The Dink

Bill Hader, Jake Johnson, The Dink Review, “Lincoln”: Life, Larry and the Pursuit of Unhappiness Episode 5 & SPOILER ALERT: Big Brother 28 Week 3 Live Feed Update

by Sunset Daily

Sugar: Inside the Neo Noir Mystery That Hides an Alien Detective in Plain Sight, The Hawk: Will Ferrell’s Absurd Golf Comeback Comedy Is Splitting Critics and Conquering Netflix’s Charts, Jake Johnson

The Dink Review: Jake Johnson Is the Reason This Pickleball Comedy Works, and Mary Steenburgen Is the Reason It Stays With You

The Dink' Review: Jake Johnson, Mary Steenburgen in Pickleball Comedy

The first thing to understand about The Dink, Apple TV+’s pickleball comedy that arrived July 24, is that it is doing exactly what it is trying to do and that what it is trying to do is not particularly ambitious. The film is genuinely enjoyable despite being formulaic in ways that are visible within the first ten minutes, and why the people who walked out of the premiere with tears running down their faces from laughing are not wrong, and why the critics who called it a “pleasant streaming diversion” rather than a fully realized sports comedy are also not wrong. Both responses are accurate about the same movie.

What The Dink gets right, and gets right consistently across its 102-minute runtime, is the specific texture of Jake Johnson doing Jake Johnson things in a context that makes those things land. If you know his work from New Girl, where he spent seven seasons building Nick Miller into one of the more beloved slacker characters in recent television history, or from Drinking Buddies, the 2013 Joe Swanberg brewery comedy where Johnson worked almost entirely off improvisation and built a performance of real naturalistic charm out of a loose structural outline, you know exactly what you are getting in The Dink. I’m not saying that he ad-libbed a lot in The Dink, but many of his natural nuances came through during the performance, and they remained in the final edit. You are getting a middle-aged man with a complicated relationship to his own pride, a vocal pattern that sounds like he is making it up as he goes along even when the script is fixed, and the specific ability to make a character’s defensive immaturity sympathetic rather than simply annoying. He has been doing this for years, and he is genuinely exceptional at it. Read the Review on the Sunset Daily Substack!

Sugar: Inside the Neo Noir Mystery That Hides an Alien Detective in Plain Sight

Few television premises have managed to pull off a genre switch as audacious as the one buried inside Sugar, the Apple TV series that spent its opening episodes convincing viewers they were watching a classic Los Angeles detective story before quietly revealing something far stranger underneath. Now heading into its second season, the show has become one of the more distinctive entries in the current streaming landscape, anchored by a lead performance from Colin Farrell that has only grown more assured as the story around him has expanded. What began in 2024 as a moody homage to old school noir has evolved into a genuinely unusual two season arc that blends detective fiction, science fiction, and a surprisingly tender meditation on grief and belonging. Read More!

SPOILER ALERT: Big Brother 28 Week 3 Live Feed Update: Kamu Wins HOH, Devens Has a Diamond Veto Nobody Knows About, and the Veterans Are Running a Game Within the Game

Big Brother 28 Live Feeds: Kamu Looks To Recreate The Hitmen – Big Brother Network

Stop reading immediately if you are watching Big Brother 28 exclusively through the CBS broadcast and want to be surprised when Sunday’s episode airs. This piece covers everything from Thursday night’s eviction through Saturday’s live feed activity, including the most significant hidden power unlocked so far this season. Also, if you do not watch Unloaded on Friday Nights, we find things out there now too. The CBS broadcast will catch viewers up on Sunday at 8 p.m. ET, but for feed watchers who want the complete picture of what is actually happening inside the house right now, here is the full accounting.

Rome Seymour is gone. Kamu Kirk won the HOH competition. Rick Devens is sitting on a Diamond Power of Veto that six-week window and that nobody in the house knows about except Dee Valladares, with whom he made a private pact the moment he won it. The veteran alliance is not just ahead of the newbies in this game. They are playing a completely separate game from the newbies, with better information, better powers, and a puppet HOH who believes with full conviction that he is a core member of their operation. Read the Review on the Sunset Daily Substack!

The Hawk: Will Ferrell’s Absurd Golf Comeback Comedy Is Splitting Critics and Conquering Netflix’s Charts

Every so often a show arrives that perfectly illustrates the widening gap between what critics want from comedy and what audiences are actually showing up to enjoy, and Will Ferrell’s new Netflix series, The Hawk, has quickly become the defining example of that divide in the summer of 2026. Since premiering on July 16, the ten episode golf comedy has rocketed to the top of Netflix’s global charts, pulling in a staggering 4.8 million views in its opening days and settling comfortably into the number two spot on the platform’s United States Top 10, outpacing established catalog favorites in the process. It is, by nearly every measure of raw viewership, one of the biggest streaming success stories of the month. It is also, according to a wide swath of professional critics, one of the year’s more disappointing comedic swings. Both things appear to be true at once, and that exact tension is precisely why everyone is talking about it. Read More!

“Lincoln”: Life, Larry and the Pursuit of Unhappiness Episode 5 Is the Season’s Best Hour, and Bill Hader Is the Reason

I'm coming home, Daisy. #LifeLarryAmerica Life, Larry and the Pursuit of Unhappiness premieres tonight at 9pm ET on HBO Max.

The fifth episode of Life, Larry and the Pursuit of Unhappiness, titled “Lincoln” and airing July 25 on HBO, is the one that critics who screened the full season in advance were most reluctant to discuss in detail before it aired. The Hollywood Reporter, in its season review, named Bill Hader “the best of the group” among the series’ guest stars while declining to specify which episode or which historical figure he plays. The restraint around the episode’s specifics was, in retrospect, completely appropriate, because “Lincoln” is the episode where the show’s format becomes something richer and stranger than a series of historical comedy sketches. The “Lincoln” sequence works because Bill Hader commits to it without ever winking at the audience. His deadpan delivery and impeccable sense of timing make the entire segment laugh-out-loud funny. Rather than relying on cheap historical jokes, the scene finds comedy in ordinary human pettiness, quick deliveries, and with Hader grounding the absurdity so convincingly that the premise becomes both hilarious and strangely insightful.

The episode also contains, in its opening sketch, one of the funniest sequences the series has produced, Larry David wandering into the gunfight at the O.K. Corral to complain about spatial efficiency. Read the Review on the Sunset Daily Substack!

Jake Johnson and Ben Stiller Serve Up Apple TV’s Pickleball Comeback Comedy

Pickleball has spent the past several years quietly taking over the American backyard, and now the sport finally has the big, broad, unapologetically silly comedy it deserves. Apple Original Films is set to premiere The Dink globally from Apple TV on Friday, July 24, 2026, a summer sports comedy built around the collision of old school tennis pride and the paddle sport that has been steadily eating its lunch. Produced by Ben Stiller, who knows a thing or two about turning an underdog sport into a cultural moment after his work on Dodgeball, and led by a cast stacked with reliable comedic talent, the film arrives with the kind of pedigree that suggests Apple is treating this premise with far more care than a quick punchline about middle aged suburbanites and their paddles. Read More!

The Hawk

The Hawk (TV Series 2026)

by Now StreamingSunset Daily

The Hawk: Will Ferrell’s Absurd Golf Comeback Comedy Is Splitting Critics and Conquering Netflix’s Charts

Every so often a show arrives that perfectly illustrates the widening gap between what critics want from comedy and what audiences are actually showing up to enjoy, and Will Ferrell’s new Netflix series, The Hawk, has quickly become the defining example of that divide in the summer of 2026. Since premiering on July 16, the ten episode golf comedy has rocketed to the top of Netflix’s global charts, pulling in a staggering 4.8 million views in its opening days and settling comfortably into the number two spot on the platform’s United States Top 10, outpacing established catalog favorites in the process. It is, by nearly every measure of raw viewership, one of the biggest streaming success stories of the month. It is also, according to a wide swath of professional critics, one of the year’s more disappointing comedic swings. Both things appear to be true at once, and that exact tension is precisely why everyone is talking about it.

The premise sits squarely in Ferrell’s comfort zone. He stars as Lonnie Hawkins, nicknamed The Hawk, a once legendary golf champion whose career flamed out spectacularly years earlier and who now refuses to let that failure define his final chapter. Rather than accept retirement gracefully, Lonnie mounts a loud, chaotic, thoroughly undignified comeback attempt on the professional tour, determined to chase down one last career defining title even as his own son, played by Jimmy Tatro, is rising through the ranks poised to take his place. It is the kind of premise that practically writes its own trailer, echoing the rise, fall, and redemption arc that powered some of Ferrell’s most beloved sports comedies from earlier in his career, and the show leans into that lineage unapologetically, positioning itself as spiritual kin to the kind of oddball athletic underdog stories that made him a comedy institution in the first place.

Surrounding Ferrell is a genuinely stacked ensemble built to support the chaos. Molly Shannon plays Lonnie’s sharp tongued, understandably exasperated ex wife Stacy, who has moved on to selling a golf themed spiked tea while still very much orbiting her ex husband’s disaster zone of a life. Fortune Feimster plays Sam, an unlikely new caddie Lonnie recruits under distinctly unglamorous circumstances after his longtime caddie unexpectedly dies, and the rapport between the two of them has emerged as one of the show’s most consistently praised elements, built on an easy, improvisational chemistry that keeps landing even when the surrounding material grows shaky. Luke Wilson rounds out the central cast as Golden Fisk, Lonnie’s smug, needling professional rival, delivering a performance multiple critics have singled out as one of the season’s clear highlights, while Tatro brings a surprisingly grounded, tightly wound energy to Lonnie’s son, a disciplined young golfer wrestling with the pressure of stepping directly into his father’s oversized shadow.

Behind the camera, the pedigree is hard to ignore. Ferrell co created the series alongside longtime collaborator Chris Henchy and writer Harper Steele, whose work on the acclaimed documentary Will and Harper added an unexpected layer of anticipation to the project, and Knives Out filmmaker Rian Johnson signed on as an executive producer, lending the show an additional dose of prestige adjacent credibility before a single episode had aired. That level of talent, paired with a premise this tailor made for Ferrell’s specific comedic register, is part of why expectations climbed so high heading into the premiere, and part of why the eventual critical reception has felt like such a jolt by comparison.

The numbers tell one story. The Rotten Tomatoes split tells another entirely. Critics have not been kind, with the Tomatometer landing at a rough twenty nine percent, and reviewers across outlets describing the humor as tired, oddly underwritten, and overly reliant on beats the genre has already run into the ground through past Ferrell vehicles. Several critics pointed specifically to a stretched, sketch like quality to the writing, arguing that a premise built for a tight ninety minute feature struggles to justify a full ten episode season, with jokes that land occasionally rather than consistently and stretches of dead air between the show’s better sight gags. Some reviews went further, suggesting the series never fully commits to the sharper, more pointed sports satire its premise seemed to promise, settling instead for a gentler, less surprising version of the underdog formula.

Audiences, however, have responded in almost the opposite direction. The Popcornmeter score sits at a considerably warmer sixty seven percent, and social media has been full of viewers happily embracing the show’s unhinged, over the top energy exactly as intended, treating it less as a rigorous comedic achievement and more as an easy, breezy weekend binge. That reaction is helped considerably by the show’s format. Ten fast paced half hour episodes make for an incredibly low commitment watch, the kind of series that invites a full binge in a single sitting without ever asking too much of its audience. Interestingly, several reviewers who were otherwise lukewarm on the broader comedy found themselves surprised by the emotional undercurrent running beneath Lonnie’s relationship with his son, noting that the father son dynamic between Ferrell and Tatro delivers a handful of genuinely affecting moments buried underneath all the golf themed absurdity, giving the show an emotional core that critics did not necessarily expect walking in.

That gap between critical dismissal and audience enthusiasm has become something of a talking point in its own right, with entertainment outlets framing The Hawk as a textbook case study in the modern streaming disconnect, where a show can be simultaneously declared a creative letdown by professional reviewers and an outright hit by the very metric that keeps it on Netflix’s homepage. Whether that pattern says more about shifting critical expectations for broad, algorithm friendly comedy or simply confirms how durable Ferrell’s specific brand of everyman absurdity remains with casual viewers, the end result is the same. The Hawk has become appointment viewing for a huge swath of Netflix’s audience regardless of what the reviews say, driven by a cast clearly having fun, a handful of standout comedic performances from Wilson and Feimster in particular, and just enough sincerity buried inside the silliness to keep people watching past the first punchline that does not quite land.

For longtime fans of Ferrell’s specific comedic wheelhouse, The Hawk offers exactly what it promises on the label, a loud, occasionally uneven, thoroughly committed sports comedy that trades subtlety for volume and mostly gets away with it. Whether it ultimately earns a second season or ends up remembered as a strange footnote in Ferrell’s long career of oddball athletic underdogs, its opening weeks have already proven one thing conclusively. Critics and audiences are not just disagreeing about The Hawk, they are having an entirely different conversation about what the show is trying to be, and right now, the version audiences are watching is winning.

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SPOILER ALERT: Big Brother 28 Week 2 & Live Feeds, Steven McBee Jr. and Cooper Dawson on WWHL, The McBee Dynasty Season 3 Episode 6, The Dink, Deepthroat, RFK Jr., Henry Ford, Below Deck Mediterranean

by NewsSunset Daily

Jake Johnson and Ben Stiller Serve Up Apple TV’s Pickleball Comeback Comedy Begins Streaming on Friday,“Deepthroat”: Life, Larry and the Pursuit of Unhappiness Episode 4 Goes After RFK Jr., Henry Ford

Steven McBee Jr. and Cooper Dawson Make the Most of Their WWHL Moment: Accountability, Boatmance Loyalty, and a Crush List That Makes Sense

Cooper Dawson Had No Clue About Joe Bradley & Nathan Gallagher's Drama | WWHL

That’s right, folks. This so-called after show is now about to talk about an after show. Watch What Happens Live with Andy Cohen Season 23, Episode 119, which aired on July 20, brought together two cast members from very different corners of the Bravo universe. Cooper Dawson, the Below Deck Mediterranean deckhand whose relationship with Kat Johnson has become my season’s favorite storyline, and Steven McBee Jr., the oldest McBee brother carrying the full operational and emotional weight of his family’s ranch business while his father serves a federal sentence, are on the show tonight. They complemented each other in the way that WWHL sometimes manages when the booking decision turns out to be a real conversation rather than just two people sitting next to each other playing funny games. I did feel that Dawson was looking to Steve for acceptance, but at the same time, it wasn’t obvious, so it gets a pass. Plus, I get it. Chef Dave by the way, from an earlier Below Deck was at bar last night.

Steven McBee Jr. and the Allie Eklund Reckoning was great for me at least. The Allie Eklund situation has been one of the more complicated personal storylines running through The McBee Dynasty Season 3, and Steven Jr.’s willingness to address it directly on WWHL without deflecting or minimizing is the most significant thing to come out of his Clubhouse appearance. He and Allie Eklund broke up in April 2026, and the circumstances of that breakup included Steven publicly posting about cheating allegations on social media, a decision that produced a significant wave of fan backlash once the private texts involved became more widely known. He was asked about it on WWHL, and he did not try to relitigate the cheating question or reframe the public blowup as a reasonable response. He said directly that he regrets publicly insulting Allie, named it as the kind of thing hindsight makes obvious, and acknowledged the fan backlash as fair. The problem is an obvious one. They will never feel real if he approaches them that way. Read the Full Article on the Sunset Daily Substack!

The McBee Dynasty Season 3 Episode 6 Is the Season’s Most Consequential Hour — and It Exposes Everything the Show Has Been Avoiding Saying Out Loud

Steven McBee Jr. & Allie Eklund Share Early Days of Dating: VIDEO

The episode is titled “First Impressions and Final Farewells,” and it earns both halves of that title in ways that are genuinely difficult to watch, not because the production has done anything wrong, but because the actual events documented in this hour carry real weight. I also did not know of so called break up when I watched this episode last night. Steve McBee Sr. reported to federal prison on this episode. His family drove five hours through a bleak, wintry stretch of Missouri and South Dakota to bring him there. Steven Jr. cried on camera and called it “a top three hardest day in my life.” And before the family got on the bus, Steve Sr. called a company-wide meeting and unveiled an organizational chart that nobody in the room expected, naming his ex-wife Kristi McBee as interim president of McBee Farm and Cattle Co., the company his sons had been running under the assumption that one of them was going to take over.

That is the episode. Before getting into the review, though, there is a broader context worth establishing, because the episode cannot be separated from the specific industry the McBee family built their lives around, and that industry is the one that makes the entire viewing experience complicated in a way the show does not acknowledge. It is why I wanted to stop watching it and talking about it but I did not articulate it properly last week. Read the Full Article on the Sunset Daily Substack!

SPOILER ALERT: Big Brother 28 Week 2 & Live Feeds Through Tuesday Late Afternoon: Rick Devens Holds Both the HOH and the Veto, Rome Seymour Is Walking Out Thursday, and Sunday’s Nomination Ceremony Was Already One for the Books

Big Brother 28' Spoilers: Power Of Veto Ceremony Results (Week 2)

Live feed spoilers follow throughout this piece. If you are watching exclusively through the CBS broadcast and want to be surprised, stop here and return after Thursday’s eviction episode.

Sunday’s Episode 6 of Big Brother 28 delivered something that felt genuinely old-school in the best possible way, a nomination ceremony that turned into a screaming match, an egg detective costume, a backdoor plan that was already locked in by the time the cameras rolled back to their broadcast positions, and the specific chaotic energy of a house that has divided itself cleanly and is no longer pretending otherwise. By the time the episode ended and the live feeds delivered the subsequent days of fallout, Week 2 had produced more compacted drama than most Big Brother seasons manage in a month.

Rick Devens won the Week 2 Head of Household competition, a Wild West-themed endurance challenge that aired in Sunday’s episode, securing back-to-back power for the Toolshed alliance after Dee Valladares won Week 1. Devens described himself in the Diary Room as a “chaos missile,” which is both accurate and the kind of self-assessment that makes you wonder whether the man is entirely aware of what a chaos missile does to everything in its path, including the people on the launcher’s side. He is aware. He just does not appear to find it concerning. Read the Full Article on the Sunset Daily Substack!

Jake Johnson and Ben Stiller Serve Up Apple TV’s Pickleball Comeback Comedy

Pickleball has spent the past several years quietly taking over the American backyard, and now the sport finally has the big, broad, unapologetically silly comedy it deserves. Apple Original Films is set to premiere The Dink globally from Apple TV on Friday, July 24, 2026, a summer sports comedy built around the collision of old school tennis pride and the paddle sport that has been steadily eating its lunch. Produced by Ben Stiller, who knows a thing or two about turning an underdog sport into a cultural moment after his work on Dodgeball, and led by a cast stacked with reliable comedic talent, the film arrives with the kind of pedigree that suggests Apple is treating this premise with far more care than a quick punchline about middle aged suburbanites and their paddles. Read More!

Watch Now

“Deepthroat”: Life, Larry and the Pursuit of Unhappiness Episode 4 Goes After RFK Jr., Henry Ford, Bob Woodward, and James Buchanan in Its Most Politically Pointed Hour

Life, Larry and the Pursuit of Unhappiness Episode 4 Ending Explained: Why Is Bobby Sent to Psychiatric Hospital?

The fourth episode of Life, Larry and the Pursuit of Unhappiness, which aired Friday July 17 on HBO under the title “Deepthroat,” arrives as the season’s most explicitly political half-hour tonight, and it saves its sharpest material for last. The episode moves through four sketches covering four distinct periods of American history, and three of them do exactly what the show has been doing all season, place Larry David’s persona in a consequential historical setting and observe what happens when the most important thing going on around him is not, as far as he is concerned, the most important thing going on around him. The fourth sketch does something different. It uses the historical setting not as a frame for David’s social grievances but as a direct vehicle for contemporary political commentary, and the target is specific, the parody is unambiguous, and the personal dimension underneath it is genuinely complicated in ways the episode does not shy away from.

Before getting to that closing sketch and the full weight of what it contains, it is worth accounting for the first three, because “Deepthroat” is the show’s most balanced episode in terms of distributing its material across all four segments rather than building toward a single centerpiece. Read the Full Article on the Sunset Daily Substack!

Below Deck Mediterranean Season 11 Episode 7 Recap: Luke’s Exit, Cooper’s Medical Crisis, and the Charter Where Everything Went Wrong Simultaneously

Below Deck Mediterranean Season 11 Episode 7 Recap - Reality Tea

“Match Me If You Can” is the official title of Below Deck Mediterranean Season 11 Episode 7, and it refers to the charter guest’s primary objective for the week. Suzanne arrived aboard the M/Y Akira One with a matchmaker, an elaborate preference sheet, and the goal of finding love for herself and, separately, for her dog. These are the stated priorities. What actually happened during the episode was a medical emergency involving anaphylactic shock, a formal marine report filed against a deckhand for an incident involving a bosun’s bedsheets, and a tearful resignation speech delivered to Captain Sandy that cut to black before she could respond. The matchmaker storyline is, relative to everything else, the most straightforward part of the episode.

Nathan, the Sheets, and the Formal Report. The episode opened in the immediate aftermath of what happened last week, Nathan Gallagher learning, definitively and in specific detail, what Luke Brumer and Gen had done in his bed. The Bravo Daily Dish coverage confirmed that Nathan described to Captain Sandy what he had found in terms that left no ambiguity about the nature of the contamination. His sheets were not simply slept in without his permission. He woke up sick. He had been sleeping in a contamination Luke and Gen left behind and did not clean up, did not mention, and made no move to address until the situation became unavoidable. Read the Full Article on the Sunset Daily Substack!

Sugar

Sugar (2024 TV series) Season 2

by NewsNow Streaming

Sugar: Inside the Neo Noir Mystery That Hides an Alien Detective in Plain Sight

Few television premises have managed to pull off a genre switch as audacious as the one buried inside Sugar, the Apple TV series that spent its opening episodes convincing viewers they were watching a classic Los Angeles detective story before quietly revealing something far stranger underneath. Now heading into its second season, the show has become one of the more distinctive entries in the current streaming landscape, anchored by a lead performance from Colin Farrell that has only grown more assured as the story around him has expanded. What began in 2024 as a moody homage to old school noir has evolved into a genuinely unusual two season arc that blends detective fiction, science fiction, and a surprisingly tender meditation on grief and belonging.

At the center of it all is John Sugar, a private investigator who specializes in tracking down missing people, a professional focus that traces directly back to his own unresolved anguish over a sister who vanished years earlier and has never been found. Farrell plays Sugar with the kind of old fashioned charm that immediately signals a throwback to a bygone era of Los Angeles crime fiction, all tailored suits, classic cars, and a genuine reverence for the golden age of cinema that the character quotes from constantly. For roughly the first half of its debut season, the show plays this atmosphere completely straight, following Sugar as he investigates the disappearance of a young woman named Olivia Siegel and slowly peels back the layers of a wealthy, secretive Hollywood family.

Then, around the midpoint of the season, the story reveals its hand. John Sugar is not human. He is part of an extraterrestrial group sent to observe humanity from the shadows, blending seamlessly into Los Angeles society while quietly studying the species he was assigned to watch. His seemingly superhuman reflexes, his unusual tolerance for alcohol, and the private, unexplained medical routines that punctuate his daily life all suddenly make sense once his true nature comes into focus, and when he drops the human disguise entirely, his skin shifts to a striking shade of blue. It is a swing few detective dramas would dare attempt, and it landed as one of the more divisive twists in recent television memory, splitting audiences between those who felt betrayed by the tonal shift and those who saw it as one of the boldest creative risks a mainstream streaming series had taken in years.

What keeps the reveal from feeling like a gimmick is how thoroughly the show commits to exploring its emotional implications rather than simply using it for shock value. As Sugar’s investigation into Olivia’s disappearance deepens, he discovers that members of his own alien community, sent to Earth under the same quiet observational mandate, have begun to corrupt themselves through prolonged exposure to human vice and violence. By the time the first season reaches its conclusion, Sugar is forced into an extraordinary decision. Rather than returning home with the rest of his people, he chooses to remain on Earth, determined to hunt down a fellow alien named Henry who has been quietly enabling a serial killer, and equally determined to keep searching for answers about his missing sister. It is a finale that reframes the entire series retroactively, transforming what looked like a stylish crime procedural into a story about isolation, empathy, and what it truly means to become part of a world you were only ever supposed to watch from a distance.

Season two picks up on that foundation and pushes it into more personal, more emotionally direct territory. Sugar returns to Los Angeles for a new case that initially looks straightforward on the surface, tracking down the troubled older brother of a rising local boxer named Danny Moon, only to find the investigation spiraling into something far larger and more sinister than a routine missing persons case. As Sugar follows the trail toward a mysterious figure known as Ji, he crosses paths with a dangerous new adversary named Vega and finds himself pulled into the orbit of a citywide conspiracy that forces him to question exactly how far he is willing to go in pursuit of justice. Along the way, the season weaves in an ever expanding web of complications, an unexpected new admirer, a serious falling out with his ally Charlotte, and a tense alliance built inside the inner circle of a powerful player named Pavich, all while Sugar continues chasing the one lead that matters most to him personally, the fate of his sister.

The returning and newly expanded cast gives the season plenty of room to breathe. Farrell remains the clear emotional anchor of the show, but he is joined by a strong supporting ensemble that includes Jin Ha, Raymond Lee, Tony Dalton, Laura Donnelly, Sasha Calle, and Shea Whigham, each bringing a different shade of menace, warmth, or moral ambiguity to the widening conspiracy Sugar finds himself untangling. Structurally, season two keeps things tight and efficient, unfolding across eight episodes released weekly, each running a brisk forty minutes, a pacing choice that suits the show’s noir instincts and keeps the mystery moving without ever overstaying its welcome.

Critical response to the new season has been largely positive, with many reviewers pointing to Farrell’s performance as the show’s most consistent strength, praising the way he continues finding new emotional shading in a character who is technically alien but has become, over two seasons, one of the more quietly human protagonists on television. Some critics have noted that the season pulls back slightly on the boldness of its science fiction premise compared to the first year’s audacious reveal, choosing instead to use Sugar’s extraterrestrial identity more sparingly, often as a thematic parallel to broader questions of displacement and belonging rather than a constant plot engine. Whether that restraint reads as a wise recalibration or a slightly cautious retreat from the show’s original creative risk has become one of the more interesting points of debate among critics covering the season, though virtually all of them agree that the mystery itself, the atmosphere, and Farrell’s central performance remain more than compelling enough to carry the show forward.

Taken as a whole, Sugar has quietly become one of the more original genre experiments in modern streaming television, a series willing to disguise a strange, melancholy story about alienation and grief inside the trappings of a classic detective yarn. Two seasons in, it continues to reward patient viewers willing to follow John Sugar down every winding alley of Los Angeles, blending old Hollywood glamour with a genuinely strange science fiction backbone that gives the show an identity unlike almost anything else currently streaming. As the search for his sister continues and the citywide conspiracy around him deepens, Sugar remains a rare example of a series that took an enormous creative risk early on and has spent every episode since finding new, unexpected ways to make that risk pay off.

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SPOILER ALERT: Big Brother 28 Week 2 Live Feed Update, In the City Season 1 Finale Recap, Jax Taylor, His Publicist and I am done for now with Next Gen NYC & The McBee’s!

by NewsSunset Daily

In the City Season 1 Finale Recap: The Perfect Ending That Wasn’t, a Reunion That Promises Fire, and an After Show That Exposed Whitney and Kenny’s Ceiling

Next Gen NYC Season 2 Has a Bigger Problem Than Drama: Nobody Knows Anything, and Nobody Seems to Mind Read The Full Article on the Sunset Daily Substack!

How to Watch and Stream the Next Gen NYC Season 2 After Show - AOL

There is a specific kind of annoyance that comes from watching people perform curiosity without possessing it. You recognize it immediately. The affect is there, the posture is there, the vocabulary of worldliness is present in every outfit and every Instagram caption and every casual reference to places they have been, but the actual substance of a curious mind, the restlessness to know things, the willingness to be ignorant about something long enough to actually learn it, is completely absent. That is the what that Next Gen NYC Season 2 generates, and it reaches another point this week when the cast encountered “The Rocky Horror Picture Show” and collectively demonstrated that they had no idea what they were looking at.

I am not saying every homan should know this musical, or better yet, they should have at least heard of it. “The Rocky Horror Picture Show,” for any reader who somehow needs this established, is not an obscure footnote in film history. Released in 1975 and based on the 1973 British stage musical, it is one of the longest-running theatrical releases in cinema history, having played continuously in midnight screenings at theaters across the United States and the world for half a century. It is a foundational text of camp culture, queer culture, theatrical participatory experience, and the specific tradition of turning a film screening into a communal social event. It has been a rite of passage for multiple generations of young people in every major American city, including and perhaps especially New York City, which has been hosting midnight screenings at venues like the Village East since the film’s original release. For a group of twenty-something New Yorkers who present themselves as sophisticated, culturally literate, worldly and plugged into the creative identity of Manhattan, not knowing what “Rocky Horror” is represents a failure of such basic cultural literacy that it almost circles back to being impressive. They are not even trying. Read The Full Article on the Sunset Daily Substack!

Jake Johnson and Ben Stiller Serve Up Apple TV’s Pickleball Comeback Comedy

Pickleball has spent the past several years quietly taking over the American backyard, and now the sport finally has the big, broad, unapologetically silly comedy it deserves. Apple Original Films is set to premiere The Dink globally on Apple TV on Friday, July 24, 2026, a summer sports comedy built around the collision of old school tennis pride and the paddle sport that has been steadily eating its lunch. Produced by Ben Stiller, who knows a thing or two about turning an underdog sport into a cultural moment after his work on Dodgeball, and led by a cast stacked with reliable comedic talent, the film arrives with the kind of pedigree that suggests Apple is treating this premise with far more care than a quick punchline about middle aged suburbanites and their paddles. Read More!

In the City Season 1 Finale Recap: The Perfect Ending That Wasn’t, a Reunion That Promises Fire, and an After Show That Exposed Whitney and Kenny’s Ceiling

If Bravo had rolled the credits on the In the City Season 1 Finale and not alerted us to a reunion because, honestly, considering how the production was ending, I thought this was it. No reunion. Read The Full Article on the Sunset Daily Substack!

In the City Finale: Kyle and Amanda's Divorce Fallout, Season 2 Questions

They literally went through every couple and every issue, all of which ended on such a beautifully positive note. Pregnancies, people seeming happy, and then, boom. The trailer for the reunion gets shown, and it seemed ugly. Then the after-show revealed even more information, which wasn’t ugly per se, but it also wasn’t happy, and I want happiness with these people.

The show would have closed on something genuinely rare in the Bravo universe, a warm, earned, emotionally satisfying conclusion. The Connecticut Friendsgiving drama got resolved. Whitney Fransway and Lindsay Hubbard had it out directly and arrived somewhere that at least resembled a peace treaty. Kenny Martin and Gavin Moseley worked through the tension their friendship had accumulated across the season. People hugged. The car rides back to New York City had that specific bittersweet quality of a group of adults who survived something together and knew it. Read The Full Article on the Sunset Daily Substack!

Whitney and Kenny on WWHL

Watch What Happens Live with Andy Cohen Season 23 Episode 115, airing July 15.

Did Kenny Martin’s Father Search For Him On Social Media?! | WWHL

Closet Case and the Lexi Question

Andy wasted no time going after the material that matters, which is what Closet Case is designed to do. The segment surfaced the question of Whitney’s current trust level with Lexi Sundin, Andrea Denver’s wife and In the City cast member who was responsible, on camera, for introducing the “single mom card” comment into the group conversation in a way that made its full impact visible to everyone in the house. Whitney’s response made clear that her trust in Lexi has not recovered. That answer was honest, which is a point in its favor, and it also confirmed that the alliance damage done during the Connecticut Friendsgiving has not been repaired by the weeks between filming and the WWHL appearance.

The “mom card” comment itself, in which Whitney accused Lindsay and Georgina of claiming the primary suite by leveraging their status as mothers, had already been processed extensively in public by the time of the WWHL appearance. What the Closet Case segment did was confirm that Whitney has not arrived at a meaningfully different relationship to the comment than the one she had when she made it. She characterized it as a response to Lindsay’s pattern of behavior rather than an isolated misstep, described Lindsay as someone who deliberately positions herself as a victim to manufacture audience sympathy, and noted that Kyle Cooke’s behavior this season constitutes a “massive red flag,” which is a not particularly bold take given that Kyle’s behavior had been the subject of multiple episodes of analysis by that point. She also remarked that Amanda Batula’s apartment, as shown on the finale, was notably messy. The remark about the apartment landed with the energy of someone looking for additional ways to establish that people around them are not as put-together as perceived, which is a specific social move that audiences recognize immediately and rarely receive warmly. Read The Full Article on the Sunset Daily Substack!

The Valley Season 3 Just Got Its Biggest Off-Camera Storyline: Jax Taylor, His Publicist, and the Betrayal That Forced Bravo Back Behind the Camera

Bravo's 'The Valley' Picks Up Cameras After Reports Of Jax Taylor Cozying Up To Brittany Cartwright's Publicist

Bravo had wrapped production on The Valley Season 3. The season was complete, the reunion had been filmed on schedule, the editing was underway, and the network was preparing to close the book on one of the most dramatic and emotionally dense chapters in the franchise’s young history. Then Jax Taylor went to Puerto Vallarta for his 47th birthday, and TMZ published photographs of him chest-to-chest in an infinity pool with Lori Krebs, the woman who has served as both his and Brittany Cartwright’s personal publicist for more than a decade.

By July 15, Deadline and The Hollywood Reporter had confirmed that Bravo was scrambling to resume filming. The season was not over after all.

The specific nature of what the photos documented is worth understanding clearly, because the subject of these photographs is not simply Jax Taylor’s romantic life, which has never been anyone’s idea of stable territory. The subject is Lori Krebs, and the particular category of trust she occupied in Brittany Cartwright’s life, which makes the photographs something considerably more serious than a straightforward post-divorce dating story.

Who Lori Krebs Is and What Her Role Actually Was Read The Full Article on the Sunset Daily Substack!

Brittany Cartwright Fires Publicist Lori Krebs After Cozy Images with Jax Taylor, TMZ Reveals Lori Called Brittany to Give Her Heads Up About the Photos - Just Jared - Celebrity News and

SPOILER ALERT: Big Brother 28 Week 2 Live Feed Update: Ashley Is Out, Rick Devens Is Running the House, and Rome Seymour Is Walking Into a Trap

Big Brother' 28 Spoilers: Early Betrayal Rocks the House - Hollywood Outbreak

Stop reading immediately if you are watching Big Brother 28 exclusively through the CBS broadcast and want to experience the season unspoiled. Everything below comes directly from the live feeds that happened minutes ago, which are running days ahead of the television schedule. The nominations revealed here will not air until Sunday’s episode. The eviction result is from Thursday night. If you want to be surprised, close this tab and come back after Sunday. For everyone who is already refreshing the feeds and wants the complete picture of what has happened since Thursday came and went, here is everything. Read The Full Article on the Sunset Daily Substack!

'Big Brother' Ashley Trail exit interview

Ashley Trail is gone. Rick Devens has the HOH key. The nominations just dropped. And the house, which had been maintaining a fragile illusion of social cohesion through the first week, is now in open fracture. Read The Full Article on the Sunset Daily Substack!

The Dink

The Dink (2026)

by Now StreamingSunset Daily

Jake Johnson and Ben Stiller Serve Up Apple TV’s Pickleball Comeback Comedy

Pickleball has spent the past several years quietly taking over the American backyard, and now the sport finally has the big, broad, unapologetically silly comedy it deserves. Apple Original Films is set to premiere The Dink globally on Apple TV on Friday, July 24, 2026, a summer sports comedy built around the collision of old school tennis pride and the paddle sport that has been steadily eating its lunch. Produced by Ben Stiller, who knows a thing or two about turning an underdog sport into a cultural moment after his work on Dodgeball, and led by a cast stacked with reliable comedic talent, the film arrives with the kind of pedigree that suggests Apple is treating this premise with far more care than a quick punchline about middle aged suburbanites and their paddles.

At the center of the story is Dusty Boyd, played by Jake Johnson, a man once known around his hometown courts as The Hammer for the kind of tennis talent that seemed destined for greatness. Years later, that promise has curdled into something closer to quiet resentment. Dusty now spends his days coaching a pack of unruly children at his father’s suburban country club, chasing an approval that never quite arrives no matter how hard he tries to earn it. His father Chuck, played by Ed Harris with the kind of stern conviction that only a veteran character actor can bring to a joke this absurd, has built his entire identity around tennis and views the club’s growing pickleball obsession as something closer to a moral collapse than a passing trend. Dusty, ever the loyal son, has spent years quietly backing his father’s disdain for the sport without ever really questioning it.

That loyalty gets tested the moment Dusty reaggravates an old injury on the tennis court, one severe enough to end his playing days for good unless he finds another way to stay active during recovery. His doctor, played by Stiller himself in a scene stealing supporting role, hands him an unlikely prescription. Pickleball, dorky as it may look from the sidelines, turns out to be the fastest and safest path back toward physical form. Dusty accepts the diagnosis reluctantly and picks up a paddle for the first time, fully expecting to hate every second of it. Instead, paired with an unexpectedly skilled and endlessly enthusiastic partner named Candace, played by Mary Steenburgen, he finds himself slowly falling for a sport he has spent his entire adult life mocking.

What follows is a classic underdog sports arc filtered through a distinctly modern, slightly ridiculous lens. As Dusty’s connection to pickleball deepens, so does the tension with his father, whose disdain for the sport hardens into something closer to a full blown crusade against it. The club itself becomes the real stakes of the story, its future hanging in the balance as generational rivalries, bruised egos, and long buried athletic failures all come bubbling back to the surface. Dusty is eventually pulled into a climactic, winner take all showdown that forces him to reconcile his old identity as a tennis prodigy with the new one he has stumbled into almost by accident, all while trying to finally earn the respect from his father that has eluded him for years. Along the way, the film leans into a genuinely clever piece of stunt casting by bringing in tennis legend Andy Roddick to play a version of himself as Dusty’s long standing childhood rival, adding a layer of authenticity to the sports comedy formula that similar films rarely bother to chase. John McEnroe also appears as himself, giving the film’s tennis world an added dose of real credibility even as the story spirals into increasingly broad comic territory.

The ensemble surrounding Johnson and Steenburgen reads like a checklist of dependable modern comedic talent. Patton Oswalt, Chloe Fineman, Chris Parnell, and Aaron Chen round out a supporting cast clearly assembled to keep the jokes landing in every scene, while Stiller’s dual role as producer and scene stealing supporting player gives the project an added layer of connective tissue to his own history with underdog sports comedy. Behind the camera, director Josh Greenbaum brings the same absurdist confidence that made Barb and Star Go to Vista Del Mar such a memorable comedic swing, while screenwriter Sean Clements, whose credits include the beloved workplace comedy Workaholics, supplies the script with the kind of character driven humor that tends to separate the sports comedies people actually remember from the ones that fade quickly.

What seems to set The Dink apart from a simple parody of a trending pastime is the level of genuine care the production put into representing the sport itself. Johnson has spoken about how little he initially knew about pickleball heading into the shoot, and how much that changed once cameras started rolling, crediting the production’s insistence on treating the on court action as seriously as any traditional sports film would. That commitment to authenticity, paired with a script more interested in themes of reinvention, ego, and fractured father son dynamics than cheap sight gags alone, gives the film a sturdier emotional foundation than its premise might initially suggest.

Tonally, The Dink slots comfortably alongside the lineage of oddball sports comedies that turned niche or overlooked competitive worlds into full blown cultural touchstones, drawing easy comparisons to films like Dodgeball, Happy Gilmore, and Talladega Nights. Like those predecessors, it seems less interested in poking fun at its subject from a distance and more focused on finding real, if exaggerated, human stakes buried underneath the comedy. Running a brisk one hour and forty two minutes, the film is positioned as an easy, breezy summer watch built for exactly the kind of casual, communal viewing experience that made those earlier underdog comedies into repeat watch staples.

With pickleball’s popularity showing no signs of slowing down and a cast this stacked with comedic firepower, The Dink arrives at a moment when its premise feels less like a novelty and more like a genuinely timely cultural snapshot. Whether audiences come for Johnson’s familiar charm, Stiller’s underdog sports pedigree, or simply the novelty of watching two real tennis legends step into a pickleball fueled comedy, the film looks positioned to become one of the more purely enjoyable original comedies Apple has released to date. When it premieres globally on Apple TV this July, The Dink has every opportunity to do for pickleball what its cinematic predecessors did for dodgeball and competitive golf, turning an easy punchline into an unexpectedly heartfelt underdog story that earns its laughs honestly.

big-brother-TOUT600-07092026-1b65585caabf4fc9aa544b920d07d788

Big Brother 28 Is Back & the Season Premiere Threw a Legend Into a Volcano, “McCarthy”: Life, Larry and the Pursuit of Unhappiness Episode 3, BB Live Feeds & Dee Valladares Wins the Fire Puzzle

by NewsSunset Daily

The Live Feed Revolution: How to Watch Everything This Season, Season’s Most Divided Hour — and Also Its Most Honest, Big Brother 28 Is Back, More Chaotic Than Ever!

Big Brother 28 Is Back, More Chaotic Than Ever, and the Season Premiere Just Threw a Legend Into a Volcano

Big Brother' star Rachel Reilly killed by dinosaur in season 28 premiere

Big Brother has never been confused about what it is, and Season 28 arrived on CBS on July 9, 2026, with the specific energy of a show that has been doing this for twenty-six years and has decided, on the occasion of its 1,000th original episode, to go absolutely unhinged. That milestone, the 1,000th episode of any primetime show, is genuinely historic, and honestly, I for some reason thought other shows had more. The only thing the show used to do was start in late June. We were at the farmers markets a few times, including the first time, when the participants entered CBS Studios next door. Evidently, after checking on these stats, that is a number no other program in the genre has reached, this was the occasion CBS chose for premiering what may be the most maximally chaotic season opener in the franchise’s history. Dinosaurs. A volcano. A legend murdered by a velociraptor. I went from being so excited that the show brought this legend back to watching them get rid of her just minutes later. Jeff Probst in a cameo. A Survivor winner running the first Head of Household competition. And a cast of seventeen that the network assembled by reaching into its CBS and Paramount vault and pulling out every returning player who could theoretically justify a “Time Trip” framing.

Welcome back to the Big Brother house. History is being rewritten. Or in Rachel Reilly’s case, permanently ended by a prop dinosaur on a jungle set in Los Angeles.

The 1,000-Episode Milestone and What CBS Did With It. Read The Full Article on ther Sunset Daily Substack!

“McCarthy”: Life, Larry and the Pursuit of Unhappiness Episode 3 Is the Season’s Most Divided Hour — and Also Its Most Honest

Life, Larry And The Pursuit Of Unhappiness' Trailer: Larry David Turns American History Into HBO Comedy

The third episode of Life, Larry and the Pursuit of Unhappiness, titled “McCarthy,” arrived on July 11 with the specific burden that all middle chapters carry, “McCarthy” has to stand on its own as four sketches, the strength of whatever specific combinations it produces, and the increasingly pointed question that critics and viewers alike are asking after three episodes of the same format, how far can four sketches of Larry David behaving badly in historically significant settings stretch before they start repeating themselves rather than expanding?

The answer Episode 3 provides is, it depends entirely on which sketch you are watching. “McCarthy” is the season’s most inconsistent episode and, counterintuitively, its most revealing, because the gap between what lands and what labors tells you something precise about where the format’s true strengths and real limits actually live. Read The Full Article on ther Sunset Daily Substack!

Russell Crowe Turns Nightclub Owner Into Cartel Target in Derrick Borte’s Neon-Lit Crime Comedy

Russell Crowe has spent the back half of his career quietly building one of the most entertaining second acts in modern movie stardom, trading the weighty prestige dramas that once defined him for a string of gleefully unpredictable genre swings, and his latest, The Get Out, slots comfortably into that run. Released in select theaters on June 26, 2026 before moving to digital and video-on-demand platforms just four days later, the film reunites Crowe with director Derrick Borte for a neon-soaked Los Angeles crime story that trades the white-knuckle road rage of their previous collaboration for something looser, funnier, and considerably more chaotic. The result is a film built almost entirely around Crowe’s easy charisma, one that critics have described as a mixed bag on the whole but a showcase for an actor clearly enjoying himself in a genre he has quietly mastered over the past few years. Read More!

Big Brother 28 Live Feed Week 1 Spoilers: Dee Valladares Is Running the House, Mallory Just Saved Herself, and the Season Is Already on Fire

Big Brother 28' Spoilers: Who Won The Power Of Veto (Week 1)?

Fair warning before you read a single word further, everything below this sentence comes from the Big Brother 28 live feeds, which are days ahead of what has aired on CBS. If you are watching exclusively through the televised episodes on Sunday, Wednesday, and Thursday nights and you want to be surprised, stop here. Come back after Thursday’s live eviction, when the television broadcast catches up to what has been happening inside the house since the feeds went live on Friday, July 10. For everyone else, the feed watchers, the spoiler seekers, and the people who consider live feed access an essential companion to the broadcast — here is a complete accounting of Week 1, what Dee Valladares has done with her power, what went wrong with her original plan, and where things stand as of Saturday night.

It has been five days. The season is already fascinating. Read The Full Article on ther Sunset Daily Substack!

Dee Valladares: Playing for History From Day One

Survivor' Winner Dee Valladares Makes Reality TV History With Shocking 'Big Brother 28' Twist - AOL

Before getting into the Week 1 mechanics, it is worth sitting with what Dee Valladares is actually attempting. When she entered the house on Friday’s Big Brother: Unlocked broadcast as the season’s 17th and final houseguest, she told the cameras exactly what she wanted: “I want to be the first person to win Survivor and Big Brother.”

That sentence is not an ambition. It is a historical statement. No person has ever won both franchises. Rick Devens, her fellow veteran competitor in the house, came close , he was the dominant story of Survivor 38, made it to the final four, and lost in firemaking rather than the jury vote, a result that the Survivor fanbase still debates. Angela Murray, the other returning veteran, is a Big Brother champion from Season 26. Neither of them is playing for the historical achievement that Dee is. She is in this house to do something that has never been done, and she is not pretending otherwise. Read The Full Article on ther Sunset Daily Substack!

Inside Sam Raimi’s Wickedly Twisted Return to Form with Send Help (2026)

Seventeen years is a long time to wait for a filmmaker to come home to the genre that made him famous, but that is precisely the gap Sam Raimi closed with Send Help, the pitch-black survival comedy that has quickly become the standout theatrical event of 2026. Equal parts corporate satire, jungle survival thriller, and gleefully gruesome horror comedy, the film marks a genuine full-circle moment for the director who first terrified audiences with a cabin in the woods decades ago and now strands two office rivals on a nightmare island instead. The result is not a tidy return to any single lane. It is something stranger, funnier, and considerably bloodier than a simple nostalgia play, and it has given Raimi one of the most talked-about and financially successful films of his career. Read More!

Big Brother 28 Episode 3 Recap: Dee Valladares Wins the Fire Puzzle, Builds Two Alliances, and Puts the House on Notice

Big Brother Season 28 Episode 2 Recap: First HOH, Nominations Revealed

Sunday night’s 90-minute broadcast of Big Brother 28 picked up where the season premiere left off, with Angela Murray, Rick Devens, and the newly arrived Dee Valladares standing at their respective fire puzzles, platforms wobbling beneath them, while fourteen strangers held on to ropes and tried to figure out which veteran they wanted to help win the first Head of Household competition of the summer. By the time the episode ended, the season’s opening power structure was firmly established, three houseguests were in tears, and Dee Valladares had confirmed something that anyone who watched her win Survivor 45 probably already suspected, she came to Big Brother to win, and she is not waiting for anyone to catch up.

The HOH Competition: “Time to Build” and the Fire Puzzle That Ended the Debate. The competition that carried over from the Big Brother: Unlocked premiere on Friday was called “Time to Build,” and its mechanics were both physically demanding and strategically loaded in ways that became clearer as the episode progressed. Read The Full Article on ther Sunset Daily Substack!

The Nomination Ceremony: One From Each Group, and Three Reactions

Dee’s stated rationale for her nominations was clean and consistent: she picked one person from each of the three teams that competed in the HOH competition, framing the choice as the most equitable approach available to someone who had been in the house for only a few days and had not had enough time to form independent impressions of fourteen new people.

That framing is partially true and partially protective cover. Mallory Aurichio was her genuine target — a read supported by the live feeds, where Dee had already identified Mallory as a threat after Mallory attempted to pitch herself to Dee in the HOH room and the conversation went badly for Mallory. Taylor Brown was a secondary nomination, a pawn who got caught in the crossfire of the team structure. Yash Patel, who had been on Dee’s rope-team and had helped her win the HOH competition, was nominated in part because his lower level of interaction with Dee in the days before the ceremony registered as suspect rather than neutral. Yash’s post-nomination reaction — telling Rome that Dee made a mistake by nominating someone who helped her win, and that he was confident he could get himself off the block — captured the specific frustration of someone who did something useful and was rewarded with a nomination. Read The Full Article on ther Sunset Daily Substack!

Life, Larry and the Pursuit of Unhappiness: How Larry David Just Rewrote 250 Years of American History — And Got Away With It

There is a version of America’s 250th birthday that involves soaring orchestral music, Ken Burns-style dissolves between sepia photographs, and a narrator who sounds like he is personally apologizing for the passage of time. And then there is the version where Larry David crashes the party, refuses to sit where he’s told, complains that nobody used a coaster on the wooden table of liberty, and accidentally derails the entire democratic experiment.

Guess which version HBO chose.

Life, Larry and the Pursuit of Unhappiness: An Almost History of America arrived on June 26, 2026 — today, on the very cusp of the nation’s Semiquincentennial — and it is exactly as audacious, as bizarre, and as only-on-HBO as that premise suggests. Seven episodes. Four historical sketches per half-hour. One relentlessly cantankerous protagonist. And an official logline that reads like a warning label: “Those who don’t know history are doomed to watch Larry David repeat it.”

Welcome to the most unexpected birthday present America has ever received.

The Origin Story: When the Obamas Called Larry David….Read More!

Watch Now

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In the City Episode 8 “Caught in the Crossfire”, The Valley Season 3 Episode 15, Next Gen NYC Season 2 Episode 3, Stephanie Ruhle, Georgia McCann, Georgina Ferzli, Jesse Lally & Lacy Nicole!

by NewsSunset Daily

Russell Crowe Turns Nightclub Owner Into Cartel Target, Wickedly Twisted Return to Form with Send Help (2026), How Larry David Just Rewrote 250 Years of American History — And Got Away With It

In the City Episode 8 “Caught in the Crossfire”: Kyle and Amanda Are Done, a DJ Tour Confirms It, and Connecticut Cannot Handle This Group

Watch Caught in the Crossfire | In The City

There comes a point in any dissolving relationship where the pretense of trying becomes more painful to watch than the dissolution itself would be. Kyle Cooke and Amanda Batula reached that point weeks ago on In the City, and Episode 8 — “Caught in the Crossfire,” set at a Connecticut Friendsgiving that was friendly in name only, made it official in the way these things become official on Bravo, through a dinner table conversation where one person learns something enormous about the other’s future and realizes they were never part of it.

Kyle has a $250,000 DJ tour booked. Fourteen dates. Amanda found out about it when Gavin Moseley brought it up at dinner, in front of the entire group, under the apparent assumption that she already knew. She did not. She had not been told. Her husband announced a fourteen-date performing tour with a six-figure price tag to the room at large and to his wife simultaneously, and the cameras caught her face in the moment she understood what she was hearing.

“This man is planning his future without me in it,” she said in confessional. “No matter how many times he tells people he’s making efforts, his actions prove otherwise.” And then, “There’s something in my gut that tells me this is the end.”

That sentence is the episode. Everything else, the primary suite dispute, the Yvonne-Lindsay fallout, the revelation of additional indiscretions, is context. The center of “Caught in the Crossfire” is a woman sitting at a dinner table learning that her husband has built an entire future around something and at no point thought to mention it to her first. Read The Full Article on the Sunset Daily Substack!

Russell Crowe Turns Nightclub Owner Into Cartel Target in Derrick Borte’s Neon-Lit Crime Comedy

Russell Crowe has spent the back half of his career quietly building one of the most entertaining second acts in modern movie stardom, trading the weighty prestige dramas that once defined him for a string of gleefully unpredictable genre swings, and his latest, The Get Out, slots comfortably into that run. Released in select theaters on June 26, 2026 before moving to digital and video-on-demand platforms just four days later, the film reunites Crowe with director Derrick Borte for a neon-soaked Los Angeles crime story that trades the white-knuckle road rage of their previous collaboration for something looser, funnier, and considerably more chaotic. The result is a film built almost entirely around Crowe’s easy charisma, one that critics have described as a mixed bag on the whole but a showcase for an actor clearly enjoying himself in a genre he has quietly mastered over the past few years. Read More!

The Valley Season 3 Episode 15: Nobody Is Good Here, and This Week Proved It in Ways Nobody Expected

The Valley Season 3 Episode 15 Recap: Danny's Birthday Blowout - Reality Tea

Episode 15 of The Valley Season 3, titled “It’s My Birthday and I’ll Cry If I Want To,” is that episode, not because it resolves anything, or because the drama reaches a satisfying climax, but because it drops three storylines onto the table in the same hour that together obliterate whatever remained of any character’s “good person” status in the Santa Clarita friend group. By the time Danny Booko sat alone at a bar after chasing away his wife and most of his friends on his own birthday and exclaimed “Best birthday ever!” to no one in particular, the season’s thesis was complete. There is nobody left to root for in any uncomplicated way. Everyone is a mess. Everyone is reacting to their own wounds and inflicting new ones. The Mexico trip is not a backdrop. It is the pressure cooker that forced all of it into the open.

Three things happened in this episode that require full accounting. Read The Full Article on the Sunset Daily Substack!

Inside Sam Raimi’s Wickedly Twisted Return to Form with Send Help (2026)

Seventeen years is a long time to wait for a filmmaker to come home to the genre that made him famous, but that is precisely the gap Sam Raimi closed with Send Help, the pitch-black survival comedy that has quickly become the standout theatrical event of 2026. Equal parts corporate satire, jungle survival thriller, and gleefully gruesome horror comedy, the film marks a genuine full-circle moment for the director who first terrified audiences with a cabin in the woods decades ago and now strands two office rivals on a nightmare island instead. The result is not a tidy return to any single lane. It is something stranger, funnier, and considerably bloodier than a simple nostalgia play, and it has given Raimi one of the most talked-about and financially successful films of his career. Read More!

Next Gen NYC Season 2 Episode 3 Is Already a Disaster

Next Gen NYC Season 2, Episode 3, titled “The Man in the LED Mask” and airing July 8 on Bravo, delivers an experience with a level of thoroughness that would be admirable if the experience itself were more enjoyable. I want to like these people, but honestly, it is becoming increasingly difficult. I also feel like it gets worse with every episode.

Seeing Georgia on WWHL showed me how much she, and honestly most of the cast, seem uninterested in anything outside of their own world. At the same time, it reminds me of Bam Bam from The Flintstones because they all seem to crave and require an incredible amount of attention. I have never seen anything quite like it. While many younger generations can sometimes come across as self interested, this group takes it to another level.

Georgia having notes about the people she was on the show with is incredibly condescending. You cannot even take an interest in another show on Bravo, or better yet, simply have a conversation without acting like you need cheat notes? Jennifer Lopez and many guests make no effort to hide that they do not know certain people or shows within the Bravo world. I understand that some people try to appear cool, detached, and unaffected by pretending not to know anyone or acting like they have forgotten names. Sometimes that is used as a way to project dominance or make themselves appear above others, but if it is not genuine, it becomes obvious. Read The Full Article on the Sunset Daily Substack!

Life, Larry and the Pursuit of Unhappiness: How Larry David Just Rewrote 250 Years of American History — And Got Away With It

There is a version of America’s 250th birthday that involves soaring orchestral music, Ken Burns-style dissolves between sepia photographs, and a narrator who sounds like he is personally apologizing for the passage of time. And then there is the version where Larry David crashes the party, refuses to sit where he’s told, complains that nobody used a coaster on the wooden table of liberty, and accidentally derails the entire democratic experiment.

Guess which version HBO chose.

Life, Larry and the Pursuit of Unhappiness: An Almost History of America arrived on June 26, 2026 — today, on the very cusp of the nation’s Semiquincentennial — and it is exactly as audacious, as bizarre, and as only-on-HBO as that premise suggests. Seven episodes. Four historical sketches per half-hour. One relentlessly cantankerous protagonist. And an official logline that reads like a warning label: “Those who don’t know history are doomed to watch Larry David repeat it.”

Welcome to the most unexpected birthday present America has ever received.

The Origin Story: When the Obamas Called Larry David….Read More!

Two Nights, Two Worlds: Stephanie Ruhle Runs the Bravo Clubhouse While Georgia McCann Reminds Us Why Reality TV Can Be Its Own Worst Enemy

Georgina Ferzli and Stephanie Ruhle Think Kyle Cooke Cheated Multiple Times

Tuesday night on Watch What Happens Live gave us Stephanie Ruhle, MSNBC anchor, former Wall Street executive, and a woman who is constitutionally incapable of not reading a situation with perfect accuracy. Wednesday night gave us Georgia McCann, Next Gen NYC cast member, twenty-something New Yorker, and a person who used her time on a national talk show to shoe how much she dpoes not care along side, Jesse Lally and Lacy Nicole from The Valley.

The contrast between these three people was obvious. Georgia acting like she had no clue about Jesse and Lacy, The Valley, or even Vanderpump Rules was stupid. Compounding the issue was her writing notes to remind herself who they were rather than making an effort to, you know, use her brain and remember something. Or, if she had never watched the shows, she should not have tried to hide it. Just act accordingly.

Now I understand why people do not take her seriously and why Riley contorted her face the way she did. Episodes 110 and 111 of Season 23, airing July 7 and July 8, are being written about together. I hope that’s cool. If it runs too long, I’ll split it up, but I want to discuss both episodes at the same time and get the hell outta here. Read The Full Article on the Sunset Daily Substack!

Jesse Lally Calls Lacy Nicole The MVP Of The Valley Reunion | WWHL

Wednesday Night: Georgia McCann and the Art of Inadvertent Self-Exposure. The Wednesday episode brought in Jesse Lally and Lacy Nicole from The Valley, alongside Georgia McCann from Next Gen NYC, and the dynamic between Ruhle’s Tuesday performance and Georgia’s Wednesday appearance is the kind of thing that becomes more instructive the longer you sit with it.

Georgia came to the Clubhouse with an agenda, which is not in itself a problem, most Bravo guests do. The agenda, unfortunately, was entirely focused on positioning herself as the authoritative voice on Ava Dash’s motivations, specifically regarding the Hamptons photos of Ava and Kyle Cooke that circulated and became a significant conversation point.

She also acted like a floozy or something, pretending she did not know easy and obvious things, which I think was an attempt to make herself seem casual or laid back. Let alone trying to make it seem endearing that she needed to write notes on her hand in black magic marker, mind you, I noticed it the second she said hello. It felt like she wanted attention, so she acted clueless or something. It was odd. Read The Full Article on the Sunset Daily Substack!

Rob-Reiner-Life-Larry-And-The-Pursuit-Of-Unhappiness-070626-4b7a1cdde8204986934cb6740ae13307

Aesha Scott and Cole McBee on Watch What Happens Live, Rob Reiner Performance on Larry David’s Life, Larry and the Pursuit of Unhappiness, The McBee Dynasty “Love and War,” Terror of Hurricane Idalia

by NewsSunset Daily

Russell Crowe Turns Nightclub Owner Into Cartel Target in Derrick Borte’s Neon-Lit Crime Comedy, Inside Sam Raimi’s Wickedly Twisted Return to Form with Send Help

Two Worlds, One Clubhouse with Aesha Scott and Cole McBee Culminating an Unforgettable Night on Watch What Happens Live

We are back TON!GHT with Aesha Scott and Cole McBee! #WWHL

The Bravo Clubhouse has hosted some unusual pairings over its twenty-three seasons, but July 6 produced one of the more genuinely charming combinations in recent memory. Then again, I think Aesha Scott makes every social situation a great one, however, on one side of Andy Cohen’s couch sat Aesha, the indomitable Chief Stew of Below Deck Mediterranean Season 11, three months into her marriage to Scott Dobson and in the middle of one of the more chaotic charter seasons the franchise has ever documented. On the other side sat Cole McBee, the Missouri rancher and McBee Dynasty: Real American Cowboys star who had just asked Kacie Adkison to marry him on national television earlier this same evening. The conversation that followed, Season 23, Episode 109 of Watch What Happens Live with Andy Cohen, moved between yacht drama and ranch life, between engagement ring specifications and family crisis, and between laughter and genuine emotional weight with the particular ease that only Bravo’s most candid personalities can manage. I am also glad to hear that Steven Sr. will be getting out in less than half a year. To me, his sentencing and punishment seem to be moving by pretty quickly. Then again, I can only look at those things in quarterly increments, which makes my time with them move faster than it does in real life. Read the Full Article on the Sunset Daily Substack

Russell Crowe Turns Nightclub Owner Into Cartel Target in Derrick Borte’s Neon-Lit Crime Comedy

Russell Crowe has spent the back half of his career quietly building one of the most entertaining second acts in modern movie stardom, trading the weighty prestige dramas that once defined him for a string of gleefully unpredictable genre swings, and his latest, The Get Out, slots comfortably into that run. Released in select theaters on June 26, 2026 before moving to digital and video-on-demand platforms just four days later, the film reunites Crowe with director Derrick Borte for a neon-soaked Los Angeles crime story that trades the white-knuckle road rage of their previous collaboration for something looser, funnier, and considerably more chaotic. The result is a film built almost entirely around Crowe’s easy charisma, one that critics have described as a mixed bag on the whole but a showcase for an actor clearly enjoying himself in a genre he has quietly mastered over the past few years. Read More!

Read the Full Article on the Sunset Daily Substack

The McBee Dynasty: Real American Cowboys Season 3 Episode 4 — When Joy and Crisis Occupy the Same Room

Cole McBee Gives New Look at Kacie Adkison's Engagement Ring

The McBee Dynasty: Real American Cowboys Season 3, Episode 4, titled “Love and War,” arrives as one of the most emotionally complete hours of unscripted television the series has delivered since its debut. Now streaming on Sunset, Peacock and airing Mondays at 9 p.m. ET on Bravo, the fourth episode of the season does what the best installments of this show do consistently and the worst ones only attempt, it refuses to simplify. It does not ask you to choose between the joy of a marriage proposal and the weight of a family business hemorrhaging money. It does not separate the happiness of new parenthood from the exhaustion and relational distance that new parenthood produces. It puts all of it in the same room, at the same time, and trusts the viewer to hold the complexity without a narrator telling them how to feel. Read the Full Article on the Sunset Daily Substack

Larry David’s Life, Larry and the Pursuit of Unhappiness Continues Its Brilliant Historical Satire with an Unforgettable Rob Reiner Performance

Rob Reiner Makes Posthumous Cameo in Larry David's New HBO Comedy

The second episode of Life, Larry and the Pursuit of Unhappiness is called “Farewell,” and the title earns its weight in ways that were not visible when the episode was filmed, in October 2025, and that have only become apparent in the months since. What looks, across its first three sketches, like a confident and entertaining expansion of the format established in the premiere — more historical chaos, a spectacular pairing of Jerry Seinfeld and Larry David in period costume, and Kaley Cuoco matching David beat for comedic beat across a Depression-era soup kitchen scene — arrives at its final sketch and becomes something different. Something heavier. Something that the July 3, 2026 air date, falling three days before the nation’s 250th anniversary celebration, amplifies into the most talked-about stretch of television the series has yet produced.

Rob Reiner died in December 2025. In “Farewell,” he plays George Washington. Read the Full Article on the Sunset Daily Substack

Inside Sam Raimi’s Wickedly Twisted Return to Form with Send Help (2026)

Seventeen years is a long time to wait for a filmmaker to come home to the genre that made him famous, but that is precisely the gap Sam Raimi closed with Send Help, the pitch-black survival comedy that has quickly become the standout theatrical event of 2026. Equal parts corporate satire, jungle survival thriller, and gleefully gruesome horror comedy, the film marks a genuine full-circle moment for the director who first terrified audiences with a cabin in the woods decades ago and now strands two office rivals on a nightmare island instead. The result is not a tidy return to any single lane. It is something stranger, funnier, and considerably bloodier than a simple nostalgia play, and it has given Raimi one of the most talked-about and financially successful films of his career. Read More!

Read the Full Article on the Sunset Daily Substack

Below Deck Mediterranean Turns Crew Cabin Drama Into the Season’s Biggest Talking Point During an Eventful Dubrovnik Charter

Below Deck Med fans 'disgusted' by grossest yacht charter guest of all time after spotting BROWN bed sheets

Even posting that picture above is nausiating but anyway, Episode 5, titled “The Deckhand Cometh,” delivers an entertaining combination of spectacular Croatian scenery, an unforgettable themed charter inspired by one of television’s biggest fantasy franchises, evolving crew dynamics, shifting romantic relationships, and a late-night cabin incident that quickly became one of the episode’s most talked-about moments. Read the Full Article on the Sunset Daily Substack

In the Eye of the Storm Recreates the Terror of Hurricane Idalia in One of Television’s Most Intense Disaster Documentaries Yet

Storm Surge hits nine feet near Idalia landfall location with Jeff Patterson

There are disaster documentaries that explain what happened, and then there are programs that place viewers directly inside the event as it unfolds. Discovery Channel’s In the Eye of the Storm has built its reputation on the latter approach, relying on extraordinary real-world footage captured by ordinary people who suddenly find themselves facing extraordinary circumstances. The latest episode of the acclaimed survival series, Season 4, Episode 2, titled “That Car’s Flying!”, delivers one of the most gripping installments in the show’s history, reconstructing the devastating impact of Hurricane Idalia through firsthand video that reveals the storm’s astonishing power from ground level. Read the Full Article on the Sunset Daily Substack

Life, Larry and the Pursuit of Unhappiness: How Larry David Just Rewrote 250 Years of American History — And Got Away With It

There is a version of America’s 250th birthday that involves soaring orchestral music, Ken Burns-style dissolves between sepia photographs, and a narrator who sounds like he is personally apologizing for the passage of time. And then there is the version where Larry David crashes the party, refuses to sit where he’s told, complains that nobody used a coaster on the wooden table of liberty, and accidentally derails the entire democratic experiment.

Guess which version HBO chose.

Life, Larry and the Pursuit of Unhappiness: An Almost History of America arrived on June 26, 2026 — today, on the very cusp of the nation’s Semiquincentennial — and it is exactly as audacious, as bizarre, and as only-on-HBO as that premise suggests. Seven episodes. Four historical sketches per half-hour. One relentlessly cantankerous protagonist. And an official logline that reads like a warning label: “Those who don’t know history are doomed to watch Larry David repeat it.”

Welcome to the most unexpected birthday present America has ever received.

The Origin Story: When the Obamas Called Larry David….Read More!

Read the Full Article on the Sunset Daily Substack

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The Get Out (2026)

by Now Streaming

Russell Crowe Turns Nightclub Owner Into Cartel Target in Derrick Borte’s Neon-Lit Crime Comedy

Russell Crowe has spent the back half of his career quietly building one of the most entertaining second acts in modern movie stardom, trading the weighty prestige dramas that once defined him for a string of gleefully unpredictable genre swings, and his latest, The Get Out, slots comfortably into that run. Released in select theaters on June 26, 2026 before moving to digital and video-on-demand platforms just four days later, the film reunites Crowe with director Derrick Borte for a neon-soaked Los Angeles crime story that trades the white-knuckle road rage of their previous collaboration for something looser, funnier, and considerably more chaotic. The result is a film built almost entirely around Crowe’s easy charisma, one that critics have described as a mixed bag on the whole but a showcase for an actor clearly enjoying himself in a genre he has quietly mastered over the past few years.

A Retirement Plan That Refuses to Cooperate

The Get Out centers on Manco Kapac, played by Crowe as an aging Albanian immigrant who arrived in Los Angeles decades earlier and built himself into the kind of only-in-America success story that looks flawless from the outside. He owns one of the city’s most sought-after nightclubs, lives comfortably, and has a devoted younger girlfriend named Sammy, played by Teresa Palmer. The wrinkle, as these stories tend to have one, is that his club doubles as a laundering operation for a ruthless cartel, a secret life that has quietly worn him down for years. After a health scare forces him to confront his own mortality, Manco decides the time has finally come to walk away from both the club and the criminal entanglements attached to it, cash out, and disappear into a quieter, safer chapter of life with the woman he loves.

Naturally, none of it goes according to plan. On a routine night making one of his usual cash runs, Manco is robbed at gunpoint by a masked amateur, a moment that sets off a chain reaction he cannot control. The cartel, unnerved by the disruption to their money and suspicious that Manco himself might be responsible, begins tightening the screws on him just as he is trying to extricate himself entirely. Compounding the pressure, an eccentric and slightly too-charming businessman named Joe Carver, played by Luke Evans, surfaces out of nowhere with a tempting offer to buy the club outright, arriving at precisely the moment Manco can least afford any more uncertainty in his life. As it turns out, the masked thief responsible for kicking off the entire mess is not some hardened professional but a small-time, in-over-his-head opportunist played by Aaron Paul, working alongside an equally underprepared accomplice played by Nina Dobrev. What follows is a tangle of overlapping schemes, mounting suspicion, and rising body counts as multiple factions with competing interests all converge on Manco at once, forcing him to talk, negotiate, and occasionally fight his way through a Los Angeles underworld that no longer has any patience left for his retirement plans.

Familiar Genre DNA With a European Update

The source material traces back to Thomas Perry’s 2010 crime novel Strip, and the finished film wears its genre lineage openly, evoking the loose, character-driven crime comedies that filmmakers like Elmore Leonard’s adaptations and Shane Black’s ensemble capers made popular in decades past. Borte and co-writer Daniel Forte lean into that tradition rather than away from it, building a story that thrives less on tight plotting than on the collision of colorful, morally compromised personalities all scrambling for the same pile of money. It is the kind of setup that lives or dies almost entirely on its cast’s chemistry, and the film leans heavily on Crowe’s ability to anchor a story that keeps threatening to spin off into several different directions at once.

What sets Manco apart from the typical world-weary crime boss archetype is a surprising thread of decency running through the character. Rather than meeting every threat with escalating violence, Manco is written as someone who reaches for his gun reluctantly, tries to de-escalate confrontations where he can, and treats even his own employees’ mistakes with more patience than the genre typically allows. It is an unusual choice for a story built around cartel pressure and armed robbery, and it gives Crowe’s performance a warmth that stands out amid the film’s darker, more comedic instincts.

Crowe Leans Into His Late-Career Comedic Streak

If there is a consistent throughline in how critics have responded to The Get Out, it is genuine enthusiasm for what Crowe is doing with the role. Building on the comedic instincts he first showcased opposite Ryan Gosling and has continued refining in a series of gonzo genre performances over recent years, Crowe plays Manco with a distinct, deliberately theatrical accent and a loose, self-amused energy that several reviewers singled out as the film’s most reliable pleasure. He is not chasing awards-season gravitas here; he is clearly having fun, and that enjoyment reads clearly on screen even when the surrounding material grows uneven.

The supporting cast brings its own texture to the chaos. Paul and Dobrev, playing the two amateur thieves whose bungled robbery sets the entire plot in motion, share a lived-in rapport that multiple critics noted as some of the film’s strongest material, even suggesting the pair had enough spark between them to headline a spinoff of their own. Evans, meanwhile, gets to indulge in some of the film’s most memorably eccentric touches as the mysterious would-be buyer, conducting business in unconventional settings and throwing himself into the character’s more theatrical flourishes with evident relish. Palmer rounds out the core ensemble as Manco’s girlfriend, providing a grounded emotional anchor amid the surrounding mayhem, while Daniel Zovatto brings a coiled menace to the cartel figure applying pressure from the shadows.

Shot on the Gold Coast, Set in the Heart of Los Angeles

Despite unfolding entirely within the geography of Los Angeles, from its Koreatown-adjacent nightlife scene to the tense back-alley confrontations that punctuate the back half of the story, The Get Out was actually filmed on Australia’s Gold Coast, a now-common production choice that speaks to the economics of contemporary studio filmmaking as much as anything else. The production team worked to recreate the specific texture of Los Angeles nightlife convincingly, and the finished film largely succeeds in selling its setting despite the geographic sleight of hand behind the camera.

This marks the second collaboration between Crowe and Borte, following their 2020 road-rage thriller that became a surprise hit during an unusual moment for theatrical releases. Where that earlier film built its tension through relentless, almost single-minded pursuit, The Get Out asks Borte to juggle a much wider ensemble and a considerably lighter tone, alternating between genuine crime-thriller stakes and broader comedic beats. Critics have been split on how successfully that tonal balancing act comes together, with some praising the film’s game cast and unexpectedly good-natured worldview, and others feeling the shifts between dark comedy and straight crime drama never fully resolve into a consistent identity. What nearly everyone agrees on, however, is that Crowe’s committed, clearly enjoyable performance provides more than enough reason to watch, particularly for audiences who have come to appreciate the actor’s willingness to poke fun at his own dramatic reputation in recent years.

Where the Film Lands in Crowe’s Ongoing Genre Renaissance

Taken as a whole, The Get Out fits neatly into the increasingly interesting late-career pattern Crowe has carved out for himself, one built on a genuine willingness to chase weird, high-concept genre material rather than coast on his earlier prestige-drama reputation. Whether audiences discover it in its brief theatrical window or, more likely, stumble onto it while scrolling through VOD offerings looking for something to fill an evening, the film offers exactly the kind of breezy, star-driven entertainment that has become something of a specialty for Crowe in this stage of his career. It may not be destined for major awards conversations, and even its most sympathetic reviews describe it as more reliably entertaining than truly memorable, but as a showcase for an actor who continues finding new, unexpected registers to play in, The Get Out delivers exactly what it promises: a loose, colorful, occasionally messy crime caper elevated by a star clearly enjoying every accented, over-the-top minute of it.