move has a huge impact, providing a foundation that both constrains and inspires what comes next. With that audience suggestion, Andrews told me, he immediately imagined a rowdy St. Louis alley he used to visit, Tropicana Lanes, a bustling place with a lot of noise.They each grab a pair of chairs.Andrews sits down and strikes a pose of jaunty confidence, head swiveling to observe the chaos around him.As soon as Andrews took this posture, he started thinking about it and drawing conclusions: “It showed I was feeling good, but also trying to show that I’m feeling good, which is not the same thing,” he said.VideoThe chairs were critical. By having two extras, they decided they were at the lane, not at the bar or walking to get popcorn. That opened up the possibility that someone new might be coming. Andrews suspected someone was. Kornfeld had no idea. In his peripheral vision, Kornfeld saw the bouncy, assured energy of his partner, and he moved in the opposite direction.Kornfeld (trying to enter his name on a pretend computerized scoreboard): What do I shorten my name to?Andrews: Pete?Kornfeld: Nah. I want it to be —Andrews: And they only give you three letters? …Kornfeld: It feels weird for it to be Pet.And with that, an entire psychology and back story was born.“Once he named me Pete and then Pet would be my name, it instantly made me think it was insulting to think of someone as being like a pet,” Kornfeld recalled. “I knew immediately I felt small and insecure and reassured around this guy. I knew I would be slowly revealing my insecurities so you can beef me up and make me feel better about myself.”That sparked the question that would dominate the subtext of the first half of the show: What was making him so nervous? Andrews’s calm response to his friend’s insecurity clarified his character and the central relationship of the show. He didn’t tease or offer a big reaction. Part of this, Andrews said, is a strategy for opening scenes. “If you keep the energy steady,” he said, “you hear the notes of the characters over and over again and then it just helps slowly coming to an agreement about what’s happening.”But it was also a choice indicating this was a real friendship, and that he was playing someone trying to help. “If I bristled, that would suggest a dynamic where I’m poking you and making you feel hurt,” Andrews said, adding that he believed that for characters to remain interesting for an hour, you have to empathize with them.Kornfeld (deciding to input his friend’s name, Dou, short for Doug, first): You happy with that?Andrews: Yeah. I feel fine about it.Kornfeld: Back to Position 2. That didn’t buy me nearly enough time. I just feel like when the girls come here, I just don’t want to be Pet.Andrews had begun to think this might be romantic anxiety. But he wasn’t sure until he turned his head to look around, and Kornfeld fretted about being called Pet. Now both performers were on the same page: It’s a show about a double date.Andrews (after some disagreement over whether “adorable” is the right adjective for Pete): What’s your male machismo, what’s your attractiveness, what’s your main No. 1 selling point?Kornfeld: Oh, confidentiality.Andrews cited a theory by Keegan-Michael Key comparing improv comedy to a camera starting in a close-up and then slowly zooming out. But there comes a point where the picture frame gets set and that’s when Pete said his main selling point was “confidentiality.”VideoThis odd response (“It sounds like confident so it’s almost like it’s as close as I can get,” Kornfeld said later) got the show’s first big laugh. Andrews made a mental note: This will be useful later.The biggest fearKornfeld: I haven’t had sex in a, in a little bit.Andrews: OK. No judgment here.Once the opening situation and relationship has been established, the next step is to answer the central question of the show. “The audience needs one clear thing to explain why I feel so uncertain,” Kornfeld said, “this guy’s deepest fear.” He added that if you don’t push forward and “grab the trapeze,” the show risks losing momentum.Andrews: Days, months, years?Kornfeld: A couple years.Andrews: OK. Cool.Kornfeld: Four, five years.Andrews: More than a couple.Kornfeld: Maybe six.Andrews knew this was a familiar comic trope plumbed in movies like “The 40-year-Old Virgin,” and that’s why he was skeptical of it. There are cheap laughs to be had with a big response. “I am aware that people think this funny, but I don’t,” he said. “I actually feel at the heart of it, it’s just a person feeling vulnerable.”Noticing his partner’s posture and mood, he asked himself how a friend would respond and decided that the right move was to be generous and reassuring, to downplay the issue. So much anxiety is built around sex that the laughs will be there anywhere.Kornfeld: A dry spell.Andrews: A drought! Your libido is a desert now. It’s been deprived of water for quite a lot.Kornfeld: Yeah, it’s a moistureless libido. The days are hot and the nights are very, very cold.Andrews: Very cold. Few plants and animals can survive.Kornfeld: And the ones that can, real serious.Andrews: They’re special. A couple snakes. Some cacti.Kornfeld knew that Andrews was a fan of nature documentaries, and saw possibilities in his eyes. “I could tell right there you were thinking about ‘Planet Earth,’ the documentary,” Kornfeld told him.VideoThis back and forth is what these artists somewhat derisively call “a little bit of a move,” but it’s not only that. In real life, they said, friends joke with each other. And they do so with as much playfulness and specificity as possible. “I don’t subscribe to the Jerry Seinfeld school that some words are funny.” Andrews said, “It’s about how you say it and the context. Like when I say ‘cactuses’ and ‘snakes,’ they are picturing those actual things. But I could say that other things that were just as specific and probably would have gotten a similar kind of laugh.”The endgameKornfeld (after telling his date that Pete and Doug know each other from college when a third roommate had a breakdown that terrified them): Fear creates a strong imprint, and you become very imprint-vulnerable with another person in a very terrifying experience. And so we imprinted on each other and have been best friends ever since.Andrews (about to bowl but cringing as he hears the story): Pete’s really confidential.VideoFor 40 minutes, Andrews had “confidentiality” on his mind. He’d been waiting for the right opportunity to reintroduce it and this callback was the start of the endgame of the show. “In the first 10 minutes, you’re trying to get a sense of the layout, but we now know who these characters are and where the hot spots are,” Andrews said, explaining that there was more room for playfulness.Andrews (trying to play off a bowling misfire as if it was a strike): It bounced a little. Hey! There you go.In analyzing the implications of this move, Andrews also made a deeper callback to his first move: the way his posture performed confidence and happiness, suggesting it was merely a cover. Maybe he and his friend are both nervous. In trying to help his friend, he reacted too fast, making the situation more awkward, and revealing his own anxiety.Not all of this was operating on conscious level, Andrews said: “I wonder if that’s lingering in my brain, that I’m also nervous and futzing around before a date.”VideoAs the show moved toward the ending, what began as a small realistic scene about the anxiety before a date escalates into something more heightened and overtly comic.“We want to get to that exaggerated point so gradually that you don’t even realize that it’s been so exaggerated,” Kornfeld said. “By the end, this is no longer a real-life moment. It’s a ridiculous comedy moment. But we don’t want to start pounding that comedy moment so you expect more comedy moments. We want to get you there without seeing the work that got you there.” More

WENN/Ivan Nikolov

The deleted posts appear to be his response to Joe Gorga accusing him of not being faithful to Teresa, to whom he’s been married for 20 years, in the Wednesday reunion episode.
Mar 19, 2020
AceShowbiz – Joe Giudice will reveal his truth soon. After Bravo aired “The Real Housewives of New Jersey” season 10 reunion, Joe took to his social media account to seemingly throw shade at brother-in-law Joe Gorga, who accused him of cheating on his sister Teresa Giudice.
In a now-deleted Instagram post on Wednesday, March 18, Joe Giudice cryptically wrote, “A persons mouth can lie, but their eyes always tell the truth. We all have a lot to say tune in next season to see who is telling the truth.I don’t think you would know how much stress…? #truth.”
The 47-year-old later added in a separate comment, “We both respect and love our girls. She is a beautiful mother grateful.” Joe was referencing his four daughters Gia, Gabriella, Milania and Audriana whom he shares with Teresa.
Seemingly not enough, he made his point with a picture featuring a message that read, “If I am a lier [sic], then you are the reason. Because, I smile but see my eyes I am crying. I act like happiest person of the world, but put your hand on my heart, you feel my pain. I act like I am fine but I am not. I am not lier, you make me lier.”
The deleted posts appeared to be his response to Joe Gorga accusing him of not being faithful to Teresa, to whom he’s been married for 20 years, in the Wednesday reunion episode. He revealed to executive producer/host Andy Cohen that he stayed silent about it because he didn’t want to hurt his sister.
“I never told you,” Joe said to Teresa in the episode. “And I’ll tell you why–because it wouldn’t be nice. It wouldn’t be nice. So if my sister was happy and she believed it, I stayed away. But if my sister called me and said, ‘Joe, I need your help,’ then it would have been game over.”
“I still feel bad for him. I knew this man all my life,” Joe Gorga continued speaking of Joe Giudice, who wasn’t present in the reunion due to his current legal status. “I might not like him, I’m going to be honest with you, I might not like him–you think I like what he did? And what he put my family through? I’m very upset but I still feel bad for him. I didn’t want that to happen to him. And I didn’t want him suffering, because I have a heart and I feel for him. I might not like you, but I love you in a way.”

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FOX

Featuring the Group C playoffs, the episode kicks off with a performance of the Astronaut who hits the stage to sing Stevie Wonder’s ‘Signed, Sealed, Delivered’.
Mar 19, 2020
AceShowbiz – “The Masked Singer” returned with a new episode on Wednesday, March 18. Featuring the Group C playoffs, the episode kicked off with a performance of the Astronaut. Revealing that he was a “bright star” when he was younger, he sang Stevie Wonder’s “Signed, Sealed, Delivered”. Among the guesses thrown by the panelists included Donald Glover, Corey Feldman and Joseph Gordon-Levitt.
Following it up was the Night Angel. As her clues, she told the panelists, Ken Jeong, Nicole Scherzinger, Jenny McCarthy and Robin Thicke, that she first debuted in a group before going her own way. She belted out Lady GaGa’s “Million Reasons”, prompting the panelists to guess she was either Regina King, Jessica Simpson or Taraji P. Henson.
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T-Rex then hit the stage to perform “Ice Ice Baby” by Vanilla Ice. The panelists named Lilly Singh and Liza Koshy as their guesses. Meanwhile, the Swan wowed everyone with a performance of “I Hate Myself for Loving You” by Joan Jett & the Blackhearts. In her clues, she said that “against all odds, I’ve spread my wings for millions to see.” The panelists thought she could be Mila Kunis, Kristen Stewart and Kristen Bell.
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Concluding the night was the Rhino, who said he’s “always been a risk-taker” and had “many ups and downs.” Among the guesses were Tim Tebow, Chris Pratt and Ryan Lochte.
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Eventually, it was announced that the Swan was forced to go home. Before she unmasked herself, the panelists made their final guesses that included Nina Dobrev, Olivia Munn and Kristen Stewart. None of them was correct because the Swan was revealed as Bella Thorne!

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What’s StreamingBIG TIME ADOLESCENCE (2020) Stream on Hulu. Pete Davidson plays a role model with platinum blond hair and a taste for weed in this coarse coming-of-age comedy, the debut film of the writer-director Jason Orley. The plot centers on a brotherly relationship between Davidson’s character, a 23-year-old named Zeke, and Mo (Griffin Gluck), his ex-girlfriend’s 16-year-old younger brother, whom he walks through the finer points of the suburban slacker lifestyle. The story also involves small-time drug dealing and Mo’s pursuit of a crush (played by Oona Laurence). “Though Davidson, Gluck and Laurence show star potential, Orley either boxes them into a too-conventional coming-of-age arc or gives them cloyingly charming characteristics,” Kristen Yoonsoo Kim wrote in her review for The New York Times. “Despite some moments of tenderness and easy chemistry between Zeke and Mo,” Kim added, “‘Big Time Adolescence’ doesn’t have enough heart or humor to save it from becoming just another movie about white dudes bro-ing out.”THE 400 BLOWS (1959) Rent on Amazon, Google Play, iTunes, Vudu and YouTube. More roving adolescent mischief can be found in this drama, a foundational work of the French New Wave and the debut movie of François Truffaut. The film follows Antoine Doinel (Jean-Pierre Léaud), a 12-year-old truant causing trouble on the streets of Paris. When it was released in the United States in 1959, Bosley Crowther referred to it as “a small masterpiece” in his review for The Times. “Where previous films on similar subjects have been fatted and fictionalized with all sorts of adult misconceptions and sentimentalities,” he wrote, “this is a smashingly convincing demonstration on the level of the boy — cool, firm and realistic, without a false note or a trace of goo.”FEEL GOOD Stream on Netflix. “Can you just lie on top of me and tell me something Canadian?” That question comes early in this romantic-comedy series, which stars the comedian Mae Martin as a version of herself, a Canadian in London. Making the request is George (Charlotte Ritchie), an English woman whom Mae begins dating. Much of the drama comes from a pair of struggles: George, who hasn’t dated a woman before, is hesitant to come out to her family and friends, and Mae is a recovering addict. “It’s a work of fiction,” Martin recently told the British newspaper The Guardian. “But it’s got an emotional truth, because it’s based on experiences I’ve had.”What’s on TVAFTER TRUTH: DISINFORMATION AND THE COST OF FAKE NEWS (2020) 9 p.m. on HBO. In his 2011 documentary, “Page One: Inside The New York Times,” the filmmaker Andrew Rossi explored the inner workings of The Times at a moment when the paper was struggling to adapt to the internet age. His latest doc, “After Truth,” looks at one of the biggest issues to spike in media since: disinformation, and the way untruths are spread through social media. More