Martin Cid's Blog: Martin Cid Magazine, page 29

Fear Street: Prom Queen Arrives: Netflix Unleashes 1988 Slasher Mayhem!

The blood-soaked streets of Shadyside are calling once more. Netflix flings open the doors to a terrifyingly familiar past with the global premiere of Fear Street: Prom Queen, the latest installment in the hit horror franchise based on R.L. Stine’s chilling book series. Available for streaming now, this fourth chapter transports viewers to 1988, promising a deadly dance steeped in ’80s slasher glory and the enduring curse that haunts the ill-fated town.

The arrival of Fear Street: Prom Queen marks a significant return for the franchise, nearly four years after the innovative weekly release of the Fear Street trilogy in the summer of 2021 captivated audiences and earned critical acclaim. That trilogy masterfully wove a narrative spanning centuries, and its success clearly signaled a potent appetite for Stine’s darker, more mature brand of horror.

The film’s 1988 setting is a deliberate dive into the era of big hair and even bigger shoulder pads, fertile ground for slasher nostalgia. However, for many viewers, today’s premiere might also evoke a more recent sense of nostalgia: a fondness for the unique “event television” feel that the original Fear Street trilogy cultivated with its back-to-back weekly releases.

What Horrors Await at Shadyside High’s 1988 Prom?

Fear Street: Prom Queen centers on that quintessential high school rite of passage, transforming it into a night of sheer terror. The year is 1988, and at Shadyside High, prom season is in full swing. The school’s “ruling clique of It Girls” are deep in their “usual sweet and vicious campaigns for the crown.” However, social hierarchy and fierce competition take a deadly turn when “an intrepid outsider is unexpectedly nominated to the court.” Soon after, prom queen candidates begin to mysteriously disappear, one by one. A masked killer is on the loose, and what was meant to be the most glamorous night of their young lives is rapidly devolving into an unholy “bloodbath,” with the chilling promise of “literal murder on the dance floor.”

Meet the Class of ’88: Cast and Characters to Die For

Fear Street: Prom Queen assembles an intriguing ensemble, mixing “fresh talent and rising stars” with seasoned “veteran actors,” a casting strategy that adds layers to the unfolding horror.

The younger cast members set to face the prom night terror include:

India Fowler (The Nevers) as Lori Granger, the aforementioned “intrepid outsider.”

Suzanna Son (Red Rocket) as Megan Rogers, described as a “popular girl with more secrets than she lets on.”

Fina Strazza (Paper Girls) as Tiffany Falconer, a “fierce competitor for the prom crown.”

David Iacono (The Summer I Turned Pretty), Ella Rubin (The Idea of You), Ariana Greenblatt (Barbie), Rebecca Ablack (Ginny & Georgia), and Ilan O’Driscoll (Titans) round out the cohort of terrorized teens.

Adding gravitas and perhaps a hint of suspicion are the veteran actors:

Chris Klein (American Pie franchise) and Lili Taylor (Mystic Pizza, The Conjuring) portray faculty members at Shadyside High, with Taylor specifically cast as Vice Principal Dolores Brekenridge.

Katherine Waterston (Fantastic Beasts and Where to Find Them) plays Nancy Falconer, a mother offering a “parent’s perspective on the mounting horror as the student body count rises.”

The inclusion of established actors in adult roles introduces the potential for complex intergenerational dynamics, a staple in teen horror where authority figures often prove ineffective, disbelieving, or, in darker twists, complicit in the nightmare. The presence of Vice Principal Dolores Brekenridge, for instance, suggests a specific authority figure who will inevitably be involved in the school’s response – or lack thereof – to the unfolding massacre.

Furthermore, the character descriptions for the younger cast – “popular girl with secrets,” “fierce competitor” – align with classic slasher victim archetypes or potential red herrings. The film is poised to play with audience expectations, either subverting tropes or leaning into them for maximum impact. Megan Rogers’ “secrets,” for example, will either make her a prime suspect or a particularly tragic figure when the masked killer strikes.

Fear Street Prom Queen

Behind the Mask: Matt Palmer’s Vision for a “Lost ’80s Slasher Classic”

At the helm of this new nightmare is director Matt Palmer, previously lauded for his tense 2018 psychological thriller Calibre. Palmer, who also co-wrote the screenplay with Donald McLeary (a collaborator on Calibre), has been explicit about his specific vision for Fear Street: Prom Queen. His ambition was to create a film that feels like a “lost ’80s slasher classic,” as if it had been “locked in a vault since 1988 and only just released now.”

To achieve this, Palmer drew inspiration from a rich tapestry of 1980s cinema. Visually, he looked to films like River’s Edge and Blue Velvet to establish an “authentic ’80s look” and a distinct “wrong-side-of-the-tracks feel for Shadyside.” As the narrative moves towards the prom, the aesthetic becomes more heightened, echoing the visual language of iconic ’80s slashers and even Italian giallo films of the same period. Palmer counts John Carpenter, Dario Argento, and David Lynch among his directorial influences for this project, alongside a deep appreciation for specific slashers like Happy Birthday to Me, Sleepaway Camp, and Pieces. A key element in realizing this vision is a commitment to practical effects, with Palmer highlighting the use of “bloody squibs that we captured in-camera,” resulting in an “incredibly messy, but incredibly fun shoot.”

Narratively, Fear Street: Prom Queen is designed as a standalone story. Palmer explained the decision to introduce a new cast of characters, stating, “We explored the possibility of reintroducing familiar faces, but ultimately decided that Fear Street: Prom Queen would offer a fresh narrative filled with new characters. This time we delve much deeper into school and family life.”

Palmer’s aim to create an “authentic ’80s” experience is a delicate balancing act. While embracing the aesthetics and tropes of the era, a film released in 2025 is inevitably viewed through a modern lens. R.L. Stine’s willingness to grant “true freedom to reimagine the books,” coupled with the notion that the adaptation involved “updating certain elements… to resonate with today’s audiences,” suggests a nuanced approach. The film seeks to pay homage to the ’80s without simply replicating its potential shortcomings, perhaps imbuing the story with more complex characters or a more self-aware perspective, as hinted by the desire to “delve much deeper into school and family life.”

The director’s previous experience with Calibre, a film praised for being a “sensationally well-executed nerve-shredder” and “tense and atmospheric,” also offers clues to Fear Street: Prom Queen‘s potential tone. While undeniably a slasher, Palmer’s established skill in building suspense suggests this film might lean more into sustained tension and psychological dread, rather than solely relying on jump scares. This aligns with his stated preference for “suspense and psychological thrills over simple gore” and his admiration for artful horror auteurs like Lynch and Argento. The emphasis on practical gore further signals a commitment to a visceral, era-authentic horror experience that will likely resonate strongly with genre aficionados.

How ‘Fear Street: Prom Queen’ Fits into the Fear Street Legacy

While Fear Street: Prom Queen carves out its own bloody niche with a new cast and a 1988 setting, it remains intrinsically linked to the overarching curse that defines Shadyside. Chronologically, the film sits between the events of Fear Street Part Two: 1978 and Fear Street Part One: 1994, further populating the haunted timeline of this unfortunate town. The omnipresent evil, stemming from Sarah Fier’s tragic fate and the Goode family’s centuries-old pact with dark forces, continues to cast a long shadow.

The film doesn’t shy away from acknowledging this grim heritage. Fear Street: Prom Queen showcased a glimpse of a bulletin board memorializing the 1978 Camp Nightwing massacre, a direct visual link to the second film in the trilogy. This subtle yet significant detail implies that the horrors of the past are not forgotten by Shadyside residents in 1988; they are part of the town’s living, breathing trauma. This enriches the world-building, showcasing the lingering psychological scars across different generations.

By presenting Fear Street: Prom Queen as a largely standalone narrative, Netflix and Chernin Entertainment employ a smart strategy for universe expansion. This approach makes the Fear Street franchise more accessible to newcomers, who can dive into this 1988 nightmare without prior knowledge of the trilogy, while still rewarding dedicated fans with connections to the established lore and the ever-present curse. It’s a model that could allow diverse stories and adaptations of Stine’s numerous books to unfold under one cursed umbrella, each contributing to Shadyside’s grim tapestry.

From Page to Scream: Adapting R.L. Stine’s Deadly Dance

Fear Street: Prom Queen draws its core premise from R.L. Stine’s 1992 novel of the same name, the fifteenth installment in the original, massively popular Fear Street series. Stine’s books carved out a unique niche in young adult fiction, offering darker, bloodier tales than his better-known Goosebumps series and selling over 80 million copies worldwide.

The original novel follows Lizzie McVay and four other prom queen candidates at Shadyside High who find themselves stalked by a killer. In the book, the culprit is revealed to be one of the nominees, faking her own death to exact revenge on rivals involved with her unfaithful boyfriend. However, director Matt Palmer has indicated that while the novel served as a “springboard,” R.L. Stine grants filmmakers “true freedom to reimagine the books.” One clear adaptation is the film’s shift to a 1988 setting, diverging from the novel’s early ’90s publication and milieu.

This “springboard” approach is often fruitful in literary horror adaptations. It allows filmmakers to capture the essence of the original story while tailoring it for a cinematic experience, potentially offering new twists and surprises even for those familiar with Stine’s text. The creative freedom allows Palmer to lean fully into his ’80s slasher vision and update elements for a contemporary audience. If the film diverges significantly from the novel’s killer or motivations – a strong possibility given the desire to create a “thrilling scare-ride in its own right” – it could serve as a clever misdirect for book loyalists, using their prior knowledge to heighten the suspense. The fact that Stine’s team reportedly visited the set and was “enthusiastic about the script and all the bloody mayhem” implies an endorsement of these creative interpretations.

Your Invitation to Fear Street’s Deadliest Prom Awaits

Fear Street: Prom Queen arrives today as a thrilling, blood-splattered love letter to ’80s slasher cinema, a chilling new chapter in the ever-expanding Fear Street saga, and a testament to Matt Palmer’s distinct directorial vision. It offers a fresh, standalone story that nevertheless deepens the dark mythology of Shadyside, inviting both longtime fans and curious newcomers to its deadly dance.

The film’s success as a standalone entry, tapping into the rich well of R.L. Stine’s bibliography, could well shape the future of the Fear Street franchise on Netflix. If Fear Street: Prom Queen resonates with audiences, it might pave the way for an anthology-style approach, allowing numerous other Shadyside horror stories to be brought to life, each with its own unique flavor but all under the shadow of the town’s enduring curse.

For now, the corsages are pinned, the punch is spiked (perhaps with more than just alcohol), and a masked killer is ready to crown the prom queen.

Your invitation has arrived.

Where to Watch “Fear Street: Prom Queen”

Netflix

Serpentine Pavilion 2025: A Glimpse into ‘A Capsule in Time’

The upcoming Serpentine Pavilion, a significant event in the architectural and cultural calendar, will see a design by acclaimed Bangladeshi architect and educator Marina Tabassum and her firm, Marina Tabassum Architects (MTA). Titled ‘A Capsule in Time’, the structure aims to be a focal point for engagement and reflection within Kensington Gardens.

Marking the 25th anniversary of this influential commission, Tabassum’s creation is set to continue the tradition of architectural experimentation. Her design philosophy, which emphasizes a connection to place, climate, context, culture, and history, will be evident in the Pavilion. It is intended to create a dialogue between the enduring nature of the Serpentine South gallery and the temporary essence of the Pavilion itself.

The Pavilion’s structure is conceived as an elongated form oriented north-south, featuring a central court that aligns with the bell tower of Serpentine South. Inspiration is drawn from the experience of being in a park and the gentle diffusion of light through garden canopies. This is translated into four wooden capsule-like forms with a translucent façade, designed to filter and dapple incoming light. Notably, this will be Tabassum’s first structure built entirely from wood. Light itself is a key material, employed to enhance the spatial qualities of the Pavilion.

A central feature of the design is a semi-mature Ginkgo tree, a species known for its climate resilience and ancient lineage, dating back to the early Jurassic Period. The Pavilion will be built around this tree, highlighting the interplay between the built environment and the natural world. The choice of the Ginkgo also reflects a commitment to biodiversity within Kensington Gardens, as the tree is tolerant to climate change and not susceptible to many current pests and diseases. It is planned for the tree to be replanted in the park after the Pavilion’s tenure. The changing colors of the Ginkgo’s leaves, from green to gold-yellow, will form a natural, evolving backdrop throughout the summer and autumn.

The design incorporates a kinetic element, with one of the capsule forms able to move and connect, allowing the Pavilion to transform its spatial configuration. This dynamic aspect underscores the architect’s focus on the sensory and spiritual potential of architecture, achieved through scale, geometry, and the interplay of light and shadow.

Beyond its architectural statement, the Pavilion is envisioned as a versatile space for connection and knowledge sharing. Tabassum and her team have curated a selection of books celebrating Bengali culture, literature, poetry, ecology, and Bangladesh. These will be housed on shelves integrated into the structure, with the long-term vision for the Pavilion, after its time on Serpentine’s lawn, to become a publicly accessible library.

A program of events will accompany the Pavilion, including conversations, live performances, and family-oriented activities. These activations aim to utilize the Pavilion as a platform for interdisciplinary encounters in music, poetry, performance, and dance, with artists creating new site-specific works. Educational tours will also be offered, exploring the design and the history of the Serpentine Pavilion commission.

The selection of this year’s Pavilion design was undertaken by a committee including Serpentine’s leadership and curatorial team, along with architectural advisors. The project receives continued support from Goldman Sachs, marking their eleventh consecutive year of partnership. AECOM will provide engineering and project management services, and Stage One Creative Services will be responsible for the construction, their sixteenth Pavilion delivery.

A catalogue, co-published by Serpentine and Verlag der Buchhandlung Walther und Franz Konig, Köln, and designed by Wolfe Hall, will accompany the Pavilion. It will feature contributions from various figures in art and architecture, photographic essays, and conversations with Marina Tabassum, offering deeper insights into her practice and the Pavilion’s development. A limited-edition print by Tabassum will also be released.

The Serpentine Pavilion ‘A Capsule in Time’ is scheduled to be open to the public from June 6th until October 26th, 2025. A press view is slated for Tuesday, June 3rd, 2025, from 8:30 am to 1:00 pm, with speeches at 10:00 am. Photography and filming opportunities will be available from 8:30 am on the same day, with a photocall at 9:30 am. Specific event dates include Marina Tabassum in conversation with Hans Ulrich Obrist on Friday, June 6th at 4:30 pm; Park Nights commencing in July; the Pavilion Family Day on Saturday, July 19th; and a day of activations in partnership with New Currency and Alaska Alaska on Saturday, September 13th.

“She the People” on Netflix: Terri J. Vaughn Stars in Tyler Perry’s New Political Comedy

Tyler Perry’s highly anticipated new series, “She the People,” starring the acclaimed Terri J. Vaughn, premieres exclusively on Netflix today. This marks Perry’s first venture into a comedy series for the streaming giant, promising a blend of his signature humor with sharp political satire and heartfelt family drama. The 16-episode series will be released in two parts; the first eight episodes are available globally starting today, with the second batch scheduled for August.

Synopsis: Laughter, Politics, and Family Ties

“She the People” centers on Antoinette Dunkerson, played by Terri J. Vaughn, a newly elected Lieutenant Governor of Mississippi. After a successful and hard-fought campaign, Antoinette quickly discovers that winning the election was just the beginning. She must navigate the treacherous waters of state politics, serving under a governor described as sexist and condescending. Beyond the challenges of her new office, Antoinette also grapples with her “eccentric” family being suddenly thrust into the public spotlight. The series explores the often hilarious and sometimes tense dynamics as the Dunkerson family adjusts to their new reality, where every move is scrutinized. The narrative promises a compelling mix of political intrigue, workplace power struggles, and the relatable chaos of family life, all filtered through a comedic lens. As Antoinette tries to shine in her political role, she must simultaneously manage her unconventional family and outmaneuver a boss seemingly stuck in the past.

She the People

The Cast

Leading the cast is Terri J. Vaughn (known for “Daddy’s Little Girls,” “The Steve Harvey Show”) as Antoinette Dunkerson, the intelligent and capable Lieutenant Governor. Vaughn, who also serves as an executive producer, is expected to bring both her comedic timing and emotional depth to this pivotal role.

Joining her is a strong supporting cast:

Jo Marie Payton (“Family Matters,” “The Proud Family”), adding her veteran comedic presence.Jade Novah (singer, actress, “That’s My Jam”), who plays Shamika Latavia Latoya Farrah Dunkerson.Drew Olivia Tillman (“This Is Us,” “Mixed-ish”), portraying Lola Dunkerson.Tré Boyd (“House of Payne”), in the role of Titus Dunkerson.Dyon Brooks (“A Naughty Christmas Story”), playing Basil Henderson.Karon Riley (“Meet the Browns,” “The Black Hamptons”), appearing as Michael Davies, potentially Antoinette’s head of security and Vaughn’s real-life husband.Robert Craighead (“Ruthless,” “Future Man”), who plays Governor Irwin Harper.

This combination of seasoned actors like Vaughn and Payton with emerging talents like Novah, Tillman, Boyd, and Brooks is poised to create a vibrant and believable on-screen world, capable of delivering both laugh-out-loud moments and genuine emotional beats.

The Minds Behind the Series

The creative force behind “She the People” is a noteworthy collaboration, bringing together diverse experiences and perspectives.

Tyler Perry: The Prolific Producer

The series is created, written, directed, and executive produced by Tyler Perry. This project is the second series under Perry’s multi-year first-look deal with Netflix, following the successful drama “Beauty in Black,” which hit #1 globally upon its October 2024 premiere. Perry’s film “The Six Triple Eight” also became his most-watched movie on the platform, and his projects have reportedly driven up viewership for his other content on Netflix by 45%.

Niya Palmer: Co-Creator and Comedic Architect

Niya Palmer co-created “She the People” with Perry and serves as an executive producer. The initial concept for a political comedy starring Vaughn originated with Vaughn herself, who then brought the idea to Palmer for development. Palmer “tried to develop it in a way that resonated with her vision,” according to an interview. A significant aspect of the show’s development is its “all-female writers’ room.” Palmer, whose credits include “The Game” and “Run the World,” champions comedy as her natural medium for exploring serious themes, stating, “Humor is a powerful tool—it allows us to tackle difficult subjects in a digestible way. When people are laughing, they’re more open to absorbing hard truths.”

Keisha Lance Bottoms: Bringing Political Authenticity

Keisha Lance Bottoms, former Mayor of Atlanta and a former senior advisor to President Joe Biden, adds a layer of real-world political insight as an executive producer. Her involvement is widely seen as instrumental in grounding the show’s humor in authentic political realities. “She the People,” filmed at Tyler Perry Studios and throughout the metro Atlanta area, marks Bottoms’ first official executive producing credit for television or film.

Terri J. Vaughn: Star Power and Executive Vision

In addition to her starring role, Terri J. Vaughn also serves as an executive producer, highlighting her deep commitment to a project she conceptualized.

The journey of “She the People” from Vaughn’s initial concept to a fully realized series—shaped by Palmer and an all-female writing team, empowered by Perry’s production capabilities, and enriched by Bottoms’ political expertise—suggests a uniquely layered creative process.

Politics, With a Fresh Approach

“She the People” aims to do more than just entertain; it delves into significant social themes with a comedic touch. The series tackles issues of “gender dynamics, representation in politics, and the complexities of power,” all while capturing the “messiness of real life.”

A central conflict is Antoinette’s struggle against her “sexist and condescending governor,” a narrative thread that sheds light on the pervasive issue of sexism within political institutions. The series also keenly observes the impact of a high-profile political career on family life, as Antoinette’s relatives are unceremoniously thrown into the public eye, leading to both comedic misunderstandings and dramatic tensions.

True to co-creator Niya Palmer’s philosophy that “humor is universal. It breaks down barriers and facilitates difficult conversations,” the series employs political satire and situational comedy to address these serious underlying issues. The recently released trailer offers a taste of this blend, featuring a memorable moment where Antoinette’s mother (likely played by Jo Marie Payton) exclaims in exasperation, “I hate this political bullshit!” to which Antoinette humorously retorts, “Mom, have you been smoking weed?”

By embedding its social and political commentary within the familiar and accessible framework of a family-centered sitcom, “She the People” can effectively engage a broad audience. The “eccentric family” aspect promises consistent laughs, while Antoinette’s experiences in the Mississippi legislature provide fertile ground for commentary on the intersection of race, gender, and power, particularly in the American South. This dual approach—entertaining while edifying—can be a potent way to stimulate reflection and discussion on challenging topics.

How to Watch “She the People”

“She the People” is available exclusively for streaming on Netflix worldwide.

The series will be released in two distinct parts:

Part 1: Premieres today, May 22, 2025. This initial installment consists of eight 30-minute episodes.Part 2: The remaining eight episodes are scheduled for release on August 14, 2025. The complete series will comprise 16 episodes.

By splitting the season, the platform creates two distinct promotional windows and viewing opportunities. This approach can help keep the series prominent in cultural conversations for a longer period, avoid potential audience fatigue from a single, larger content drop, and build anticipation for the second part, potentially driving new subscriptions or retaining existing ones. This release pattern suggests Netflix is confident in the show’s appeal and its ability to draw viewers back for more.

The arrival of “She the People” is met with considerable anticipation, heralding Tyler Perry’s first comedy series for Netflix and showcasing Terri J. Vaughn in a compelling lead role she also helped bring to life. Viewers can expect a thoughtful and entertaining series that skillfully blends humor with poignant social commentary on politics, family, and the challenges women face in leadership.

“She the People” Part 1 is now streaming on Netflix.

Sirens: Julianne Moore Leads a Seductive Journey into Darkness in Netflix’s New Bet

A promising new production is on the Netflix horizon, ready to captivate audiences with a mix of dark humor and palpable psychological tension. “Sirens” presents itself as a miniseries that not only seeks to entertain but also to provoke, delving into the complexities of human relationships in an environment of opulence and mystery. With a top-tier creative team and an all-star cast, this project is positioned as one of the platform’s most anticipated releases.

Behind “Sirens” is LuckyChap Entertainment, the production company co-founded by Margot Robbie, Tom Ackerley, and Dani Gorin, known for championing projects with a strong female imprint and bold narratives that often defy conventions. The combination of this production company, responsible for recent successes that have resonated for their originality and social commentary, with the pen of Molly Smith Metzler, the acclaimed creator of the miniseries “Maid,” augurs a multi-layered television fiction. Metzler’s experience in addressing complex social themes with sensitivity and depth, centered on the female experience, ensures that “Sirens” will transcend the conventional thriller. The series promises an “incisive, sexy, and darkly funny” exploration of women, power, and the intricate dynamics of class, elements that anticipate a narrative as sophisticated as it is unsettling.

The Plot: An Explosive Weekend of Luxury, Tension, and Hidden Secrets

The plot of “Sirens” revolves around the growing unease of Devon DeWitt, played by Meghann Fahy, regarding the relationship her younger sister, Simone (Milly Alcock), has formed with her new and charismatic boss, the multimillionaire Michaela Kell, brought to life by the award-winning Julianne Moore. Simone seems to have fallen under the spell of the sumptuous and almost cult-like lifestyle that Michaela offers her, perceiving this universe of privilege as a sort of irresistible drug. Faced with this situation, Devon feels the imperative need to intervene, convinced that her sister is in a vulnerable situation. The entirety of the action is condensed into an “explosive weekend,” a brief but intense period that promises to be the catalyst for all accumulated tensions. This encounter takes place at the lavish coastal estate belonging to the Kells, an idyllic setting reminiscent of the exclusivity of enclaves like Martha’s Vineyard or Cape Cod, with their imposing mansions and gardens full of hydrangeas. The choice of such a concentrated period, like a weekend—which some sources place during Labor Day or coinciding with an annual charity gala organized by Michaela for her bird sanctuary—is not accidental. This temporal limitation intensifies the narrative, creating a pressure cooker effect where conflicts and revelations precipitate, keeping the viewer in a constant state of expectation. The inherent isolation of such a property, coupled with the luxury that envelops it, amplifies the sense of claustrophobia and underscores the power dynamics at play, an environment from which the characters cannot easily escape as secrets begin to emerge and loyalties are tested.

Sirens

An All-Star Cast Under the Enigmatic Gaze of Julianne Moore

The strength of “Sirens” lies largely in its talented cast, headed by renowned figures who promise memorable and complex performances.

Michaela Kell (Julianne Moore): The Charismatic and Sinister Matriarch

At the epicenter of this whirlwind of luxury and tension is Michaela Kell, the character embodied by Julianne Moore. Michaela is a multifaceted figure: philanthropist, animal rights activist, and wife of multimillionaire Peter Kell. She exercises undisputed dominance over the island’s high society, but it is her relationship with Simone, her young assistant, that raises alarms, being described as “too close for comfort” and even “creepy.” She is presented as an enigmatic and glamorous woman who presides over her imposing estate, Cliff House, with an aura of mystery and unease that likens her to the leader of a cult. Her lifestyle, addictive for Simone, makes her a formidable adversary for Devon. The character of Michaela Kell seems carefully designed to embody the dangerous seduction inherent in power and wealth. Her public persona as a benefactor could be a calculated facade hiding a manipulative nature, thus exploring how charismatic personalities can exert almost absolute control over those around them. It is no coincidence that the series is described with a “Greek mythology vibe” and that its title is “Sirens,” alluding to those mythological creatures that lured sailors to their doom with the sweetness of their song. Michaela, then, stands as the titular Siren, using her wealth, status, and charm as her particular melody to attract and, potentially, destroy.

Devon DeWitt (Meghann Fahy): The Protective and Skeptical Sister

Meghann Fahy brings to life Devon DeWitt, Simone’s older sister, a character described as funny and resilient, but above all, fiercely protective of her younger sister. Despite finding herself in a “downward spiral” in her personal life, her skepticism and deep concern about the influence Michaela wields over Simone compel her to travel to the opulent Kell estate with the intention of carrying out an intervention. The series creator has noted that Devon functions as the “metronome of the series,” marking not only the rhythm of the narrative but also, and especially, the comedic tone. Devon represents the “outsider” perspective, the voice of reason—or at least, of familial concern—in the face of the seductive and potentially dangerous world embodied by the Kells. Her own personal situation, far from perfect, adds a layer of complexity to her role as “rescuer,” humanizing her and making her struggle more believable. Her comedic facet, in the context of a black comedy, will likely manifest through her reactions and comments, offering a critical and often sarcastic look at the extravagance and strange power dynamics she observes, thus serving as an anchor for the viewer.

Simone DeWitt (Milly Alcock): The Captivated Sister

Milly Alcock plays Simone DeWitt, the younger sister, a young woman described as intelligent and charming who seems to have hit the “jackpot” by landing a job as a personal assistant to the multimillionaire Michaela Kell. However, this golden opportunity immerses her in a world of luxury that deeply attracts her, to the point of becoming almost hypnotized by the “cult-like” lifestyle surrounding her boss, a fascination that becomes the main driver of Devon’s concern. Simone embodies vulnerability to the dazzling allure of power and wealth, and perhaps, the search for an identity or a sense of belonging in an environment foreign to her. Her character will allow for an exploration of how people can be seduced and manipulated, even losing their autonomy in the process. The dynamic between the two sisters will be crucial for developing themes such as family loyalty versus the powerful attraction of an outside world that promises to fulfill all desires. The fact that Simone is “intelligent and charming” suggests she is not a passive victim, but someone who, at least initially, feels actively drawn to what Michaela represents. The description of luxury as a “drug for Simone” points to a growing dependence and a possible loss of perspective, making her the axis around which much of the dramatic conflict will revolve.

Key Figures in the Kell Entourage

The universe of “Sirens” is enriched by a cast of supporting characters orbiting the Kell family, each adding nuances to the complex web of power and secrets:

Kevin Bacon as Peter Kell: Michaela’s multimillionaire husband, a man from “old money” who is described as the dominant presence in any room he enters. He is an avid nature lover who occasionally enjoys marijuana. His role could be that of a facilitator of Michaela’s power, or a figure with his own hidden interests.

Glenn Howerton as Ethan Corbin III: A close friend of the Kells and a perennial bachelor residing on the neighboring property. He is a regular at the local yacht club and is rapidly squandering the family trust fund, perhaps representing the decadence or superficiality of a certain elite.

Felix Solis as Jose: Beneath the guise of a humble gardener, Jose is actually the manager of Cliff House, the head of security, the mastermind behind the estate’s vast surveillance system, and Peter Kell’s right-hand man. He symbolizes the control and invisible power underlying the facade of luxury.

Bill Camp as Bruce DeWitt: Simone and Devon’s father, a former Marine from Buffalo. He is a proud man recently diagnosed with early-onset dementia who lives in fear of becoming a burden to his daughters. His vulnerability introduces a real-world element that starkly contrasts with the opulence and apparent invulnerability of the Kells, adding a layer of emotional urgency to the sisters’ motivations.

“The Fates” – Jenn Lyon as Cloe, Erin Neufer as Lisa, and Emily Borromeo as Astrid: This enigmatic trio is devoted to Michaela and her preservation work. They often speak as one entity and dress identically, reinforcing the cult-like atmosphere surrounding Michaela. Cloe is characterized as the “bad girl” of the group, Lisa as the “fanatic,” and Astrid as the most “distracted.” Their presence is a direct reference to mythological figures who control destiny, aligning with the “Greek mythology vibe” mentioned by the creator and the theme of control exerted by Michaela.

This ensemble of supporting characters is carefully constructed not only to add depth to the world of “Sirens” but also to amplify Michaela’s power, create subplots of intrigue and control, and provide significant thematic contrasts.

The Vision Behind “Sirens”

The conception and execution of “Sirens” rest on a team of professionals with distinguished careers in the television and film industry:

Molly Smith Metzler: She is the central figure as creator, writer, showrunner, and executive producer of the series. “Sirens” marks her first project under an overall creative deal with Netflix, a collaboration that follows the resounding success of her previous miniseries for the platform, “Maid.” A revealing fact is that “Sirens” is based on her own play, “Elemeno Pea,” written during her studies at the prestigious Juilliard School. This adaptation of such personal material suggests a cohesive vision and a deep understanding of the characters and themes to be explored.

Executive Producers from LuckyChap Entertainment: Margot Robbie, Tom Ackerley, and Dani Gorin’s production company, LuckyChap Entertainment, brings its distinctive stamp to the project, with Colin McKenna also joining as an executive producer. Their track record of innovative productions centered on female perspectives adds considerable value.

Direction: Nicole Kassell, renowned for her work on acclaimed series like “Watchmen” and films such as “The Woodsman,” directs the first two episodes of “Sirens” and also serves as an executive producer. Her experience in creating dense atmospheres and psychologically charged dramas is crucial for establishing the visual and narrative tone of the series from its outset.

Music: The soundtrack is by Michael Abels, the celebrated composer known for his unsettling scores for films like “Get Out” and “Us.” His style, often associated with social thrillers and psychological horror, is ideal for reinforcing the atmosphere of mystery and tension that “Sirens” promises.

Cinematography: Cinematography is handled by Gregory Middleton and Zoë White, whose previous works suggest a carefully crafted visual aesthetic.

Costume Design: Caroline Duncan is responsible for costume design, an element that will be fundamental in defining the characters and the world they inhabit.

The careful selection of this creative team indicates a clear intention to endow “Sirens” with a strong authorial identity. A synergy is anticipated between Metzler’s personal vision, Kassell’s expert direction, and Abels’ evocative music, all to build a series that not only tells an intriguing story but does so with a distinctive visual and auditory style that underscores its complex themes of mystery, power, and social critique.

The Visual World of “Sirens”

The impact of “Sirens” will lie not only in its plot and characters but also in the construction of its particular visual universe, where beauty and luxury hide undercurrents of tension and danger.

Setting: The series unfolds on a sumptuous coastal estate called Cliff House, an enclave of stately mansions and lush hydrangea gardens reminiscent of the opulence of places like Martha’s Vineyard or Cape Cod. Filming took place in North Fork, Long Island, New York, a location that provides the perfect backdrop for this story of elites and secrets.

Production Design: Early details describe an “alluring” design where grandeur is the norm: a colossal house, cavernous hallways adorned with valuable paintings, and meticulously cultivated gardens. However, this beauty is not without disturbing elements, such as a cliff described as “terrifying, almost creepy” and the presence of an enormous anchor in the front garden, a visually potent and potentially symbolic detail.

Costume Design: Helmed by Caroline Duncan, a preppy and affluent aesthetic is anticipated, highlighted by a “truly shocking” amount of Lily Pulitzer dresses. This choice, the epitome of carefree East Coast American wealth, could be used with ironic intent or to accentuate the artificiality of the environment. In fact, the atmosphere has been described as a “Wicker Man/Midsommar vibe in Lily Pulitzer,” suggesting a folk or cultish horror brewing beneath a bright and colorful surface.

Visual Motif of Birds: A recurring and enigmatic element in the series is the omnipresence of birds. Michaela Kell organizes a gala to raise funds for her bird sanctuary, and some promotional images show Julianne Moore surrounded by feathers and nests. The exact meaning of this motif is a mystery that the series will gradually unveil, but its constant appearance suggests a significant symbolic charge, perhaps related to themes of freedom and captivity, or even as part of Michaela’s own web of manipulation.

The visual opulence of “Sirens” will not be merely decorative; it will serve as a calculated contrast to the underlying darkness of the plot. The “creepy cliff” and the “murky waters” surrounding the island are visual metaphors that beauty is, in many cases, a facade hiding latent dangers. The visual design, therefore, stands as a key narrative tool for building the series’ atmosphere, using the aesthetics of wealth to generate a sense of unease and to underscore the themes of deception, control, and the danger lurking beneath a dazzling surface.

Power, Class, and Female Dynamics

“Sirens” bravely delves into complex and highly relevant thematic territory, promising a sharp reflection on social structures and interpersonal relationships. The series is explicitly described as an “incisive, sexy, and darkly funny exploration of women, power, and class,” a statement of intent that anticipates a narrative rich in nuances and provocations. Beyond the main intrigue, the plot will address marital dramas, the always complex relationships between sisters, and what has been termed “real estate drama,” suggesting that properties and the status they confer play a crucial role in the characters’ dynamics. Creator Molly Smith Metzler has infused the series with an “operatic” quality, indicating it will have “many teeth” and present moments of intense drama that will seek to make the viewer uncomfortable, all wrapped in a “Greek mythology vibe.” This reference to mythology, along with the title itself, “Sirens,” suggests a modern reinterpretation of female archetypes linked to power, seduction, and danger, possibly challenging or subverting traditional tropes about how women exert influence or are perceived when they wield it. A recurring and central theme is the “cult-like” nature that seems to define Michaela Kell’s lifestyle and the powerful influence she exerts over Simone. This will allow the series to explore the mechanisms of charismatic manipulation and the attraction that certain elite circles can generate. “Sirens” appears to use the microcosm of a group of wealthy individuals to examine how power, especially economic and social, can corrupt and influence relationships, with a particular focus on interactions between women. The dynamic between Devon and Simone, pitted against each other by the figure of Michaela, will serve as a vehicle to explore loyalty, envy, and the struggle for individual identity in a context of overwhelming external pressures. Ultimately, “Sirens” does not aspire to be a superficial thriller, but a social satire and psychological drama that uses its glamorous setting and complex characters to make incisive comments on the nature of power, persistent class divisions, and the multifaceted relationships between women.

The Allure of Sophisticated Darkness

The interest “Sirens” is generating is based on a combination of factors that position it as one of the most intriguing series on the current landscape. Comparisons with successful productions like “Big Little Lies,” “The White Lotus,” “The Undoing,” “Nine Perfect Strangers,” and “The Perfect Couple”—the latter also featuring Meghann Fahy—place it in a niche appreciated by audiences who enjoy psychological thrillers set in worlds of wealth, populated by complex and dysfunctional characters, and with high production value. It’s an amalgam of mystery with mythological echoes, a comedy with decidedly dark undertones, and an intense human drama. The performances will undoubtedly be a fundamental pillar, with particular anticipation to see Julianne Moore in the role of a Michaela Kell who is anticipated to be “creepy” and magnetically charismatic. The promise of an “operatic” narrative that will seek to “make uncomfortable” the viewer suggests that the series will not shy away from the darker and more disturbing aspects of the themes it addresses, offering a visually and emotionally impactful experience. The appeal of “Sirens” lies, in large part, in its ability to fuse the escapism offered by luxurious settings with a biting social critique and an absorbing psychological thriller. In an era where narratives exploring social inequalities and the fascination with cults and charismatic power dynamics are booming, “Sirens” seems perfectly positioned to capture the cultural zeitgeist. It will offer both the visual pleasure of opulent environments and the intellectual intrigue of unraveling the dark truths they hide. The participation of an actress of Julianne Moore’s caliber, playing a role with the potential to be iconically villainous and profoundly complex, is in itself a powerful magnet for viewers. “Sirens” not only seeks to entertain; it aspires to be a series that generates conversation, invites reflection on its bold themes, and satisfies both lovers of psychological thrillers and those who enjoy a good dose of social satire wrapped in glamour and mystery.

Release Date and Availability

The miniseries “Sirens” will consist of five episodes, each approximately one hour long. All episodes will be available for viewing on the Netflix platform worldwide.

Paul Taylor Dance Company Embarks on Ambitious Revival of Landmark Works

The esteemed Paul Taylor Dance Company is set to captivate audiences with a significant engagement that will see the revival of two infrequently performed dances from its historical repertoire. This noteworthy series of performances represents the company’s most ambitious reconstruction endeavor to date, focusing on bringing Tablet, a work from 1960, and Churchyard, from 1969, back to the stage after several decades.

The program is further enriched by the inclusion of three enduring masterworks by the iconic Paul Taylor: Cloven Kingdom (1976), Polaris (1976), and the celebrated Esplanade (1975), which continues its 50th-anniversary commemoration.

This significant reconstruction effort is under the guidance of Artistic Director Michael Novak, who is collaborating with a distinguished team of artists closely associated with Taylor’s work. This team includes Rehearsal Director Bettie de Jong, Director of Education Carolyn Adams, and Nicolas Gunn, who were original cast members in Churchyard. Their firsthand experience and deep historical understanding of these pieces are proving invaluable. They are joined by Rehearsal Director Cathy McCann, Director of Licensing Richard Chen See, and current Company member Madelyn Ho, M.D., who is providing assistance in the studio. This intergenerational collaboration is dedicated to imbuing these rarely seen works with renewed vitality, approaching the task with meticulous care, integrity, and profound artistic insight.

Artistic Director Michael Novak has conveyed that these works were pioneering at their premiere and maintain their relevance today. The process of reconstructing them has been described as a profound exploration, revealing the extensive scope of Taylor’s creative genius and his remarkable capacity to mirror the human condition across different eras. The intention is to introduce these significant dances to a new generation of audiences in an intimate theatrical setting that captures the power they held at their inception.

The engagement will present two distinct programs for theatergoers. Program I will feature Polaris, Tablet, and Cloven Kingdom. Program II will showcase Tablet, Churchyard, and Esplanade. Each program is designed to highlight Paul Taylor’s renowned versatility and the exceptional range and artistry of the Company, from the incisive wit of Cloven Kingdom and the perceptual challenges of Polaris to the radiant physicality of Esplanade.

About the Works:

Tablet (1960) is an early duet characterized by an archaic, courtship-like sensibility, filled with inventiveness and a playful spirit. The piece features original design by the visual artist Ellsworth Kelly and a score by David Hollister. Churchyard (1969), set to medieval-inspired music by Cosmos Savage, unfolds in two evocative sections titled “Sacred” and “Profane.” The dance juxtaposes formal, angelic movements with a more grotesque and angular vocabulary, creating a world shaped by themes of faith, mortality, and the continuous cycle of life and death. Cloven Kingdom (1976) is a sharp comedy of manners that delves into the dualities of human nature—exploring the interplay between refinement and instinct, civility and underlying chaos. Presented with sleek tuxedos, glittering gowns, and surreal headpieces, the dance occurs in a realm of elegant absurdity, set to a score blending Baroque music with propulsive percussion. It remains one of Taylor’s most theatrical and visually striking creations. Polaris (1976) challenges and explores the nature of perception in one of Paul Taylor’s most abstract compositions. Dancers interact within and around a large metallic cube designed by Alex Katz, accompanied by music from Donald York. Although the choreography of the first section is precisely replicated in the second, alterations in music and lighting create the illusion of changed movement. Esplanade (1975), now celebrating its 50th Anniversary, is a revolutionary work constructed from pedestrian movements such as walking, running, leaping, and falling. It transforms everyday actions into a transcendent expression of joy and vulnerability.

Performance Schedule & Programs:

Program I: Polaris, Tablet, Cloven Kingdom

Tuesday, June 17 at 7:30 p.m.Thursday, June 19 at 7:30 p.m.Saturday, June 21 at 2:00 p.m.Sunday, June 22 at 2:00 p.m.

Program II: Tablet, Churchyard, Esplanade

Wednesday, June 18 at 7:30 p.m.Friday, June 20 at 7:30 p.m.Saturday, June 21 at 7:30 p.m.

A post-show “Curtain Chat” hosted by Linda Murray with Artistic Director Michael Novak will follow the performance on June 18.

Tickets for this special engagement start at $27. The performances will take place at The Joyce Theater, located at 175 Eighth Avenue at 19th Street in New York City. Tickets can be purchased online or by calling JoyceCharge at (212) 242-0800, or by visiting the box office. The engagement runs from June 17–22, 2025.

Netflix Launches ‘Newly Rich, Newly Poor’: A Switched-at-Birth Tale Starring Variel Sánchez and Juan Manuel Guilera

Get ready for a dramatic life swap, as the highly anticipated Colombian series, ‘Newly Rich, Newly Poor,’ has just landed on Netflix. Available for streaming today, this vibrant dramedy reimagines the classic “switched-at-birth” storyline, promising a rollercoaster of emotions, laughter, and life lessons. Starring Variel Sánchez and Juan Manuel Guilera, the series delves into the chaotic aftermath of a decades-old secret: two men, one raised in luxury and the other in hardship, discover they were exchanged at birth and must now navigate each other’s radically different lives.

This modern reboot, produced by Caracol Televisión, takes a classic “what if?” scenario and infuses it with a contemporary twist: “A wealthy businessman and a working-class dreamer discover they were switched at birth. Now, they must trade lives to learn what truly matters.” Yes, it’s the age-old story with its good and bad parts: it won’t surprise anyone, but it also offers that comforting familiarity found in well-known, and perhaps, predictable narratives.

Newly Rich, Newly Poor

Fortunes Reversed: What is ‘Newly Rich, Newly Poor’ About?

At the heart of ‘Newly Rich, Newly Poor’ is a life-altering revelation born from a regrettable mistake. Thirty years ago, in a San Francisco hospital, a nurse, allegedly intoxicated while on duty, switched two newborns. This single error set two lives on wildly divergent paths. Andrés Ferreira was raised in the lap of luxury, accustomed to privilege and wealth, while Brayan Galindo Romero grew up with modest means, understanding the daily struggles of a working-class life.

When the truth finally surfaces three decades later, their worlds are violently upended. Andrés loses everything he believed was his, forced to confront a reality of poverty he never imagined. Conversely, Brayan is catapulted into a life of opulence and corporate power he never knew was his birthright. This dramatic exchange isn’t just about changing addresses and bank accounts; it ignites a “bitter rivalry” between the two men as they grapple with their new identities, their biological families, and the societal expectations that come with their reversed fortunes. The narrative leads us through a cascade of “hilarious situations” as they stumble through unfamiliar territories, alongside poignant drama as relationships are tested and new, unexpected romances blossom.

The Cast of ‘Newly Rich, Newly Poor’

At the core of this life-swapping saga are two accomplished actors, Variel Sánchez and Juan Manuel Guilera, tasked with portraying the men whose destinies are irrevocably intertwined.

Variel Sánchez steps into the shoes of Brayan Galindo Romero, the man who inherits a fortune and a bewilderingly luxurious new life. Sánchez is a familiar face in Colombian television, known for his compelling performances in series like ‘A Mano Limpia,’ where he played Vicente Guerra, and for his award-winning supporting role as Víctor Manjarrés in ‘The Girl’ (La Niña). His filmography also includes ‘Crazy About You’ (Loquito por ti) and ‘El Barón.’ As Brayan, Sánchez will navigate the often comical, sometimes perilous, journey of adapting to sudden wealth and the complex dynamics of an unfamiliar family.

Juan Manuel Guilera portrays Andrés Ferreira, the man stripped of his affluent upbringing and forced to adapt to a life of modesty. Guilera, an Argentine actor, brings a wealth of experience from various Latin American productions. Audiences may recognize him from his early role in ‘Rebelde Way,’ or more recent series like ‘Millennials,’ ‘Miss Adrenaline: A Tale of Twins’ (Romina Poderosa), and ‘Rojo Carmesí.’ Guilera’s portrayal of Andrés will likely explore the emotional toll of losing one’s identity and status, and the challenging path to personal reinvention.

The narrative is further enriched by a strong supporting cast. Lina Tejeiro plays Rosmery Peláez, and Laura Barjum takes on the role of Fernanda Sanmiguel. These characters are poised to become pivotal figures in Andrés’ and Brayan’s new lives, entangled in the romantic and conflicting currents that arise from the upheaval. Will Rosmery find herself caught between the two men? Fernanda might be a more ambitious figure, potentially driven by the allure of wealth. Indeed, the 2025 series’ plot indicates Rosmery becomes involved with Andrés after Brayan’s infidelity with Fernanda, who in turn is revealed to be manipulative and allied with an antagonist.

That antagonist appears to be Mateo López Ferreira, played by Ricardo Mejía. In telenovelas, such characters often serve as catalysts for conflict, and Mateo is expected to significantly complicate matters, possibly through schemes aimed at securing wealth or power, echoing the role of a similarly named character in the original story who plotted against Brayan. The casting of actors like Sánchez and Guilera, who have significant track records in Latin American television, signals a commitment to a high-quality production.

A Beloved Colombian Classic Reimagined for a Global Netflix Stage

‘Newly Rich, Newly Poor’ is not an entirely new concept; it’s a fresh take on the Colombian telenovela of the same name, which originally aired between 2007 and 2008. The original series was a significant hit, described as a “smash success” that captivated audiences in Colombia and was subsequently sold to over 100 territories, even inspiring remakes in other countries. This established legacy provides a strong foundation for Netflix’s 2025 adaptation.

A crucial link between the original and the reboot is Jörg Hiller, the writer-creator behind both versions. Hiller’s involvement is a promising indicator for both fans of the original and new viewers, suggesting the reboot will capture the spirit of the classic while updating it for contemporary sensibilities.

The production is helmed by Caracol Televisión, a powerhouse in Colombian media, known for a vast catalog of successful shows. Directing duties are shared by Rodrigo Triana and Juan Carlos Vásquez, who have considerable experience in Colombian television and film. Triana is known for works like ‘Passion of Hawks’ (Pasión de Gavilanes) and ‘Like the Cat and the Mouse’ (Como el gato y el ratón), while Vásquez has directed projects such as ‘Surviving Escobar: Alias JJ’ (Alias JJ) and ‘Emeralds’ (Esmeraldas).

Netflix’s collaboration with a prominent local producer like Caracol Televisión on a reboot of a nationally beloved and internationally proven hit is a clear example of its “glocal” content strategy. This approach leverages local expertise, known intellectual property, and established talent to create content that resonates deeply within its home country while also possessing themes and narrative elements that can appeal to a global audience. The original series’ extensive international sales already demonstrated the cross-cultural appeal of its core premise—switched identities, class clashes, and romantic dramedy—thus providing a degree of built-in assurance for this new global streaming venture.

The series represents a confluence of several significant trends in global entertainment: the proven power of the telenovela format to captivate audiences long-term, Netflix’s strategic expansion and investment in diverse international content, and the growing global appetite for stories that offer unique cultural perspectives. As Andrés Ferreira and Brayan Galindo navigate their swapped lives, viewers are invited on a journey that promises not only entertainment but also a reflection on the unpredictable nature of fate and the true meaning of wealth and happiness. ‘Newly Rich, Newly Poor’ is poised to be a delightful and thought-provoking addition to the international streaming landscape.

Where to Watch “Newly Rich, Newly Poor”

Netflix

Netflix’s “Sneaky Links: Dating After Dark”: Can Your Secret Fling Become True Love?

The world of dating reality shows gets a provocative new addition today with Netflix’s premiere of the ten-episode series, “Sneaky Links: Dating After Dark.” The show dives headfirst into the murky waters of modern hookup culture, posing a tantalizing question: can the person you secretly and casually sleep with actually be “the one”? Described by Netflix itself as a “bold new reality series” and a “one-of-a-kind dating experiment,” “Sneaky Links: Dating After Dark” aims to explore whether these clandestine encounters can blossom into genuine, lasting love or if they’re merely a roadblock on the path to finding it.

“Sneaky Links: Dating After Dark” signals a departure from more traditional dating show formats, promising a viewing experience that is intentionally “messier” and perhaps more reflective of the complexities of casual encounters in today’s world.

When Your Past Hookups Crash the Party

The drama kicks off when six “sexy singles” check into a motel, seeking a fresh start in their quest for love. Their expectations are quickly upended by the surprise arrival of their “casual flings”—individuals with whom they share a history of casual, often secret, sexual encounters, also described as “long-term flings” or “situationships: someone they casually and secretly sleep with,” or more bluntly by host Chloe Veitch as “a guaranteed quickie… and they’re scared of the ‘c’ word: commitment.”

This setup immediately plunges contestants and viewers into a complex emotional landscape. These aren’t strangers meeting for the first time; they are individuals with established physical connections and, potentially, unacknowledged feelings or unresolved issues. The experiment’s core objective is to determine if these primarily physical relationships have the potential to evolve into “lasting love” or if they are, in fact, hindering the participants’ ability to find more meaningful connections. The central question echoes through the neon-lit hallways of the motel: Is your 1 a.m. booty call “the one,” or just a “true love roadblock”?

Living under one roof, the contestants and their “sneaky links” will navigate “three thrilling phases, each designed to challenge the rules” of their casual arrangements, engaging in “daring challenges and fun dates.” Ultimately, each participant must decide whether to deepen their bond with their existing “casual fling,” explore new romantic possibilities with other singles at the motel, or leave the experiment alone. The show’s structure, by forcing these private dynamics into a public and competitive forum, inherently creates a high-stakes environment where unspoken complexities and suppressed emotions are likely to surface dramatically. The choice of a motel as the setting is also thematically significant, often culturally associated with transience, secrecy, and illicit encounters, reinforcing the “sneaky” nature of the relationships under scrutiny and contrasting sharply with the show’s pursuit of “true love.”

Sneaky Links Dating After Dark

Navigating the Chaos with Chloe and Spicy Mari

Guiding this emotional rollercoaster are two key figures: host Chloe Veitch and relationship expert Spicy Mari. Chloe Veitch is no stranger to the Netflix Reality Universe (NRU), having made memorable appearances on Too Hot To Handle Season 1, The Circle Season 2, and Perfect Match Season 1. Her extensive experience in the dating reality show scene is expected to bring “charm, relatability, and a whole lot of cheekiness” to her hosting duties. Veitch herself has expressed enthusiasm for the concept, stating, “99.9% of [my] generation has had a situationship and will absolutely love the concept and the twists…” and hopes the show will help turn “these sexy kittens from sneaky disasters to relationship masters.”

Joining Veitch is Mari Wiles, known professionally as Spicy Mari, the founder of the relationship consulting firm “The Spicy Life.” Her role is to provide “grounded insights into what truly makes a relationship work, beyond lust,” adding a layer of “depth and vulnerability” to the proceedings. Spicy Mari, whose philosophy centers on her S.P.I.C.Y. Foundations (Self, Passion, Intimacy, Communication, and learning to say “Yes”) for building healthy relationships, will offer advice and observations during regular “Link Lowdown” meetings with the contestants.

The combination of a reality TV veteran like Veitch, who understands the mechanics of entertainment, and a professional relationship counselor like Spicy Mari, who offers a therapeutic perspective, is strategic. It allows the show to delve into provocative territory while simultaneously claiming to offer a genuine exploration of relationships. This appeals to viewers who crave both dramatic spectacle and the sense that they are observing something with psychological or social relevance. However, Spicy Mari’s role extends beyond mere commentary; reports suggest she may have a hand in deciding when a contestant “has gotten all they can out of this experiment” and must leave the motel. This elevates her to an active agent in shaping the narrative, potentially blurring the lines between expert guidance and production-driven decisions to heighten drama or steer outcomes.

The Contestants: A Tangled Web of “Not-So-Single” Individuals

The series kicks off with a group of “not-so-single people,” individuals who arrive ostensibly looking for new connections but are quickly confronted by the people with whom they already share a casual physical history. This initial cast includes a diverse mix of professions and personalities, such as Angelique, a 30-year-old law student; Brandon Limeres, a 27-year-old nightclub owner; Avery Wadbrook, a 26-year-old tech recruiter; Colt Fason, a 32-year-old sales consultant and model; and Manny, a 26-year-old travel nurse who also identifies as a comedian.

Immediate tension arises from these pre-existing, often undefined relationships. The show’s casting strategy, by design, bypasses the slower initial “getting to know you” phase common in many dating shows, thrusting participants and viewers directly into emotionally charged territory. This acceleration of intimacy and potential conflict is a key component of the show’s dynamic. Furthermore, the premise is likely to attract individuals already comfortable with or accustomed to casual relationship styles, potentially leading to more candid conversations about sex and commitment, but also a higher potential for explosive disagreements as differing expectations collide. To stir the pot further, the show hints at “some late arrivals” who will undoubtedly introduce new drama and complicate existing dynamics.

What Makes “Sneaky Links: Dating After Dark” Stand Out in a Crowded Field?

In a saturated market of dating reality shows, “Sneaky Links: Dating After Dark” aims to carve out its own niche. Its most significant differentiator is its direct confrontation with modern hookup culture. While shows like Love Is Blind ask if emotional connection can precede physical intimacy, “Sneaky Links: Dating After Dark” flips the script, questioning whether established physical connections can evolve into something deeper: “can a one-night stand turn into the real thing?”

This approach means that, unlike Too Hot To Handle where physical intimacy is penalized, hookups on “Sneaky Links: Dating After Dark” are not only allowed but seemingly encouraged as part of the “experiment.” Some commentators have even suggested the premise is “Temptation Island, but even riskier,” due to the pre-existing emotional baggage and sexual history the contestants bring with them.

Several unique format elements are designed to amplify the drama. “Late-night phone privileges” allow contestants to call anyone else in the motel for a nocturnal rendezvous, a feature explicitly designed to test boundaries and loyalties. Regular “Link Lowdown” meetings with Chloe Veitch and Spicy Mari serve as checkpoints for contestants to discuss their progress and confront hard truths, potentially culminating in the hosts deciding it’s time for a participant to leave the motel. This expert-guided elimination process suggests a more curated narrative than a purely observational social experiment, likely intended to maximize dramatic output and ensure viewer engagement by removing less dynamic participants or escalating simmering conflicts.

Ultimately, Netflix appears to be building a diverse portfolio of dating shows, each exploring different facets of modern relationships. “Sneaky Links: Dating After Dark” fills the niche that directly addresses casual sex and its potential for deeper connection, distinguishing itself from shows focused on emotional bonding before physical intimacy (Love Is Blind), forced celibacy (Too Hot To Handle), or commitment ultimatums (The Ultimatum).

Will There Be Sex?

We’ll be a bit tongue-in-cheek here: given the premise, the big question on everyone’s mind is, will the contestants have sex? It’s a huge mystery, dear reader. Take one look at the attractive cast (both men and women), and your answer will surely be the same as mine: definitely, there will be sex.

Enjoy the show.

How to Watch “Sneaky Links: Dating After Dark”

All 10 episodes of Season 1 of “Sneaky Links: Dating After Dark” are available to stream exclusively on Netflix worldwide, starting today. Viewers can now dive into what promises to be a binge-worthy and conversation-starting series.

Will these “sneaky links” find lasting love, or will they just prove that some connections are best left in the DMs? The motel is now open for check-ins, and the drama is just beginning.

Gabry Ponte and Train Unite for Genre-Bending Single ‘Brokenhearted’

In a bold move that showcases the limitless nature of artistic expression, two powerhouses from distinct musical realms, Gabry Ponte and Train, have merged their unique talents. The result is “Brokenhearted,” a track that seamlessly blends the signature sounds of both artists into an innovative and captivating listening experience.

The song immediately draws listeners in with Train’s hallmark toe-tapping acoustic rhythm. The instantly recognizable and warm vocal tones of lead singer Pat Monahan expertly convey the heartfelt narrative of the track. However, the emotional landscape quickly evolves as Gabry Ponte’s masterful production takes center stage. A pulsating kick drum injects a vibrant energy, elevating the tempo. This is intricately woven with illuminating synths and sparkling electro effects, culminating in a sophisticated and contemporary dance-rock fusion.

Gabry Ponte, one of Italy’s most prominent musical exports, has enjoyed an illustrious career. Many will remember his foundational work with Eiffel 65, where he co-produced the global mega-hit “Blue (Da Ba Dee).” His innovative spirit continues to drive his success.

Since their formation, the internationally acclaimed, diamond-selling band Train has captivated audiences worldwide. Their signature blend of rock and pop, characterized by infectious melodies and heartfelt lyrics, has produced a critically acclaimed catalog of chart-topping smash hits. Anthems like “Drops of Jupiter,” “Hey, Soul Sister,” and “Drive By” have solidified their place in modern music history, leading to sales of over 10 million albums and 30 million tracks worldwide. The band boasts an impressive 14 songs on Billboard’s Hot 100 chart and 13 albums on the Billboard 200 chart, earning them multiple platinum and gold certifications, three GRAMMY Awards, two Billboard Music Awards, and numerous other honors.

This collaboration marks a significant moment for both artists. For Gabry Ponte, this year is shaping up to be monumental, having recently led San Marino to the grand final of the Eurovision Song Contest. He also achieved the immense accolade of becoming the first DJ to headline Milan’s renowned San Siro Stadium, selling out all 55,000 tickets months in advance for the performance scheduled for June 28, 2025. Train was formed in 1994. The single ‘Brokenhearted’ is available now.

Sarah Silverman: Postmortem on Netflix: A Stand-Up About Life and Death

Sarah Silverman, a comedian long recognized for her bold and often provocative social commentary, is set to release her latest stand-up special, “Sarah Silverman: Postmortem.” This marks her second original offering for the streaming giant, following the critically acclaimed “A Speck of Dust” in 2017. However, “Postmortem” delves into deeply personal territory, as its central and inescapable theme is Silverman’s comedic navigation through immense personal tragedy: the recent deaths of both her parents. Her father, Donald, and stepmother, Janice, passed away just nine days apart in May 2023.

The immediacy of this grief, tackled so publicly and comedically within a relatively short timeframe—the special was filmed during her 2024 tour—imbues the project with palpable risk and the potential for profound poignancy.

“Postmortem”: Finding Humor in the Unthinkable

The special aims to find humor in the universal, yet uniquely personal, process of grieving, exploring the absurdity of mourning, death, and the strange business of saying goodbye. Viewers can expect Silverman to tackle specific, often uncomfortable, moments with her “signature wit and fearless honesty.” Teased anecdotes include the surreal experience of navigating funeral home offerings—where she reportedly stumbled upon “the deal of a lifetime”—cherishing her mother’s last words, the peculiarities of deathbed TV show binges, and even an ill-timed fart.

The official tagline, “Grief has never been so funny,” boldly underscores the special’s “darkly hilarious” tone, promising an hour that seeks to transform loss into laughter without sacrificing emotional depth. The material is consistently described as “deeply personal,” “raw,” and “vulnerable,” inviting audiences into a significant and formative chapter of Silverman’s life. One source notes, “Out of that grief comes ‘Postmortem,’ a raw, funny, and profoundly human exploration of love, death, and memory.”

Silverman’s comedic lens often focuses on the practical, awkward, and sometimes bizarre minutiae accompanying loss—like funeral planning or unexpected bodily functions—rather than grand philosophical meditations on mortality. This approach grounds the universal experience of grief in relatable, often uncomfortable, details. It’s from these everyday encounters with the machinery of death that much of the “darkly hilarious” humor likely originates, making the profound subject matter more accessible by highlighting its inherent, often unacknowledged, absurdities. Furthermore, by joking about finding a “deal” on funeral arrangements or other irreverent observations, Silverman challenges the traditionally somber reverence surrounding death rituals. This isn’t merely finding humor in grief, but rather using humor to puncture the societal rituals and expectations that often accompany it, offering a commentary on our collective discomfort with death and providing an outlet for unconventional thoughts.

Sarah Silverman Postmortem

Silverman’s Evolution

Sarah Silverman carved out a niche in the comedy world with a style characterized by off-color comedy, dark humor, political satire, and a willingness to tackle social taboos head-on. She often adopted the persona of a “self-centered, clueless, or even cruel white woman” to satirize issues like racism and sexism, with her infamous joke, “I was raped by a doctor, which is so bittersweet for a Jewish girl,” exemplifying her sharp, concise, and shocking joke-craft.

However, a discernible shift towards more conversational, self-aware, and authentic material has been evident since her 2013 HBO special “We Are Miracles,” and became particularly pronounced in her 2017 Netflix special, “A Speck of Dust.” In “A Speck of Dust,” critics noted a “more conversational vibe,” an increase in self-commentary, and the sense that Silverman was “just being herself” on stage.

“Postmortem” appears as a significant, if not culminating, point in this evolution. Here, the personal is not merely a topic, but the very core and driving force of the comedy.

Creating “Postmortem”: Behind the Scenes

Sarah Silverman’s deep personal connection to “Postmortem” is underscored by her profound involvement in its creation. She is not only the star but also the director and executive producer, working alongside longtime collaborators Amy Zvi and John Skidmore under their Best Kept Secret Productions banner. This level of control ensures the special remains a faithful representation of her vision.

The special was filmed at New York City’s historic Beacon Theatre, a venue whose intimate yet grand atmosphere may well mirror the special’s delicate balance of personal reflection and public performance. The genesis of the material is as raw and immediate as the grief it explores. Silverman has openly stated that some of the content was “stolen from my eulogy at my dad’s funeral.” During her parents’ final days, she was living in their apartment caring for them, an experience that gave her a “front-row seat to the weird, mundane, and even funny moments surrounding death.” This rapid transformation of raw grief into structured comedic material suggests an urgent need to articulate and frame these experiences, characteristic of how many artists process trauma or significant life events. The special, therefore, becomes more than just entertainment; it’s a public act of personal meaning-making.

Her decision to direct such a deeply personal special herself is significant. It ensures her unique vision and delicate emotional intent are preserved, free from external interpretations that might dilute or misrepresent her profoundly personal journey. This suggests a desire to present her story on her own terms, unfiltered, which is crucial given the subject matter, promising a very pure distillation of her experience and comedic perspective.

The Catharsis and Challenge of Dark Comedy

“Postmortem” is poised to walk the fine line between “heartbreak and hilarity,” offering what is described as a “cathartic and deeply human experience.” However, the journey to this catharsis is not without its challenges, as evidenced by reactions to Silverman’s “Postmortem” tour. Some audience members found the material “morbid and almost sad” and “heartbreaking,” even while acknowledging it was “earnest” and “funny.”

This divergence in audience reaction highlights that humor centered on recent, personal grief is intensely subjective. Its reception often depends on an individual’s own experiences with loss, their comfort levels with mortality, and their preconceived notions of what a comedy show should deliver.

Silverman herself is keenly aware of the provocative nature of her subject matter. She incorporates meta-jokes about the situation, quipping that her parents gave her “about an hour of new material” and that she feels they “would want me to monetize this.” This self-referential humor, a hallmark of her later comedic style, serves as a preemptive acknowledgment of potential criticism. By addressing the potentially awkward or cynical interpretation of her actions head-on, she disarms it with humor, simultaneously inviting the audience to consider the complex interplay between art, commerce, and personal tragedy. It’s a move that makes the audience complicit, in a way, by laughing along with the uncomfortable truth. Despite the darkness, Silverman also expressed her belief that her “dad and Janice would have loved it.”

Beyond its impact on Silverman’s career, “Postmortem” serves as a cultural artifact reflecting comedy’s unique ability to broach taboo subjects, reshape them through the art of storytelling, and offer a communal space for audiences to laugh, reflect, and even heal. By bringing such a personal and often private experience as parental grief into a public and comedic forum, Silverman contributes to the normalization of conversations around death and loss. In doing so, she may make it easier for others to acknowledge and share their own experiences, demonstrating that even in profound sadness, laughter, connection, and a path toward healing are possible.

Where to watch “Sarah Silverman: Postmortem”

Netflix

Sweat Variant to Unveil “my tongue is a blade,” An Immersive Performance Exploring Connection and Endurance

The acclaimed Brooklyn-based duo Okwui Okpokwasili and Peter Born will bring their experimental and formally inventive work to Dublin’s Irish Museum of Modern Art, promising a profound exploration of relation, memory, and the limits of attention.

The world of contemporary performance is set to witness a compelling new work as Sweat Variant, the collaborative powerhouse of Okwui Okpokwasili and Peter Born, prepares to present “my tongue is a blade.” This durational performance installation will unfold within the historic Baroque Chapel at the Irish Museum of Modern Art (IMMA) in Dublin, offering audiences a unique and immersive experience.

“my tongue is a blade” is conceived as a three-hour movement practice that delves into the intricate tapestries of relation, memory, and reflection. The piece poses a fundamental question: What are the limits of our attention, and how do these boundaries test the strength of our human bonds? Audiences will be invited to witness three performers—Okwui Okpokwasili herself, alongside Bria Bacon, recently seen in Sweat Variant’s “let slip, hold sway” at the Whitney Museum in New York City, and Dublin-based artist Alessandra Azeviche—as they commit to a profound act of mutual remembrance, support, and sustenance of the world they collectively inhabit. The performance promises a rich visual and sonic landscape, encouraging viewers to not just observe but to resonate within the unfolding practice.

This new work continues the exploration of embodied inheritance, a theme central to Sweat Variant’s celebrated pieces such as “let slip, hold sway” and the “adaku” trilogy. Characterized by a confluence of middles and beginnings but notably without a definitive end, “my tongue is a blade” features a movement that evolves and differentiates across the bodies of its performers.

Sweat Variant, the artistic union of Okwui Okpokwasili and Peter Born, has been a significant force at the intersection of dance, theater, and visual art since 1996. Their work is distinguished by its challenging and rigorous nature, often reaffirming marginalized perspectives as central through an intense exploration of Black interiority. Okpokwasili and Born are driven by the desire to construct a “spectacle of radical intimacy,” where the mutual gaze between performer and audience is acknowledged and explored. They craft gestural vocabularies and narrative frameworks that grapple with the complexities of memory and the inherent instability in constructing a persona. Their ultimate hope is to activate a space of wonderment, uncertainty, and mystery, allowing for a renewed perception of one another.

Okwui Okpokwasili is a highly acclaimed performing artist, choreographer, and writer. The daughter of Nigerian immigrants, raised in the Bronx, her personal histories and the narratives of the women inhabiting these spaces are prominent in her multidisciplinary pieces. Her experimental productions, including the Bessie Award-winning “Pent-up: A Revenge Dance” and “Bronx Gothic,” have garnered widespread recognition. Okpokwasili is the recipient of numerous prestigious awards, including a MacArthur Fellowship, a Doris Duke Artist Award, and a 2025 Art Award from the American Academy of Arts and Letters.

Peter Born, working as a director, composer, and designer, is integral to Sweat Variant’s creative output. His collaborations with Okpokwasili have resulted in numerous acclaimed installations and performances, with their work appearing in esteemed venues such as the Berlin Biennale and the Tate Modern. Born’s artistic contributions have also earned multiple New York Dance Performance (Bessie) Awards.

The presentation of “my tongue is a blade” at IMMA is supported by the Sam Gilliam Foundation. This support coincides with IMMA’s landmark solo exhibition of the pioneering abstract artist Sam Gilliam (1933-2022), titled “Sam Gilliam: Sewing Fields,” marking the first such exhibition of his work in Ireland. The foundation carries forward Gilliam’s legacy by supporting visual artists who push boundaries and engage with pressing contemporary issues.

IMMA stands as Ireland’s National Cultural Institution for Modern and Contemporary Art. It boasts a diverse and ambitious program of exhibitions, commissions, and projects by leading Irish and international artists, alongside rich engagement and learning initiatives. Home to the National Collection of Modern and Contemporary Art, IMMA is situated at the Royal Hospital Kilmainham, one of Ireland’s most historic sites.

The performances of “my tongue is a blade” are scheduled to take place from 2:00 PM to 5:00 PM on Saturday, June 14, and Sunday, June 15, 2025. This information was announced from New York on May 15, 2025.

Sweat Variant, let slip, hold sway, pictured Kris Lee and Bria Bacon, photo by Maria Baranova-1030 copy (1)