Two Golden Globes voters resigned in protest on Thursday, accusing the Hollywood Foreign Press Association of dragging its feet on reforms to the organization, to which not a single Black person belongs. Any attempts to address issues of diversity and ethics within the organization have been nothing more than “window-dressing,” they said.
That wasn’t all: In their resignation letter, Diederik van Hoogstraten and Wenting Xu—members from the Netherlands and China, respectively—accused the HFPA of creating a “toxic atmosphere” it’s ill-equipped to change.
“Insulation, silence, fear of retribution, self-dealing, corruption and verbal abuse are just a few ways to describe” the workplace culture at HFPA, they wrote:
“And as Netflix founder Reed Hastings has said: a workplace culture cannot change. It’s a statement we have seen proven over the past four months. The HFPA continues to accommodate a toxic environment that undermines professional journalism. The bullying of members by fellow members is left unquestioned and unpunished. The badgering of talent and publicists: ditto. Perhaps the new Hotline will make a difference; on the other hand, complaints will end up being looked at by the Board itself. And just recently a letter of complaint sent by one of us about the behavior of a fellow member, addressed to the leadership, was forwarded to the target of the letter without our knowledge or approval.”
The hotline van Hookstraten and Xu reference is one the HFPA implemented in the aftermath of a lawsuit filed by a Norwegian entertainment writer who accused the organization of “creating a culture of corruption,” according to the Los Angeles Times. The suit claimed that this culture included emoluments violations and a number of other ethical practices it covered up with a “code of silence.”
The allegations spurred a larger reckoning at the HFPA focused on the organization’s stunning lack of diversity, an issue LA Timesreported on simultaneous with the criticism of the group’s other business practices.
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In March, more than 100 Hollywood public relations firms wrote a letter to the HFPA alerting them to their decision to tell their clients not to work with the organization until it addressed the problem. Not long after, Netflix, Amazon, WarnerMedia, and the indie studio Neon told the HFPA that they would be boycotting the association. Tom Cruise returned his Golden Globes in solidarity; Scarlett Johansson urged fellow actors to “step back” from the HFPA. Amid all of this, a former HFPA president sent an email to the group’s entire membership calling Black Lives Matter “a racist hate movement.” Finally, the 2022 Golden Globes were cancelled. (Fine with me.)
As Vulture pointed out at the time, this basically amounted to a self-cancellation, “a preventable disaster for which the free-buffet-loving press cabal has no one to blame but itself.”
Van Hookstraten’s and Xu’s resignations are an indictment of not just the HFPA, but of organizations’ attempts to paper over deep-seated racism and inequality with half-hearted efforts (like hiring a “diversity, equity and inclusion consultant,” for example). It seems that the turmoil at the HFPA is going to get worse before it gets better—if it gets better at all.
If you have a Netflix subscription on more than one occasion, you have seen the trends and new content on the platform, among them you will be interested in knowing 10 series Y films which are among the most viewed on the platform.
Netflix It continues to be one of the favorite digital platforms of Internet users, not only because of the content that is shared but also because of the new projects that have been launched, which is why its catalog not only becomes more extensive every day but also with its own creations.
Thanks to its popularity, more celebrities have had the opportunity to both work with the platform and collaborate with them, as is the case with the beautiful Hollywood celebrity Jennifer Lopez.
Here we present a list of the 10 names with the most watched movies and series to date, you may find one of your favorites.
Occupying the first place we find this sudden June 4 premiere in its first season, without a doubt Sweet Tooth It will leave you wanting to see more about the story of Gus, a hybrid boy with deer antlers, who sets out on a journey to find his loved ones in the company of someone very unique.
The second part of this series called Lupin, the story of suspense and mystery that surrounds the protagonist Assane and his revenge against Hubert Pellegrini, has undoubtedly left a very good taste in the mouth, since it is in the number 2 place on the list.
The Teapot Dragon
An animated story full of adventure and desires that has surprised both young and old is undoubtedly The dragon in the kettle, at number 3.
It would be a really difficult thing to forget the tender and brave bumbebee in the movie that was released in 2018 and that you can now enjoy on Netflix as many times as you want.
Elite. Short Stories: Nobody Guzmán
Returning again with the famous series EliteBy telling four stories after the events at the graduation of our protagonists, we find the opportunity for Nadia and Guzmán to have the possibility of meeting again, because she could return to Madrid.
The series with which Camisa Sodi performed one of the most important roles of his career left many with a very good taste in their mouths, on the platform you can find the two seasons and enjoy the 40 minutes that each episode lasts.
Elite. Short stories: Guzmán Caye Rebe
Returning to the Elite short stories, in place number 7 we now find the story of Guzmán, Cayetana and Rebeca in a most entertaining micro-story that will help you learn a little more about these characters.
Tom Ellis starring Lucifer It could not be missing in this top, with five seasons on the platform having the most flirtatious devil on Netflix within this top was a sure thing.
Can you imagine that all electronic devices stop working and that you also can’t sleep, this happens in Disomnia, an ex-soldier could find the cure in someone close to her, her own daughter!
New rich, new poor
In number 10 we find this Colombian series that for many would be a dream and others a hell, babies changed at the birth of one rich and the other poor, life has something unexpected in store for the protagonists.
The second season of “Lupin”, Which has been available on Netflix since June 11, 2021, once again demonstrated the cunning and intelligence of Assane Diop (Omar Sy), which makes the VHS error in the first part even more serious.
MORE INFORMATION: Explanation of the end of season 2 of “Lupine”
In the second installment of the fiction inspired by the famous character of Maurice Leblanc, Assane became the most wanted man in France, but that did not prevent him from continuing with his plans to unmask Hubert Pellegrini.
In addition to his cunning, Diop used his skills in technology to defeat his enemy. He managed to record a false audio to deceive Dumont and finally, he managed to incriminate Pellegrini thanks to a confession he had recorded with his ‘smartwatch’. So what happened in the first part of “Lupin”?
MORE INFORMATION: “Lupine”, will have season 3 on Netflix?
THE ERROR OF “LUPIN” THAT NOBODY FORGIVES ASSANE
In the first batch of episodes of “Lupin“Assane contacts journalist Fabienne Beriot, who helps him get a video that may incriminate Hubert for crimes against the nation.
With the VHS tape as the main evidence Diop goes to a television channel disguised as an old man, but when he shows the video to the world there is nothing to prove Pellegrini’s guilt. The original material was altered by the corrupt show host.
MORE INFORMATION: Assane Diop’s 10 Most Ingenious Tricks In “Lupine” Season 1
Although Assane managed to leave the television channel unscathed, she lost the tape and her journalist friend, who was killed by one of Hubert’s men. So, the big question is why the protagonist of “LupinDidn’t you make a copy of the video?
In every episode of the series NetflixAssane is shown to be able to get in and out of a prison without being detected, kidnap a policeman and wiretap his communications, get her son back with a fake call, among other things. That is why it is not understood how a man as intelligent as Diop did not think of having a backup of the only evidence he had against his father’s murderer.
Perhaps the third part of “LupinInclude a good explanation for this plot hole that fans of fiction can’t forgive.
Early in Fatherhood, someone gives unexpectedly single new father Matt (Kevin Hart) a piece of advice: A lot of parenting will involve accepting how many things are beyond his control. This undoubtedly true statement could have been learned from real-life parenting experience; it could just as easily be gleaned from almost any squishy dramedy that purports to convey those experiences. Just for novelty, wouldn’t it be satisfying to see a movie character offer the sage wisdom that parents can and should control everything about their child, and to cede any of that control is weakness?
Such messaging would be potentially lethal for a go-getter like Matt. When his wife, Liz (Deborah Ayorinde), dies shortly after giving birth to their daughter, Maddy (played by a series of babies that occasionally fluctuate in size and, later, by Melody Hurd), Matt is equally devastated by the loss and determined to do right by his baby girl. After a bizarre squabble with mother-in-law Marian (Alfre Woodard) over whether Matt should simply award Marian and his own mom joint custody of his daughter, he digs into tackling single fatherhood. Though Fatherhood is based on a memoir, Matt’s approach feels like it’s been reframed to fit Hart’s ethos of self-conscious hustle. Parenting becomes just another rise-and-grind challenge to prove the haters and doubters wrong. Just because he failed to assemble his daughter’s crib before she came home from the hospital doesn’t mean Maddy is doomed to a life of neglect!
There could be something to say here about how comically low society’s expectations for fathers remain. The movie also briefly, incisively captures the new-parent contradiction of desperately needing help while wanting to be left alone, free of unsolicited input. But director and co-writer Paul Weitz (About A Boy) keeps making odd choices for what, in a single father’s life, requires comic or dramatic emphasis. Money never appears to be a major issue for Matt, who works at some kind of tech firm in Boston, yet the movie barely even alludes to regular childcare, finally admitting during the last 10 minutes that, at some point, Maddie was enrolled at a daycare facility. Instead, the film invents mildly zany problems (how to get baby Maddy to fall asleep at her dad’s office) and shrugs its way through various solutions (white noise cures her colic!).
Through it all, Matt is loath to rely on anyone else—except, of course, his designated two best friends, Jordan (Lil Rel Howery) and Oscar (Anthony Carrigan), who are always around for a smidge of emotional support and perhaps three smidges of comic relief. It’s rarely a good sign when a comedy has designated comic-relief characters, but that’s the kind of sorta-comedy Fatherhood is; any fully developed set piece might interfere with its commitment to maudlin-preparedness. Hart himself has a few funny moments, like his desperate pleas to a support group composed entirely of moms, but he’s done stand-up routines with spikier, less sentimentalized observations about dad stuff.
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Fatherhood clearly has more on its mind than mere, lowly comedy, and at first Weitz seems to be steering it in a slightly more impressionistic direction: It opens at Liz’s funeral before jumping around in time, to the post-funeral reception, back to Maddy’s birth, forward to the reception, back to Liz’s death. These scenes don’t build up enough steam to qualify as powerful, exactly, but they do suggest the disorienting nature of both grief and brand-new parenthood. (The brief passage also feels more intuitive with its editing than the recent Our Friend, which went all-in on the scrambled chronology.) When the movie becomes more linear, it also starts to play like an overview of anodyne baby-gear anecdotes—folding up the stroller, clicking in the carseat, screwing together that damn crib—before a time jump elides toddlerhood. Notably, the source material covers Maddy’s first year plus flashbacks, and presumably does not whoosh forward to kindergarten halfway through.
Little of interest awaits in Maddy’s elementary years. Is Matt capable of opening up his cloistered life as Maddy’s dad when he meets a seemingly flawless woman nicknamed Swan (DeWanda Wise)? Will he navigate the impossible choice between a flexible, well-playing job and a somewhat less flexible, even-better-paying job? Will Hart ever stop martyring his character, whose only real fault is caring too much and blaming himself for every minor mishap? “Daddy issues” in storytelling usually refers to characters in drawn-out psychological conflict with their own fathers. Maybe there needs to be a new classification for onscreen dads whose superior dadness must be praised by everyone else in the movie.
Fatherhood does, thankfully, avoid the biggest possible melodramatic swings. By chronicling Maddy’s tussle with her school’s dress code and a scary but never life-threatening playground accident, it stays well within the bounds of parenting struggles that seem vital in the moment, then turn into funny anecdotes later on. Most of the time, the film forgets the second part.
There are only three days until the fourth season of Elite hit Netflix and meet the new cast members. In the third edition, many actors said goodbye to the strip since its characters had to leave for college, but even so, most of them returned in Elite Week with the Brief Stories that the production filmed as a bridge between the last part published and the next one to release.
So far there are only two Short Stories of Elite. Yesterday, June 14, the story of Guzmán, Caye and Rebe came to the platform and a few hours ago one of the most anticipated was published, that of Nadia and Guzmán. On this occasion, it was learned how the characters carry on their relationship from a distance since he is still in Madrid, while she had to travel to New York to be able to follow her dream and study.
However, according to the schedule that Netflix published, the Short Stories end on Thursday, June 17 with Carla and Samuel as the protagonists. But, in neither of the two parts to come does Lucrecia Montesinos appear, that is, Danna Paola who said goodbye to the series in the third season because her character traveled, along with Nadia, to New York to continue her studies.
That is why many fans wonder why the actress is the only one who was not seen again with Elite and the answer is simple: the pandemic did not allow it. During 2020, when the recordings of the new edition began, at which time these spin-offs were also filmed, Danna Paola was outside of Spain and, according to the creator, it was impossible for her to travel.
“Lucrecia is not there because we had a pandemic in the middle that we have almost forgotten, but doing season four has been a challenge and the stories brief more. At that time it was impossible to bring anyone from outside really“Said Carlos Montero and then added:”We were left with the desire, but as we already knew, we did not write it, it was not that we already had a written story”.
Like every week, Netflix will renew its catalog and after the successes of its some of its latest releases, such as Lupin, Sweet Tooth Y Disomnia, you will seek the same results with your new productions.
The big bet of the streaming platform is the expected fourth season of Elite, one of his most successful original fictions. In addition, the Spanish series, which will premiere on June 18, will have a prelude: throughout the week you will be able to enjoy the Elite Short Stories, a set of short episodes, focusing on some of the most popular characters from Las Encinas.
Here’s what’s new on Netflix from June 14 to June 20.
Elite: Season 4
A new year begins in Las Encinas. And with him comes a new director (Diego Martin): one of the most powerful businessmen in Europe willing to redirect the school, which, according to him, has been out of control in recent years.
And this director brings with him his family, his three children: Ari (Carla Diaz), Mencía (Martina Cariddi) and Patrick (Manu Rios). Three teenagers too used to always having their own way, to having what they want when they want, whoever falls, and who will endanger the union and friendship of the most veteran students. Coming to Netflix on June 18.
Elite short stories: Guzmán Caye Rebe (June 14); Nadia Guzmán (June 15); Ander Omar Alexis (June 16) and Carla Samuel (June 17.
The miniseries that take place during the summer, just before the restart of classes in Las Encinas.
Workin’ Moms: Four new moms grapple with separation, dating, work, and parenting in season 5 of this embarrassing comedy. Its creator and protagonist is Catherine Reitman. It opens on June 15.
Black SummerWinter is coming to the zombie apocalypse, with new cold-blooded challenges for frenzied scavengers and violent militias battling the dead and desperate. Season 2 premieres on June 17.
The Gift: Atiye seeks to reach her daughter, but faces a heartbreaking dilemma, as dark forces attempt to tame Aden’s cosmic powers for evil. Season 3 hits Netflix on June 17.
Boiler: a subglacial volcano erupts. A year later, mysterious elements from prehistoric times emerge from the thaw, with unexpected consequences. It opens on June 17.
The World’s Most Amazing Vacation Rentals: With the right money and eager to indulge yourself? Three travelers visit short-term rentals around the world and give tips for a dream stay.
The big news of the week is Paternity, one of the original films that hits the platform this week, more precisely on June 18.
Directed by Paul Weitz and starring Kevin Hart, the film is based on the autobiographical book of Matthew Logelin. The story follows Matt, a man who, after losing his wife in childbirth, must get on his feet to move forward with his life and that of his daughter Maddy.
Silver skates: In the icy rivers and canals of St. Petersburg, a petty thief on skates tempers the heart of a young aristocrat, while different forces try to separate them. It hits Netflix on June 16.
Ali and the queens: After the death of his father, a young man travels to New York in search of his mother, whom he has not seen for years. But he ends up finding love and connection in places. It opens on June 17.
It also reaches the platform, Captain Phillips, The 2013 movie starring Tom Hanks, based on the abduction of the Mærsk Alabama and the book A captain’s duty (The Duty of a Captain), written by Stephan Talty.
Four Somali pirates capture a cargo ship and hold the captain hostage, causing the explosive deployment of the United States Navy. It hits Netflix on June 15.
The pandemic forced companies to have a lot of creativity to survive or raise market positions. Experts predict that to increase productivity, many will merge in 2021 and 2022, and that there will be very little creation of new companies. For now, Netflix has already entered the online store competition and now sells lupine pillows; along with Walmart, Sephora and Target it will sell clothing and other branded items from its hottest shows.
Last year, the Federal Economic Competition Commission (Cofece) authorized a total of 127 economic concentration operations for a value of more than 1.2 trillion pesos, a slight decrease compared to 2019. KPMG highlighted that the last two years have been difficult for Mexico in mergers and acquisitions, but that digital innovation became the focus of attention for financial and service institutions.
Hence the importance of the merger of Grupo Up, of Youssef Achour, and Sodexo Solutions, of Denis Machue, which launched this operation in France, which will have a strong impact on the concentration of the market for food and fuel vouchers, business valued at $ 40 billion. In Mexico, the merger of Sí Vale (UP) with Sodexo (both are French) would have a concentration of 53 percent of the market with a value of eight billion dollars a year.
In Europe, Latin America and Mexico, the five French companies and Fleetcorbre, from the United States, concentrate this market that, due to the digitization of the global economy and the pandemic, grew exponentially. In France, L’Autorité de la Concurrence does not need to give the go-ahead to the merger, it is enough that Grupo Up and Sodexo agree and comply with anti-competitive practices.
In December 2019, that authority fined Grupo Up, Sodexo and the Securities Payment Center with 415 million euros because they made private commercial agreements with market shares that restricted competition between them and inhibited the entry of other players. This concentration in Mexico worries several competitors of food vouchers, gasoline and per diem due to the changes in Cofece and the presidential intentions to eliminate autonomous organizations; Carlos Ferrer, from Sodexo, and Gerardo Yépez, from Sí Vale, say nothing.
The NYT’s information about the accident on the Metro’s gold line stirred a lot of swampy waters politically. The director Florencia Serranía is very quiet, but rumors of the poor condition or risks on Line 1 are growing … Grupo Modelo said in its sustainability report that it has invested close to 900 million pesos in water actions until 2020 and that it reduced the consumption of energy used in beer operations by 41.2 percent compared to the end of 2012. _
The premiere of the second part of season 5 of Lucifer, surprised fans with the return of Charlotte Richards in an unexpected twist. But why did they say that the actress was not going to be with her character?
The second part of the fifth season of Lucifer, had a surprise comeback with Charlotte Richards (Tricia Helfer). But why did the show’s producers lie to fans that he wasn’t going to appear?
Recall that Charlotte was murdered in the first seasons of the show when she was looking for Lucifer (Tom Ellis), however, was resurrected when Goddes (Charlotte) decided to leave Earth in an unexpected turn.
But, during the third season in the Quintessential Deckerstar episode, she was killed again by Marcus Pierce (Tom Welling), so the producers had assured that the character would no longer return.
However, he made a final appearance during the second part of season five, before retiring to God (Dennis Haysbert) leaving Lucifer to take the mantle of Heaven’s leader.
During a recent interview for TVLine, Lucifer’s producer, Joe Henderson, explained the reasons why she had previously lied to fans about the actress’s character, Tricia Helfer.
“Much of God’s story is his relationship with Lucifer, but it is also his relationship with Mom, and by the way, I have lied in multiple interviews, saying that she would not come back.
“[Diciendo] that ‘This is the whole story of God,’ because I didn’t want anyone to know about this, so they might be surprised. “
Henderson continued, “She was the hero of her own story in season two, and God realized that maybe she needed to spend some time in his world after she spent so much time in his.”
“Allowing his wife to show him the things he needs to learn felt like a really nice reward for season two, but also growth for God this season. It was very important to us.”
Now, Charlotte is unlikely to make another appearance during season six, with the God and Goddess (Goddes) now removed from their positions, allowing Lucifer to take over the reins of heaven.
Robert Downey Jr. (Iron Man, Sherlock Holmes) may have been the face of the MCU since its inception, but his most recent project as a producer is actually a DC Comics adaptation. Sweet Tooth, which launched on Netflix last week, is based on the 2009 comic book of the same name by Jeff Lemire.
The world of Sweet Tooth is inhabited with human/animal hybrids, which meant that a lot of research went into the animals featured in the series and the hybrids’ senses. To ensure that the creative team nailed the creatures’ mannerisms, RDJ brought them onto his own personal petting zoo and worked with them during the process.
We learned about the zoo and the care that went in to explaining the differences between certain animals when we spoke with the team behind Sweet Tooth, including writer Beth Schwartz, comic scribe Jeff Lemire, and director Jim Mickle.
We also had the opportunity to speak with Christian and Nonso (interviews can be found here and here), but this chat focuses on what writer Beth Schwartz says. In addition to digging into how the pandemic affected the production more than the story and the adaptation process, she brought up doing animal research at Team Downey’s zoo, and director Jim Mickle excitedly jumped in to provide more details.
The full transcript for the chat with Beth and Jim is included below, but you can also hear us speak with all five talents by scrolling down to the podcast players at the bottom.
Literary Joe: When you were researching the comic story beats, was there anything that you had trouble translating to the script for Netflix because it was a different medium?
Beth Schwartz:I don’t think so. I feel like we used the inspiration from the comic book, and obviously, the tone is different, but we were heavily inspired by all the characters that Jeff created, as well as the magical elements and the imagination that he uses through Gus’s dream sequences that we tried to bring to the screen. And a lot of other elements, I don’t think there was anything that we felt like we couldn’t do on-screen. We just brought some characters in earlier. We moved around some things to make it feel more organic to our story, but the comic book heavily inspires us.
Literary Joe:Obviously, you did a lot of writing that involved many different kinds of animals. So I was curious about your research process into animals and how deep you delved into those when writing this.
Beth Schwartz:Well,I happen to own my own small little adorable dog who got to go to the writer’s room to meet Jim’s adorable dogs when we had an actual writer’s room when we weren’t in a zoom room, but we had a group of writers that helped in terms of researching different emotions, and we looked at different hybrids in terms of that’s what their superpowers were.And, you know, for instance, Gus’s super hearing and sense of smell. And that’s how we adapted that in terms of what could their animal instincts bring to their characters that people can’t do.
Jim Mickle:Also, the Downeys helped because they have a small petting zoo on their property. There were some animals where they were quick to point out, like, ‘no, actually the difference between an alpaca and a llama is… because we know, we have both. (Laughs)
Beth Schwartz: Yeah, that’s true! They have a lot of animals. (Laughs)
Literary Joe:Since you brought that up, did you spend a lot of time at the zoo to help decide how you wanted to direct the animals on screen?
Jim Mickle: Yeah, because I hadn’t been to the zoo in a very long time. And then when you go to New Zealand because they didn’t have COVID the way that we did, you could actually do things like go to the zoo. And it was actually one of the first things that we did when we landed there. So after however many months of being here and not leaving the house and then suddenly going to a zoo or an amusement park or something. But yeah, I hadn’t been to a zoo in a long time, and I was struck by how much you forget about being a kid and seeing those animals. So yeah, part of it sucks because they’re cooped up, but there’s also something about being that close to some things that are really mindblowing, but it helped us all stay in the world of nature and love of nature and all that.
Literary Joe:Did you have to change anything due to the pandemic, or do you feel like that helped make it easier for it to be translated onto the screen?
Beth Schwartz:Jim actually started developing it in 2016 with the Downeys, and I joined in 2019 after the pilot had already been shot but still pre-COVID. And when I joined the project, we had broken down the entire season and written a few of the episodes before the pandemic had hit. And so we really didn’t change too much; if anything, it gave us a shorthand with the audience, where we didn’t have to convince them too much about this really happening in terms of making it grounded. The biggest change was production. We had to move our production dates later, and we had to change certain scenes to use fewer extras. And in one of our episodes, the setting is on a train. We were originally going to have a passenger train with a ton of people inside, which quickly got turned into a train with cargo instead of people. And so that was probably the largest change, in terms of, it was more about production and not really story-wise.
To hear our full interviews with Sweet Tooth actors Nonso Anozie and Christian Convery and director Jim Mickle, writer Beth Schwartz, and comic book creator Jeff Lemire, click the podcast players below. And as always, be sure to share your thoughts in the usual spot!
This episode features the incredible behind-the-scenes talents that have brought Netflix’s latest DC Comics adaptation, Sweet Tooth, to life. We chat with Jim Mickle, who directed the upcoming series, Beth Schwartz, who wrote the Netflix show, and the creator and writer of the DC Comic series Sweet Tooth which the series of the same name is based upon. The team tells us about their research into animals, spending time with Robert Downey Jr. and Susan Downey at their personal petting zoo, and the process of adapting the pages to the screen.
What a wonderful and touching chat this is. Anyone who is interested in watching Netflix’s upcoming DC Comics adaptation Sweet Tooth when it launches on June 4th will want to hear what the stars have to say. We speak with the main actor, 11-year old Christian Convery, about his starring role as the titular character in Sweet Tooth and the research he did on deer to immerse himself in the scenes.
Nonso Anozie, best known for his Game of Thrones portrayal of Xaro Xhoan Daxos and his roles in Ender’s Game, Cinderella, and RocknRolla also took part, talking about doing his own stunts after six months of pandemic couch-surfing. We also dug into the charismatic relationship between the two actors’ characters and what they do behind the scenes to help build that comfortable comradery on screen in the series.