Plot: Retired professor Charles feels life has nothing new in store for him. A year after his wife’s passing, he’s become stuck in his routine and grown distant from his daughter Emily. But when he spies a classified ad from private investigator Julie, he’s inspired to roll the dice on a new adventure. Charles’ mission: to go undercover inside the Pacific View Retirement Home in San Francisco and solve the mystery of a stolen family heirloom.
Review: Michael Schur’s track record should speak for itself. After writing memorable episodes of The Office, Schur went on to co-create both Parks & Recreation and Brooklyn Nine-Nine and created the brilliant The Good Place. Ted Danson, who starred in The Good Place, has reunited with Schur for the new series A Man On The Inside, which mines similar comedic elements for a shorter, more focused series that blends humor and mystery into a heartfelt story of what the lives of senior citizens are like. Inspired by a true story, A Man On The Inside is a sweet and funny series with a solid ensemble embarking on a unique whodunit that is enjoyable for all ages.
Ted Danson leads the series as Charles, a retired professor of engineering who putters around his home after the passing of his wife a year earlier. He has a strained relationship with his daughter Emily (Mary Elizabeth Ellis), who suggests that her father find a hobby to fill his days. Charles answers a want ad placed by private investigator Julie Kovalenko (Lilah Richcreek Estrada), who is trying to figure out who stole a necklace in a retirement community. Charles goes undercover as a new resident in the community to investigate, which sets up all sorts of hijinks and scenarios. Over the course of the eight-episode series, Charles eliminates some suspects while uncovering others as he tries to solve the crime without exposing his true identity. This involves the septuagenarian struggling to keep a low profile despite the high school-esque atmosphere of the old folks home.
Each half-hour episode poses a new wrinkle, clue, or red herring as Charles tries to befriend various residents, including women pursuing him romantically like Virginia (Sally Struthers), threatened competition like Elliott (John Getz), and an unassuming new friend like Calbert (Stephen McKinley Henderson). Charles must also try to keep in the good graces of Didi (Stephanie Beatriz), the kind facility manager. As Charles’ investigation runs into potential suspects ranging from residents to staff, he must also try to keep his relationship with Emily strong as she contends with her own family struggles at home with her husband Joel (Eugene Cordero) and their three teenage sons. What starts as a distraction for Charles from his own lonely life as a widower soon turns into happiness and joy at being surrounded by other people looking for the same things in life that he is. That also means there is an opportunity for some fun when he realizes how people his age still get frisky, drink heavily, and do some drugs as well.
Ted Danson has long played a much different kind of leading man, returning to his days on Cheers and in films like Three Men and a Baby. Over the last decade, Danson has expanded his comedic talents in both The Good Place and as a fictionalized version of himself in Curb Your Enthusiasm. Embracing his age and his white hair, Danson is a sympathetic and likable lead. He is something of a nerd having fun playing spy, which makes for some wholesome humor throughout A Man On The Inside. There are supporting performances from Mike Schur’s prior cast, including Stephanie Beatriz, who plays a far different role than she did on Brooklyn Nine-Nine. There is also a brief appearance by D’Arcy Carden and some other fun connections to Schur’s earlier series. So much of this show benefits from the older cast, which you will likely have seen many times before in supporting roles, like Margaret Avery, Susan Ruttan, Lori Tan Chinn, and Clyde Kusatsu.
Mike Schur wrote and directed several episodes of A Man On The Inside based on the documentary The Mole Agent. That film, directed by Maite Alberdi, was nominated for an Academy Award when it was released in 2020 when Schur was given the idea to adapt the film as a series by Morgan Sackett. Sackett directed multiple episodes of A Man On The Inside, which has a lot of fun with the concept. Airing on Netflix, the series does not need to abide by network television restrictions but still manages to keep things pretty clean. The series’ aesthetic is bright and glossy, like The Good Place and Brooklyn Nine-Nine, but also shares some of the slightly darker humor of Only Murders In The Building, another series about seniors playing amateur sleuths. What sets this series apart from the Hulu show is its brighter tone and heart, which is not about death despite being with a cast all in the later years of their lives.
A Man On The Inside will not raise the bar for small-screen comedy, but it has a strong sense of humor and a solid heart. The series made me smile constantly at the sweet characters, even if none of the humor really delivers anything we have not seen before. Ted Danson, Mary Elizabeth Ellis, Stephanie Beatriz, and the entire ensemble brought this story to life, making me grin. Nothing will blow people away about this show, nor does it stand out like Schur’s prior shows, but A Man On The Inside is a feel-good show with feel-good characters that is an enjoyable and quick binge. I look forward to returning to this series for a second season and more.
A Man On The Inside premieres on November 21st on Netflix.
In the chronicles of American cinema, Denzel Washington (who we recently interviewed) stands as a singular force. His body of work represents not just artistic excellence but a fundamental reshaping of what stardom means in Hollywood. Each performance bears his unmistakable signature – a blend of intellectual rigor and emotional truth that has become the gold standard for screen acting.
Washington’s command of his acting instrument sets him apart from his contemporaries. His approach to character isn’t about transformation so much as revelation – peeling back layers to expose fundamental truths about human nature. Where other actors might rely on external changes, Washington works from the inside out, building characters whose inner lives radiate through every gesture, every measured pause, every calculated glance.
The foundation of his artistic journey was built on theater training and a methodical approach to craft. Early television work on St. Elsewhere revealed glimpses of his potential, but it was his supporting role in Cry Freedom that announced the arrival of a formidable dramatic talent. The Oscar nomination that followed marked him as an actor to watch, but no one could have predicted the heights he would reach. Except for maybe the man himself.
Glory proved transformative – not just for Washington, who won his first Academy Award for the role, but for Hollywood’s perception of what a supporting performance could accomplish. As Private Trip, he created a character of such complexity and emotional depth that he commanded attention in every scene, demonstrating how a relatively brief screen time could leave an indelible mark on cinema history.
The 1990s established Washington as an actor who could carry nearly any genre (even if he slammed some of his choices from this period). His portrayal of Malcolm X stands as one of the great achievements in biographical filmmaking – a performance that captures not just the historical figure’s public persona but his personal evolution. This role exemplified Washington’s ability to inhabit a character so completely that the line between actor and subject seems to dissolve.
His work during this period showcased a remarkable range. In Devil in a Blue Dress, he brought noir detective Easy Rawlins to vivid life. Crimson Tide showed audiences that he’s a master of creating tension through verbal sparring rather than physical action. He Got Game revealed his gift for exploring complex father-son dynamics. Each role added new dimensions to his artistic palette. He also dipped his toe into action with movies like Ricochet and Virtuosity.
The turn of the millennium saw Washington take his artistry to new heights. His Oscar-winning performance in Training Day redefined what a villain could be in modern cinema. Detective Alonzo Harris emerged as a complex study in corruption, power, and moral decay – frightening not for his physical menace but for the way he embodied institutional rot and personal betrayal.
Washington’s evolution as a filmmaker marks another chapter in his artistic journey. Behind the camera, he brings the same meticulous attention to detail that characterizes his acting. Antwone Fisher announced him as a director of unique sensitivity, particularly in handling personal stories of trauma and healing. The Great Debaters confirmed his skill at orchestrating ensemble performances while tackling significant historical themes.
His performance style showcases a rare mastery of technical and emotional elements. Washington understands the camera intimately – how to modulate his energy for different shot sizes, how to use stillness effectively, and how to maximize the impact of both dialogue and silence. Yet this technical precision never comes at the expense of emotional authenticity.
Throughout his filmography, Washington has displayed admirable discernment in project selection. His filmography reveals a preference for roles that examine moral complexity, social justice, and personal redemption. Even in more commercial ventures (I like to call them popcorn movies), he finds ways to infuse characters with psychological depth and societal relevance.
The consistency of his excellence is worth talking about. While many actors experience significant peaks and valleys, Washington maintains a remarkably high standard across decades. His performances in films like Flight, Fences, and Roman J. Israel, Esq. – each earning Oscar nominations – evidence his continued commitment to finding new aspects of his talent to explore.
Washington’s technique rewards close study. His control of vocal dynamics – the way he can shift from whispered intensity to thunderous proclamation while maintaining character truth – sets him apart. His physical choices are equally precise, whether in the military bearing he brings to uniform roles or the distinct body language he creates for characters like Roman J. Israel
His return to a portrayal of classical theater with The Tragedy of Macbeth reveals an artist still pushing boundaries later in his artistic journey. It was also the first film directed by Joel Coen without his brother Ethan. The role allowed Denzel to bring his distinctive intensity to Shakespeare, creating a Macbeth that felt both historically rooted and startlingly contemporary. This performance earned him his tenth Oscar nomination, extending a record that places him among the most recognized actors in Academy history.
Washington’s profound effect on American culture transcends his screen performances. His name has become a cultural touchstone – a symbol of excellence that inspired a generation of parents to name their children Denzel, following the release of Malcolm X. His success helped reshape Hollywood’s often narrow view of leading men, proving that audiences would embrace sophisticated, challenging performances, regardless of race.
While Washington’s dramatic range seems limitless, comedy represents the one genre where his formidable talents find less sure footing. His natural gravitas and intense screen presence, such tremendous assets in dramatic roles, can work against him when lighter fare demands a looser touch. Early attempts at comedy like Carbon Copy showed an actor still finding his rhythm, while Heart Condition showed how his natural dignity could create an awkward disconnect with broader comic material. He played that movie like he was too cool for it, and to be honest, he probably was. Even in films with comedic elements, like Much Ado About Nothing, Washington tends to play the straight man, letting others carry the humorous moments.
This limitation, if it can be called that, likely stems from the very qualities that make him so compelling in dramatic roles – his precision, intensity, and commanding presence. Unlike peers such as Robert De Niro, who successfully pivoted to comedy with Meet the Parents, Tom Hanks, who moved freely between dramatic and comedic roles throughout his career, or Samuel L. Jackson, who can embrace the absurd while maintaining his edge, Washington’s performances work best when anchored in emotional or dramatic truth. It’s telling that in his decades-long professional path, he has largely avoided pure comedic roles, suggesting a self-awareness about where his strengths truly lie.
His commitment to authenticity extends beyond performance to production. As a producer and director, Washington has consistently supported projects that expand representation in Hollywood while maintaining high artistic standards. His work behind the camera on Fences proved his capability to preserve the power of August Wilson’s writing while opening up the play for cinema.
Washington’s approach to action films deserves special consideration, as well. In movies like Man on Fire and The Equalizer series (which has two more instalments coming), he brings psychological depth to the genre without sacrificing entertainment value. His physical presence combines with emotional complexity to create action heroes who feel grounded in reality despite their extraordinary capabilities.
The larger impact of his achievements and choices cannot be overstated. Washington has consistently chosen roles that engage with significant social issues – racial justice, institutional corruption, and educational inequality – while avoiding didacticism. His characters feel like real people grappling with systemic problems rather than mere symbols or mouthpieces.
Sometimes those approaches are misconstrued. The minor controversy surrounding John Q always felt like a reach, as if people missed the point by miles. Some critics and members of the audience latched onto the idea that the film was promoting violence as a solution to personal struggles, which is absurdly reductive. The heart of the movie wasn’t about justifying extreme actions—it was about a desperate father, pushed to the brink by a broken healthcare system, who saw no other way to save his son. The violence was a byproduct of societal failure, not the central message. It’s like blaming the symptoms without addressing the disease. People got so hung up on the surface drama that they missed the deeper critique of systemic injustice.
Examining Washington’s influence on younger actors reveals another dimension of his legacy. Countless performers cite him as an inspiration, not just for his performances but for his professionalism and dedication to craft. His example has helped establish a standard for how to build a sustainable, respected career in Hollywood. The late great Chadwick Boseman famously said, “There is no Black Panther without Denzel”. Jake Gyllenhaal said the “great vulnerability and great strength” Washington showed in Glory inspired him to act. Even his contemporary and fellow acting legend Tom Hanks has said that he learned more from working with Denzel on Philadelphia than he learned from any other actor, that the experience was “like going to film school”. Jaime Foxx, Will Smith, Michael B. Jordan. The list goes on and on.
Denzel Washington’s work ethic has become legendary in the industry. Stories of his preparation – whether learning to box for The Hurricane, mastering flight simulator protocols for Flight or diving deep into Shakespeare for Macbeth– exemplify his belief that great performances are built on a foundation of thorough research and preparation.
The future continues to hold new challenges for Washington. His role in Gladiator II suggests an artist still willing to step into new territory. Given his track record, audiences can expect him to bring fresh insights to the historical epic genre, just as he has done with every other form he’s tackled.
Looking back across the landscape of American cinema, Denzel Washington’s contribution looms large. He has redefined what it means to be a leading man, expanded the possibilities for Black actors in Hollywood, and consistently embodied the power of intelligent, emotionally honest performance. His life as an actor and director stands as a testament to the idea that commercial success and artistic integrity need not be mutually exclusive.
Washington’s greatness lies not just in individual performances but in the totality of his achievements. He has created a body of work that serves as both entertainment and cultural document, reflecting American society while helping to shape its evolution. Few actors have maintained such high standards while achieving such broad influence, and fewer still have done so with such unwavering commitment and dedication.
As we look to the future of cinema, Washington’s legacy provides a blueprint for aspiring artists: choose projects with purpose, prepare thoroughly, perform with honesty, and never stop growing. Denzel shows at every turn that true artistry isn’t about following trends or seeking acclaim, but about pursuing truth through acuity and commitment. In an industry often driven by ephemeral concerns, Denzel Washington stands as a reminder that lasting impact comes from unwavering dedication to artistic excellence.
Dragon Quest III HD-2D Remake is overflowing with quality-of-life improvements around every corner, successfully bringing the best version of one of the world’s most beloved role-playing adventures to an entirely new generation of players. However, that doesn’t mean that every aspect of the game is drastically…
Dragon Quest III HD-2D Remake is overflowing with quality-of-life improvements around every corner, successfully bringing the best version of one of the world’s most beloved role-playing adventures to an entirely new generation of players. However, that doesn’t mean that every aspect of the game is drastically…
We’ve taken a look at Tony Jaa’s breakout hit Ong Bak in an episode of our Reel Action series that’s available on the JoBlo Originals Channel on YouTube. Since his first few Thai films, in which he was heavily involved in the action creation, Jaa would inevitably branch out into international films. Movies like Furious 7, xXx: The Return of Xander Cage, Skin Trade, Triple Threat and KillZone 2 would utilize him, but the Thai star wouldn’t quite reach the kind of showmanship that he displayed in his earlier movies. The upcoming movie Striking Rescue may just be the return to form.
It was recently reported that the film has been acquired by frequent martial arts film distributor Well Go USA for the North American distribution rights. Well Go USA has just released the official, hard-hitting trailer for Striking Rescue. Per THR, “Directed by Cheng Siyi, the action revenge movie follows An Bai (Jaa), a veteran Muay Thai expert who goes on a take-no-prisoners mission of revenge after his wife and daughter are brutally murdered by mysterious forces. The film co-stars Chinese actors Hong Junjia and Shi Yanneng.”
The movie is an original production from the Chinese streaming service, Youku, which will be releasing the film to its subscribers in China on Friday. Striking Rescue will also be the first Youku original that has secured U.S. distribution, and the company is planning to make this the jumping-off point to expand their content and theatrical productions into the international markets. The hard-hitting action film was being shopped to international buyers at this week’s American Film Market by the sales outfit Blossoms Entertainment, which is based out of Beijing.
Additionally, a deal is also in place for the distribution by Shinesaeng Ad.Venture, which will see a theatrical release of Stiking Rescue in Jaa’s native country of Thailand. The film is scheduled to start screening in Thai movie theaters on December 5, followed by North American theaters on December 6.
Are you excited to see Jaa back in an elbow-striking, knee-flying starring role? Have you enjoyed the other movies in his filmography? Sound off below!
A year and a half ago, we heard that AMC was developing a third TV series based on the works of Anne Rice, adding to the franchise they’ve been building out of the Vampire Chronicles novels and the Mayfair Witch books written by Rice. Earlier this year, the show – which is going by the working title of The Talamasca – was officially ordered to series, with the plan being for episodes to start airing sometime in 2025. Now, Variety has broken the news that Maisie Richardson-Sellers of The Originals and DC’s Legends of Tomorrow has landed a series regular role on the show!
This entry in the franchise that AMC is calling the Anne Rice Immortal Universe will follow a secretive society called the Talamasca that’s responsible for tracking and containing witches, vampires, werewolves and other creatures. Members of the Talamasca have already been introduced in the AMC shows Anne Rice’s Interview With the Vampire and Anne Rice’s Mayfair Witches.
Richardson-Sellers’ co-stars on the show will include Nicholas Denton of Glitch and Dangerous Liasions, who has been cast as a character named Guy Anatole, Elizabeth McGovern of Downton Abbey, and William Fichtner of Heat and The Dark Knight.
Denton’s character Guy Anatole is “brilliant, handsome and sharp on the surface, but he’s always known his mind works a little differently. On the cusp of graduating law school, he is approached by a representative of the Talamasca, a secretive agency that monitors and protects us from the supernatural world. When Guy learns that the Talamasca has been tracking him since his childhood, he falls headlong into a world of secret agents and immortal beings who, up to now, have maintained a fragile balance with the mortal world. But for that balance to hold, and for Guy to survive, he will have to learn to embrace the dark, treacherous depths of his true and singular self.”
Fichtner is playing Jasper, “a mysterious American who has quietly assumed control and influence over the Talamasca’s London Motherhouse. Though his motives and methods are cloaked in shadow, his charm and righteous sense of purpose are as dangerous as the power he’s pursuing.” McGovern’s character is Helen, “a seasoned veteran of the Talamasca, and the leader of its New York Motherhouse. She has long suspected that London’s Motherhouse has fallen under the influence of traitorous elements, and a mysterious death prompts her to recruit Guy Anatole (Denton), who will become her protégé.“
Richardson-Sellers will be playing Olive, “a beguiling and ambitious agent of the Talamasca, assigned to be Guy Anatole’s (Denton) American handler. She is deft with information and a master of disguises in the old tradition of spy craft.”
John Lee Hancock, whose credits include The Blind Side and the Stephen King adaptation Mr. Harrigan’s Phone, is writing the Talamasca series and will be serving as showrunner alongside Mark Lafferty of The Right Stuff and Halt and Catch Fire. Hancock will also be directing the first episode. All of AMC’s Anne Rice projects are produced by AMC Studios and executive produced by Mark Johnson.
Dan McDermott, president of entertainment and AMC Studios for AMC Networks, provided the following statement when the series was announced: “This is a story we’ve been developing and wanting to tell from the earliest moments of this franchise, focused on a fascinating and compelling secret society that has already appeared in both of our existing Anne Rice series, the Talamasca. As with all of these shows, we are thrilled to have such a high level of talent involved, represented here by John Lee Hancock and Mark Lafferty, and of course working closely with producer Mark Johnson as the creative head of our Anne Rice Immortal Universe.“
Hancock added: “This all started for me with a call from Mark Johnson, who asked if I’d ever heard of the Talamasca. I was intrigued by the idea of an organization that, to me, had more than a passing resemblance to the CIA or MI6, which are necessary but not always necessarily transparent. An organization with its own secrets. Thankfully, Dan McDermott liked the take and so did Mark Lafferty, who is so talented and accomplished in the world of television. Many thanks to everyone from Gran Via to Mark Lafferty, to our talented writers and everyone at AMC, who have been supporters, advocates and cheerleaders from day one. I couldn’t be more thrilled to be involved and look forward to presenting a third series in the Anne Rice Immortal Universe.“
Are you a fan of Interview with the Vampire (you can read our review of the first season HERE and the second HERE) and/or Mayfair Witches (our review of that show’s first season is HERE), and are you interested in seeing what John Lee Hancock and AMC do with Anne Rice’s The Talamasca? What do you think of Maisie Richardson-Sellers joining the cast? Let us know by leaving a comment below.
A few years ago, Spooky Pinball LLC created a pinball machine inspired by John Carpenter’s 1978 classic Halloween, and a while back they also built a Texas Chainsaw Massacre pinball machine, inspired by Tobe Hooper’s 1974 classic. Now, they’re continuing their journey through some of the greatest horror movies ever made, as they’ve revealed that their latest pinball machine is inspired by Sam Raimi’s Evil Dead franchise!
Here’s the information: Evil Dead Pinball is a wide body pinball machine set in the world of the first two films of the iconic franchise, The Evil Dead and Evil Dead 2: Dead by Dawn. The players will be guided along by Ash Williams, voiced by Bruce Campbell, as they battle the relentless forces of evil. Ash’s now evil girlfriend Linda (voiced by Lara Sluyter) and Professor Knowby (voiced by Scott Innes) will provide an additional level of Deadite trickery and direction to the game. Evil Dead Pinball is our most ambitious game to date, featuring the highest number of mechs in a Spooky Pinball machine yet. The game also features original clips, speech, and sfx from both films. Evil Dead Pinball is the 4th game by the designer duo “Spooky Luke” and Corwin “Bug” Emery. Many other Spooky crew members have returned for this release, including Ben Heck on the code, Matt Montgomery providing the score, Back Alley Creations, on the sculpts. This is also the first in a series of many Spooky Pinball games featuring a full art package by Christopher Franchi. It’s time to officially “Join Us” in what we can confidently say is our most beautiful, most loaded, most impressive world under glass yet.
The Evil Dead Collector’s Edition pinball machine will go for the price of $9,999 plus tax and shipping when applicable. (Shipping will be calculated when game is ready to ship. Sales will go live today at 11am Eastern, 10am Central, through SpookyPinball.com, through your favorite Spooky distributor, or through the phone number in the image at the bottom of this article.
Written and directed by Raimi, the original The Evil Dead has the following synopsis: Ash, his girlfriend Linda, his sister Cheryl, and couple Scotty and Shelly, drive to a remote cabin in the woods for a fun getaway. While there, they find the Naturom Demonto / Necronomicon Ex-Mortis (aka “The Book of the Dead”), an ancient tome whose text reawakens the dead when read out loud. After unintentionally releasing a flood of evil, the five friends must fight for their lives or become possessed.
The film stars Bruce Campbell, Betsy Baker, Ellen Sandweiss, Hal Delrich, and Sarah York. Campbell’s character Ash would go on to fight a whole lot of these demonic creatures over the decades, as Campbell reprised the role in Evil Dead II, Army of Darkness, and three seasons of the Ash vs. Evil Dead television series. He has also voiced the character for multiple video games and for this new pinball machine.
Will you be buying the Evil Dead pinball machine? Let us know by leaving a comment below.
While it hasn’t quite reached the heights of Barbenheimer, two contrasting movies face off this weekend in a similar manner with the musical spectacle Wicked and Ridley Scott’s historical epic sequel Gladiator II. Although it hasn’t been able to carve out the same hype, Gladiator II star Paul Mescal would still hope for it to gain its own identity, “Wickdiator doesn’t really roll off the tongue does it? I think my preference would probably be Glicked if it has a similar effect to what it did for Barbie and Oppenheimer.” Mescal told Entertainment Tonight, “It would be amazing ’cause I think the films couldn’t be more polar opposites and it worked in that context previously. So fingers crossed people come out and see both films on opening weekend.”
The two movies step into the arena and Deadline is reporting that Wicked is looking at an estimate of $20 million for early bird previews, which actually include Amazon promotional previews from Monday and last night’s fan premium format showings. Previously estimated presales came to $30 million, and analysts are also taking into account the added figures of audiences who haven’t pre-booked their tickets. The presales, walk-up purchases, plus early fan and promotional screenings are predicted to see upwards of $130 million to $150 million down the yellow brick road for the weekend.
Meanwhile, while Paramount and Ridley Scott built hype for Gladiator II, saying that early footage blew the minds of the studio executives and Scott professing that this movie is the grandest production of his packed career, the movie suffered some stigma early on when audiences felt the movie was unnecessary without the original’s protagonist. There had also been controversy surrounding the first trailer. And while this is still a sequel to a popular existing property, the supporters aren’t quite the match for Wicked‘s fandom. Gladiator II‘s early previews would total to about $6.5 million to $7 million. However, it would not see any extra promotional screenings and the movie’s R-rating may factor in.
Our Chris Bumbray had a blast with both movies, saying of Gladiator II, “While Gladiator II doesn’t quite gain the instant classic status it aspires to, it’s still a brilliantly made historical epic with a superb ensemble cast and some amazing action.” And he said of Wicked, “While I’ll admit that there were a handful of moments where I felt I was missing some kind of in-joke for fans of the play, overall, I had a pretty good time with Jon M. Chu’s Wicked – Part I.”
Dragon Quest III HD-2D Remake is a surprisingly faithful adaption of the original Dragon Quest III, opting to prioritize visuals and quality-of-life changes over many drastic overhauls. It’s a remake done right, and its new features and mechanics only serve to enhance the fundamental experience. One of these very…
