Welcome to Screen Gab, the newsletter for everyone who’s celebrating the official start of summer by … staying in.
This week’s edition is full of impassioned pleas and enticing stories, from a YA romance on the North Carolina shore to an idyll with lesbian entomologists. (At least some of us have already fired up the new season of U.K. sensation “Love Island” after reading Meredith Blake’s frighteningly thorough guide to the series.) Whatever floats your sailing yacht, the first Screen Gab of summer has something for you.
As always, we’re looking for reader picks too: Send your TV or streaming movie recommendations to screengab@latimes.com with your name and location. Submissions should be no longer than 200 words and are subject to editing for length and clarity.
The complete guide to home viewing
Get Screen Gab for weekly recommendations, analysis, interviews and irreverent discussion of the TV and streaming movies everyone’s talking about.
You may occasionally receive promotional content from the Los Angeles Times.
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The real ‘miracle’ of the Jan. 6 hearings? Republicans and Democrats working together: In a hyperpartisan political environment, the faint glimmers of bipartisanship on display have been one of the hearings’ biggest revelations of all.
The breakout star of Bravo’s next reality TV juggernaut is ready to settle down. Almost: ‘Below Deck Sailing Yacht’ first mate Gary King on being a reality heartthrob, his ‘cringe’ moments and how Daisy hurt him.
Recommendations from the film and TV experts at The Times
Have you ever known nostalgic pangs for a summer you never actually lived? Can a few notes from a perfect song transport you to a longing glance, an Earth-shaking kiss, the first time your heart skipped a beat or the worst it was ever broken? That’s what it’s like watching (and rewatching) Amazon Prime’s addictive, absorbing and absolutely lovely YA charmer “The Summer I Turned Pretty,” the latest adaptation from bestselling author Jenny Han.
After executive producing her hit “To All the Boys” trilogy and its upcoming Netflix spinoff, “XO, Kitty,” co-showrunner Han reaffirms her mantle as Gen Z’s Nancy Myers, guiding teenage heroine Isabel “Belly” Conklin to the screen for a bingeworthy seven-episode debut (don’t worry, a second season has already been ordered). On the cusp of 16, Belly (newcomer Lola Tung) is blossoming into a young woman as she arrives with her mom and brother to their annual stay with family friends in fictional Cousins Beach, for the summer that will change everything — most of all her friendships with the flirty Jeremiah (Gavin Casalegno) and his older brother Conrad (Christopher Briney), whom she’s loved her whole life.
Filmed in coastal Wilmington, N.C. (hence those dreamy “Dawson’s Creek” vibes), the series expands and updates the world of the book trilogy, weaving intoxicating strands of adolescent longing, joy and first love within an intergenerational story that packs its own emotional gut punches. Tung is a total discovery, luminous and headstrong as Belly comes of age and navigates her own wants, desires and the knotty complications of young adulthood. Briney, meanwhile, arrives armed with the floppy hair and torrid powers of a young Leo.
It doesn’t hurt that “Summer” boasts one of the best-curated soundtracks of 2022 — Olivia Rodrigo, Hayley Kiyoko, Tyler, the Creator, Phoebe Bridgers and a veritable treasure chest of Taylor Swift songs intertwine with the emotional rollercoasters of Belly’s inner life. One morning the sounds of nearby construction morphed into “The Way I Loved You (Taylor’s Version)” in my mind, bringing a scene I won’t spoil here flooding back into my brain. So sigh along with me and hit play on “TSITP.” No summer will be complete without it. —Jen Yamato
Of all the many enjoyable things about “Loot,” created by Alan Yang and Matt Hubbard (“Forever”) and premiering Friday on Apple TV+, nothing is more appealing than the soulful face of star Maya Rudolph, who has a gift for embodying complicated feelings while also seeming to refrain from showing them. A multibillionaire after a divorce from tech mogul husband (Adam Scott), Rudolph’s Molly recovers from 20 pampered years of meaningless self-indulgence by getting involved with a charitable foundation that bears her name — much to the annoyance of the perhaps too intensely focused Sofia (Michaela Jaé Rodriguez,) who runs it. What evolves is a workplace comedy of an unusually sweet and emotional nature, as trust is gained, friendships are formed and better ways to live are learned. With Ron Funches (whose own unusually sweet and emotional nature has never been better used) as the group’s IT guy, who also happens to be Rudolph’s cousin; Nat Faxon as its straight-arrow accountant, described by one character as “the living embodiment of an Olive Garden breadstick” and who, it is soon clear, has a thing for Molly; and Joel Kim Booster, as Molly’s caustic assistant, who finds himself seduced by human kindness. —Robert Lloyd
Everything you need to know about the film or TV series everyone’s talking about
“Flux Gourmet,” the exquisitely deranged new horror-comedy from the English writer-director Peter Strickland, tracks the various crises that befall a trio of “alimentary and culinary” performance artists. In other words, they make music from the sounds of food preparation: a sizzling pan here, a bubbling pot there, all recorded and amplified with presumably splatter-proof equipment. The movie, which opens this week in select U.S. theaters, is hardly the first in which Strickland has emphasized the primacy of sound. Three of his four earlier features are available for streaming (the exception is his 2009 debut, “Katalin Varga”), and with all of them you are strongly advised to crank up the volume.
Sound is most thoroughly foregrounded in Strickland’s 2012 sophomore effort, “Berberian Sound Studio” (multiple platforms), which follows a diffident British engineer (Toby Jones) as he mixes audio effects for a 1970s Italian slasher picture. As the boundaries between reality and cinema begin to fissure and blur, the movie pays loving tribute to the lurid, low-budget giallo horror tradition, rich in suspense and teasing ambiguity. (It also winks at Brian De Palma’s 1981 classic, “Blow Out.”)
A still richer brand of exploitation-cinema homage can be found in Strickland’s 2015 triumph, “The Duke of Burgundy” (multiple platforms). Starring Sidse Babett Knudsen and Chiara D’Anna as lesbian entomologists carrying on a sadomasochistic love affair, the movie basically does for 1960s and ’70s Euro softcore what Todd Haynes’ “Far From Heaven” did for ’50s Douglas Sirk melodramas: It reproduces their expressive conventions to such an obsessive, fetishistic degree as to unlock entirely new depths of romantic feeling. Sound factors heavily too, in a story that positively teems with aural sex, full of private acts that are more often heard and suggested than seen.
Strickland returned to horror — and plunged into daffy new realms of retail-industry satire — with “In Fabric” (multiple platforms), his 2018 freakout about a demonic red dress that goes on a silent killing spree. An uneven but deliriously witchy brew, the movie features standout performances from Marianne-Jean Baptiste and Fatma Mohamed, plus a soundtrack that is a veritable symphony of terrified screams, demonic rumbles and one terrifyingly out-of-control washing machine. —Justin Chang
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Even Gaz Alazraki, the creative mind behind “Club de Cuervos” — Netflix’s first original series produced in Mexico — might have been intimidated by directing “Father of the Bride.” We’re talking, after all, about a nearly 75-year-old film property that has featured the likes of Spencer Tracy and Steve Martin. If he was, though, he needn’t have been: HBO Max announced this week that the Latino-led remake, starring Andy Garcia and Gloria Estefan, is the platform’s most-watched streaming-only movie to date. Screen Gab caught up with Alazraki to talk about the film’s deep pedigree, what he’s watching and more. —Matt Brennan
What have you watched recently that you are recommending to everyone you know?
I saw “The Northman” (Peacock) twice and the reversals were even stronger the second time! I loved how the prophecy worked itself into the climax, giving the character salvation and damnation at the same time, making it into one of my favorite films of the year.
My wife sat through “Euphoria” (HBO Max) Season 1 a second time so that we could enjoy Season 2 together, and we were glued to the screen as Zendaya painfully mourned her father’s death in a world where every character has a twisted relationship with drugs and Big Pharma. The style, music and visuals just paint such a sad portrait of today’s America.
I cannot stop recommending “Scenes from a Marriage” (HBO Max). Oscar Isaac’s arc is so raw as he starts smug and self-congratulatory, and suddenly spins into a world of heartbreak and helplessness. Plus, their last encounter has such a nostalgic dream quality to it, that keeps making my heart break.
And finally, “Pam & Tommy.” It makes you realize that they were ground zero for a new technology that would eventually annihilate privacy at the speed of light! The couple was so ill-equipped to handle the PR crisis and the disparity in gender politics that it became their undoing, and I ended up feeling deep compassion for these people who lived as the punchlines of so many jokes when in the end, all they really wanted were simple things like love, fun and family.
There are five prior installments in the “Father of the Bride” “franchise” — for lack of a better term — dating back to the 1950 original. What do you think gives the concept such staying power?
I think that what gives “Father of the Bride” such a staying power is the fact that a daughter’s wedding is a universal milestone that inevitably reminds us of our mortality. We are officially starting the path into becoming the next generation as our daughters get married and have their own children, and it marks the end of an era, certainly triggering another midlife crisis — which I think is great fun.
This version is distinctive from its forebears for being focused around a Cuban American family. What moment or detail would you say best captures what’s distinctive about Cuban/Cuban American weddings?
The opportunity of centering this version on a Cuban American family is that it we get to exaggerate for comedic effect what “The Patriarchy” looks like for the new generations who want to challenge it, and that opened up a chance for us to ask, “What does being ‘The Father of the Bride’ mean in the 21st century?”
So I think the scene that best captures what a Cuban American wedding looks like is the one where Billy pitches his vision for a wedding at the Biltmore Hotel: He pretty much describes an updated version of his own wedding at the opening of the movie, and it serves as a bridge to the final wedding, where you really get to see how much dancing and partying you have in Mexican and Cuban weddings.
Recommendations from Screen Gab readers
We will never forget Bill Pullman’s brilliant and courageous performance as Det. Ambrose in “The Sinner” (USA, Netflix)
Despite a change of actor in the lead role, “Young Wallander” (Netflix) was an extraordinary and unique series.
The performances, the script and the production of “Maid” (Netflix) were top-rate as well as a clear-eyed look at domestic abuse and class distinctions.
Listings coordinator Matt Cooper highlights the TV shows and streaming movies to keep an eye on
“Chloe” (Prime Video): A young Brit (“The Crown’s” Erin Doherty) stalks her former BFF in this BBC drama.
“Loot” (Apple TV+): A billionaire’s ex (“SNL’s” Maya Rudolph) walks away with a big chunk of change in this new comedy.
“The Man From Toronto” (Netflix): Kevin Hart is mistaken for Woody Harrelson — sounds plausible — in this 2022 action comedy.
“Man vs. Bee” (Netflix): “Mr. Bean’s” Rowan Atkinson battles an apian adversary in this new comedy series.
“Mormon No More” (Hulu): People who left the Church of Jesus Christ of Latter-day Saints over its stance against same-sex marriages share their stories in this new series.
“The One That Got Away” (Prime Video): They’re getting a second chance at romance in this new dating series.
“Rise” (Disney+): This new series dramatizes Giannis Antetokounmpo and his siblings’ journey from Athens to the NBA.
“Trevor: The Musical” (Disney+): A middle-schooler suffers the slings and arrows of adolescence in this LGBTQ-themed off-Broadway show.
“Wildhood” (Hulu): An Indigenous teen goes on a journey of self-discovery in this LGBTQ-themed 2022 drama.
“49th Daytime Emmy Awards” (CBS, 9 p.m.): “The Young and the Restless” leads the soaps category with 18 nominations.
“The Great American Recipe” (KOCE, 9 p.m.): Home cooks from diverse backgrounds add to the melting pot in this new competition.
“American Anthems” (KOCE, 10 p.m.) Country music stars sing the praises of local do-gooders in this new series.
“Two Tickets to Paradise” (Hallmark, 8 p.m.): A woman left standing at the altar meets her match in this new TV movie.
“He’s Not Worth Dying For” (Lifetime, 8 p.m.): Two teens engage in a social media war over the titular two-timer in this new TV movie.
“Nickelodeon Slime Cup” (Nickelodeon, 8 p.m.): The network’s young stars team up with pro golfers and other celebs.
The complete guide to home viewing
Get Screen Gab for weekly recommendations, analysis, interviews and irreverent discussion of the TV and streaming movies everyone’s talking about.
You may occasionally receive promotional content from the Los Angeles Times.