Warning: spoilers for Emily In Paris season four below.
By the end of Emily In Paris season four, Emily ditched her berets and baguettes for a new chapter in Rome, but there’s no way she would really leave with all that unfinished business, right? While a fifth season of everyone’s favorite comfort watch has not yet been confirmed, creator Darren Star has high hopes for Emily and co.
In episode 10, Emily accepts a short-term role in Rome, though Star doesn’t think it’s the end for her Parisian adventures. When asked if the season finale was supposed to act as a series finale, Star said he fully intends to finish these storylines. He told Deadline, “No, no, definitely something to segue into other seasons. For me, it ends on a cliffhanger. It doesn’t end on a final note.” Star then said confirmed that he is hopeful for another season of the Netflix hit.
In a separate interview with IndieWire, Star says that it was only natural to get Emily out of her comfort zone for a bit. “Just at the point that Emily has gotten comfortable in Paris, she’s sort of thrown into another country where she’s going to experience some cultural differences. And also, I think there’s cultural differences to explore — and we do — between French and Italians. It’s a whole new world, but it doesn’t mean that we’re leaving Paris.”
Of course, she’ll go back to Paris eventually! She just needs to consume massive amounts of authentic gelato first.
How much trouble would you go through for a free month of Netflix? Your answer may vary depending on what’s streaming at the moment.
If you’re a Stranger Things fan, odds are good that you already have a subscription to the streaming service. Whatever your status is, Netflix wants to offer you a free month of the service…with a slight catch.
Ahead of the new Stranger Things Broadway production, Stranger Things: The First Shadow, Netflix will grant one free month of the streamer for first-time subscribers who purchase tickets to the show, which will debut next spring. Tickets for the public will go on sale at 11:00 a.m. ET on Tuesday, September 17, 2024, and the 30-day Netflix subscription will be offered via a gift card.
So in order to get that free month (worth approx. $15.99) you just have to purchase a ticket to Stranger Things: The First Shadow at the Marquis theaters. Easy enough! Tickets start at $80, though, so you have to be the one to decide if it’s worth it. Keep in mind that there’s a whole new batch of Emily in Paris episodes on there just waiting to be watched!
Stranger Things: The First Shadow is based on an original story from the Duffer Brothers that takes place before the Netflix series. Casting has yet to be announced, but if you want to secure the deal, you need to purchase by September 30th. Here is the official synopsis for the show, which will debut in April 2025:
Before the world turned upside down. Hawkins, 1959: a regular town with regular worries. Young Jim Hopper’s car won’t start, Bob Newby’s sister won’t take his radio show seriously, and Joyce Maldonado just wants to graduate and get the hell out of town. When new student Henry Creel arrives, his family finds that a fresh start isn’t so easy… and the shadows of the past have a very long reach.
If you were to drink them side by side, you might have a difficult time telling the differences between porters and stouts. The ingredients and flavors aren’t too drastically different — mostly, it comes down to the malts used. Stouts are often made with unmalted roasted barley. This is why you’ll find slightly smoky, roasty, coffee-like flavors when you sip a stout. Porters on the other hand, are made simply with malted barley. This is partly why porters are known to be sweeter.
To find some experts to sound off porters and stouts, we asked a handful of well-known brewers and craft beer experts to tell us the most underrated, underappreciated, and undervalued riffs on these beers currently on the market. Keep scrolling to see all of their picks. When an unseasonably cool fall night hits, you’ll be glad you did.
It’s rare these days to find a stout without vanilla, syrup, or all manner of nuts stuffed inside, but Societe’s The Butcher has been quietly slicing up lesser beers with nary an adjunct for nearly a decade.
Tasting Notes:
Chewy as the last pour of coffee from a French press, the beer coats the tongue with notes of espresso and nut shells, while dark cherries, blackstrap molasses, and torched marshmallows mingle at the edges. It’s a classic flavor profile, and an approach to stout so method it should be played by Daniel Day-Lewis.
Creature Comforts Koko Buni
Creature Comforts
Garth E. Beyer, certified Cicerone® and owner and founder of Garth’s Brew Bar in Madison, Wisconsin
Creature Comforts’ Koko Buni has a lot going for it. It’s underrated because people might be turned off by the robustness of ingredients, but it’s ultimately a drinkable milk porter because the flavors work in harmony.
Tasting Notes:
From toasted coconut flavors to chocolate cocoa nibs and then layers of coffee complexity. It’s a can’t miss fall beer.
Snake River Speargun
Snake River
Jody Valenta, co-president and COO of Roadhouse Brewing in Jackson Hole, Wyoming
I’m not sure it’s underrated (at least in Wyoming), given the sheer number of medals gracing its existence, but I’ll say I always know it’s winter in Jackson Hole when I get my first Speargun Stout at neighboring Snake River Brewery.
Tasting Notes:
This buzz-worthy, creamy and rich stout has earned its gold accolades and its place in a glass right in front of me.
Young’s Double Chocolate Stout deserves way more acclaim than it gets. It’s a well-known name but definitely doesn’t get the respect it deserves. It’s a very well-made, flavorful stout.
Tasting Notes:
While overshadowed by Guinness, Young’s delivers all of the creamy chocolate and roasty character I like in a stout. It’s a wildly complex, rich beer.
Hercule Stout
Hercule
Daniel Gadala-Maria, brewer at Finback Brewery in Glendale, New York
Hercule is uncommon and wonderful. It’s a Belgian stout. It combines the roasted flavors found in stouts with the dryness and distinctive spice characteristics that come from Belgian yeast.
Tasting Notes:
It’s complex, malty, perfectly dry, and gently hopped. It’s a remarkable beer that needs to be tasted to be believed.
I think Hog’s Stout from Hogshead, out in Denver, Colorado is a highly underrated stout. It’s definitely not a household name. But one sip and you’ll be hooked by its rich, robust, complex aroma and flavor.
Tasting Notes:
It is an outstanding stout with a dry, smooth, chocolaty, medium-bodied flavor profile. Pure unalloyed liquid joy.
Guinness Stout. That is if you could consider it underrated. I think many people overlook Guinness because of how big they are, but it’s a damn near perfect stout. Can a beer this popular still be underrated? I think yes.
Tasting Notes:
It’s loaded with chocolate, coffee, and roasted malt flavor while being surprisingly light and drinkable. If that’s not underrated, I don’t know what is.
Westbound and Down BA Western Justice Beers. They come in an eight-ounce can and the batch sizes aren’t quite tiny enough to garner the hype of an upstart brewery. So, you have awesome portions with un-hyped packaging and batch sizes, which makes it one of the best stouts in Colorado that you can actually get without reserving or lining up.
Tasting Notes:
It’s new school stout in all the best ways, good chocolate, but with enough of a bittering balance, and a lot of barrel character. It has the mouthfeel to hold that bourbon, but it isn’t particularly cloying for modern-day stouts. You can tell they were thinking entirely of the customer when making this beer, from package to taste.
Edmund Fitzgerald from Great Lakes Brewing. Branded as a porter, instead of a stout (what really is the difference, anyway?) is heralded, but still underrated. It’s also hard for me to get very frequently.
Tasting Notes:
Bitter, dark chocolate, and roasted coffee notes with some underlying sweetness make this beer delightfully rich yet easy to drink. Always a beer I look for on my yearly visit to Ohio.
In its 76th year, the awards show’s frontrunner in nearly every comedy category belongs to a dramatic grease trap brimming with dysfunctional sandwich shop workers on the brink of a mental breakdown. We’re talking about The Bear, of course, the fast-paced FX/Hulu series that follows a group of back-of-house chefs trying to transform a family-owned Chicago beef spot. The show racked up plenty of hardware in its first season, scoring actor, series, and supporting actor wins when the Emmys aired its rescheduled ceremony earlier in the year. And, just a few months later, the Christopher Storer created breakout is poised to do it again. This time around, it’s the show’s second season that’s enjoying the spotlight, a frenetic fever-dream that whipped fans back and forth through time, space, and Copenhagen to plot the Berzatto clan’s personal and professional turmoil. With 23 nominations – the most ever in a single year for a comedy series – The Bear broke an awards show record previously held by NBC’s gag-a-minute sitcom, 30 Rock, and in doing so, it might’ve just spotlighted one of the Emmys’ biggest problems … it takes comedy too seriously.
It’s true that humor is subjective, so naturally, nailing down a set of rules that clearly define what’s funny and what’s not is always going to be an exercise in imperfection. But the Academy has tried. Currently, the Emmys define a comedy as a program “where the majority of the running time of at least six episodes are primarily comedic.” That standard has changed over the years – at one point, a show’s runtime had the final say in which category it belonged – and because of it, nominees have see-sawed between comedy and drama designations. During Orange Is The New Black’s run, the Netflix prison dramedy bounced from a comedy to a drama after a panel of experts decided it was too heavy to hang with shows like Veep, Parks and Rec, and Modern Family. But if a show filled with jokes about mythical chickens and prison pageants, inmates-turned influencers and panty-selling-Ponzi-schemes was deemed too dramatic, what does that mean for a show like The Bear where every episode feels like the viewing equivalent of the boiling frog experiment? Normally comedy is a form of escapism, not something you try to escape from.
But even if judging a show on it’s whole instead of its parts feels too limiting, slapping The Bear with a comedy label is still unfair to a majority of its cast.
This year, 10 of the show’s stars were nominated for their comedic contributions to season two’s storyline. Coming off a win in the same category earlier this year, Jeremy Allen White scored a Best Actor in a Comedy nod for his work as Carmy, the tormented-yet-talented head chef in charge of resurrecting his family’s business. Ayo Edibiri’s performance as his promising sous chef, Sydney, earned her another nod in the Best Actress category (she lost last year to Abbott Elementary’s Quinta Brunson). Lionel Boyce and Liza Colon-Zayas received some supporting love for their roles as Marcus and Tina, two chefs challenged to level up their culinary skills for the good of the restaurant in season two while a host of guest stars – Jon Bernthal, Bob Odenkirk, Will Poulter, Olivia Colman, and Jamie Lee Curtis – enjoyed recognition for their turns in lone episodes. The problem though is that, as deserving of praise as these actors and their performances are, most of them are burdened by the wrong designation. When judged against the larger pool, it seems almost ridiculous to expect voters (and audiences) to compare what White does as Carmy, what Curtis does as his chaotic mom, Donna, what Boyce does as a promising young pastry chef shouldering unimaginable burdens, and what Colon-Zayas does as a woman experiencing a second chance in life, to the actors and characters they’re up against. These are one-liner maestros like WWDITS’ Matt Berry, SNL alumni like Maya Rudolph and Bown Yang, sketch legends like Carol Burnett, and Meryl Streep in her funny girl era. It’s not apples and oranges, it’s Italian beef sandwiches and whatever beige monstrosity tyrant Joel McHale had Carmy serving in his Michelin-starred New York hellhole.
But they’re nominated that way because of another confusing Emmy rule, the one that states that “placement of a program automatically directs the placement of all individual achievement entries,” i.e. if the Emmys say The Bear is a comedy, then every performance in it is also comedic. It’s a head scratching stereotype, especially considering the awards show has seemingly loosened its definition of what a comedy is to include shows like TheBear and later seasons of Barry while excluding OITNB and HBO’s The White Lotus. Just because an actor’s performance exists within a show doesn’t necessarily mean it matches the tone of that show. Look at what Curtis and Bernthal did in “Fishes,” a wild, emotionally-charged half-hour fueled by toxic familial ties, the side effects of addiction, and years of pent-up resentments (for which they both won comedy awards). Or what Jennifer Coolidge accomplished in season two of Mike White’s sharply funny eat-the-rich satire with a shoot-out on-board a yacht belonging to a couple of Gays trying to murder her. Are we really arguing claiming last year’s most memefied TV moment resonated with audiences because of its dramaturgical leanings? Have we strayed this far from Jeremy Strong’s internet?
In reality, the only performance from season two of The Bear that deserves to be classified as comedic is Ebon Moss-Bachrach’s coming-of-age maturity moment as Richie, an aimless holdover from the shop’s before times who finds purpose and passion with a little help from Taylor Swift. Moss-Bachrach should win, and likely will, for his work, but the rest of his TV family should have the opportunity to submit their own definition of what’s funny and what’s not. If the Emmys can alter category requirements, if they introduce more gender-neutral nomination language, can’t they allow artists to qualify their own work? If White sees his turn as an anxiety-ridden culinary genius doomed to never achieve a work-life balance as dramatic, shouldn’t he have a say in how it’s judged? Politics aside, wouldn’t it be nice to put a bit of power back in the hands of performers? Maybe they’d make a different choice, maybe not, but part of the audience (and critics’) ire when it comes to how these awards shows label the series we love is how arbitrary and nonsensical it all seems. Who’s really deciding and why are common gripes whenever nominations are released, and with voting bodies constantly chasing better viewership, wouldn’t it make sense to test some fixes that could make the Emmys easier to follow and more enjoyable to watch?
The Boys‘ recently barreled through a fourth season finale with Gen V set to return next year and bridge the gap before The Boys‘ final season. The appetite for these satiric Supes continues to rage, however, and Amazon has officially greenlit the next spin off: Vought Rising, which will have executive producing powerhouses Seth Rogen and Evan Goldberg onboard. That announcement dropped during this year’s SDCC The Boys panel from showrunner Eric Kripke with Jensen Ackles (Soldier Boy) and Aya Cash (the late Stormfront, shown next to Homelander above in The Boys‘ second season) revealed to star.
You might be wondering, though, whatever happened to discussions about The Boys Mexico? Kripke has clarified that the previously reported project has been backburnered for the foreseeable future and might not happen at all. Instead, he and Amazon made Vought Rising high priority while The Boys prepares for a sure-to-be devastating finale. With that said, let’s hop right into what has been revealed about what will actually be the fourth show (after the animated Diabolical series) about what Vought International has wrought.
Release Window
Prime Video/Amazon
Timing feels like the most important subject to discuss first, even before plot and cast, because a prospective release window feels too important to ignore for crossover relevance to The Boys‘ fifth season.
Neither Eric Kripke nor Prime Video/Amazon have clarified a Vought Rising release date, although we know that Gen V will be the next series to unveil a new season in this universe. That will happen sometime in 2025, and The Boys will return in 2026. It’s possible that Vought Rising could surprise audiences before The Boys airs its final season, but it’s equally as likely that the next spin off will be planned for 2027. At the moment, writers are simultaneously working on finishing scripts for Vought Rising and also putting together the entirety of The Boys‘ final outing, so it’s possible that Eric Kripke and Amazon haven’t yet decided the order of release.
In other words, hang tight there, which is not the most illuminating news for those who want to see more Soldier Boy right now, but rest assured that plenty of of him is coming in both of the above shows. After all, Eric Kripke didn’t show off an “on ice” version of the character in The Boys‘ fourth season finale for no reason, and sure enough, he did tell Games Radar that there will be a substantial amount of Soldier Boy in the final The Boys season because Homelander’s psyche needs to go through more sh*t with his bio dad:
“You know, what we realized was we really hadn’t explored the father-son relationship much between Homelander and Soldier Boy. There’s a lot of material there, how soldier boy feels about Homelander, how Homelander feels about his dad, and so we really wanted to dig into that relationship.”
In The Boys‘ third season, Soldier Boy rebuked Homelander as “just a cheap f*cking knockoff” off the old block, and in the fourth season finale, Homelander appeared to be genuinely moved (was he feeling sentimental? ready to kill? both?) after learning that his sperm donor is alive, so we’ll see how Homie’s struggle against his desire for love continues to evolve/devolve when The Boys returns.
In the meantime, it could be telling that Homelander did have a relationship with Soldier Boy’s Vought Rising co-star, and whatever happens in The Boys‘ final season can only add further shading to tales from Solder Boy’s past.
Plot
Amazon
Vought Rising will revisit the dastardly origins of Vought International from its inception, which was fueled by heroes including Stormfront (Aya Cash), who was revealed in The Boys‘ second season as a rabid racist and member of the Nazi party, and the jingoistic Soldier Boy (Jensen Ackles), who raised hell in The Boys third season, culminating in a high-rise fight, and also appeared in a Gen V cameo as a figment of Cate’s imagination.
As a series, Vought Rising will be “a lurid, pulp saga prequel set in New York City at the dawn of the 1950s about the humble yet diabolical beginnings of the Vought corporation,” as Jensen Ackles declared in the following panel discussion published by TV Line:
Aya Cash added, according to Variety, that she is “so excited” and added, “We got everything from Judy Garland to Joan McCarthy — how, I don’t know — I didn’t write it, but I have read it, and it’s really, really good.”
Prime Video/Amazon
Paul Grellong will act as showrunner for this spin off, and he called the show “a twisted murder mystery about the origins of Vought in the 1950s, the early exploits of Soldier Boy, and the diabolical maneuvers of a supe known to fans as Stormfront, who was then going by the name Clara Vought.” He further promised, “We cannot wait to blow your minds and trouble your souls with this salacious, grisly saga drenched in blood and Compound V.”
A lingering question: How, exactly, does the series plan to deal with taking Stormfront and Soldier Boy back to the 1950s with the same actors? Eric Kripke hasn’t clarified that point. However, we do know that Garth Ennis’ comic books details how Supes do have a decelerated aging process. That doesn’t make them immune to the ravages of time (and A-Train props his speedy ways up with a Compound V habit), but it is conceivable that the magic of makeup could take both Aya Cash and Jensen Ackles believably back a human-based decade or so with that being the understood amount of aging that would have taken place in 70 years of Supe time.
However, it’s probably best to not overthink any time-related suspension of belief necessary to watch this show, instead, to hope that Amazon decides to let the trust the audience to still accept Cash and Ackles in the roles. That’s a much better alternative than the roles being recast (and Amazon obviously decided not to do so) or heading for the CGI de-aging paint set (the jury is still out there until an official statement surfaces).
Cast
Thus far, Aya Cash and Jensen ankles are the only confirmed cast members, and it doesn’t sound like we’ll see any time traveling in this project, but you never know, and further casting news will surely be coming from others 1950 Vought installments.
We should likely be grateful that this series won’t take place in 1980s when Soldier Boy was part of Payback because I really don’t want to see any time travel involving Seth Rogen’s cam-customer and Crimson Countess. At present, there are also unsubstantiated rumors of another Supe character, Flyboy, joining the series with no confirmation from anybody with actual knowledge of the series.
Trailer
While we twiddle our thumbs and wait for a teaser, there is never a bad time to rewatch Soldier Boy’s take on Blondie’s “Rapture” (including a sh*t-eating grin at the end) during a 1980s visit to Solid Gold.
While her 143 album has received a mountain of pushback, most notably around its professional affiliation with Dr. Luke, there is one collaboration fans are digging: During the VMAs, Katy Perry debuted her track “I’m His, He’s Mine” with Doechii.
Now, the unapologetically possessive record, which samples Crystal Waters’ “Gypsy Woman (She’s Homeless),” has an official music video to match. Throughout the video directed by Torso, Katy Perry and Doechii demonstrate just how they mark their romantic territory.
“I’m his queen, I’m his freak / I’m every woman he wants and needs / I’m his dream, I’m his drug / I’m every woman he wants, so what? / I’m his boss, I’m that b*tch / I’m every woman he knows exists / I’m his main, I’m his side / I’m every woman that’s in his mind,” sings the pair.
From daredevil like stunts to full-on PDA, Katy Perry and Doechii hold nothing back. In interviews, Katy Perry discloses intimate details of her relationship with Orlando Bloom, but “I’m His, He’s Mine” takes it to another level.
Listen to “I’m His, He’s Mine” above.
143 is out 9/20 via Capitol. Find more information here.
Even though Kate Winslet is known for that one really famous love story, some might say that Eternal Sunshine of the Spotless Mind is the superior romance movie that features a soul-crushing tragedy.
Winslet starred alongside Jim Carrey in the 2004 sci-fi drama which tells the story of Joel and Clementine’s painful breakup that caused them both to undergo a procedure to erase their memories of each other. The movie went on to earn some Oscar nominations and in the years since its release, it has found a new audience with younger viewers.
This year, Winslet stars in Lee, a biopic of photojournalist Lee Miller that is directed by Ellen Kuras, who happened to work on Eternal Sunshine all those years ago. Winslet told Time Magazine that she has noticed the newfound admiration for the 2004 film. “There’s something really special about Eternal Sunshine somehow becoming an inspirational narrative for those young people who are still figuring it all out,” Winslet said. The movie celebrated its 20th anniversary this year with some snazzy new merch and a limited theatrical re-release, proving that its popularity has remained intact over the years.
Winslet also expressed surprise at Ariana Grande’s latest album, Eternal Sunshine, having numerous references to the film. She asked, “I mean, how old must she have been when the movie came out?” To answer, she would have been 10, so definitely not old enough to watch a hear-wrenching breakup tale. Winslet’s 34-year-old costar, Josh O’Connor, revealed that it’s one of his favorites, so that has got to be worth something.
In March, Grande dropped a music video for “We Can’t Be Friends” which followed a very similar plot to Eternal Sunshine of the Spotless Mind. “I think the movie is so beloved because so many people can relate to knowing that something isn’t right but loving so much and wanting to stay,” the singer said at the time. “I think it kind of fell into place that these songs had little tidbits of that theme. I just felt really inspired by it.”
Next up, Winslet stars in Lee, which hits theaters on September 27th, and, eventually Avatar: Fire and Ash.
After entering his plea, Timberlake spoke to reporters outside the courthouse (find a video of that here), saying:
“Many of you have probably been covering me for a lot of my life, and as you may know, I try to hold myself to a very high standard for myself. And this was not that. This was not that. I found myself in a position where I could have made a different decision, but I’ve had some time to reflect on that. And I also understand by, you know, the fact that all of you are here, that I have a platform, you have a platform. We share that platform.
And so what I’d like to say to everyone watching and listening: Even if you’ve had one drink, don’t get behind the wheel of a car. There’s so many alternatives. Call a friend, take an Uber, there’s many travel apps. Take a taxi. This is a mistake that I made, but I’m hoping that whoever’s watching and listening right now can learn from this mistake. I know that I certainly have. And like I said: Even one drink, don’t get behind the wheel of a car. […]
I grew up in a small town, so I can appreciate and understand the strained or unique nature that this must have been on the people of Sag Harbor, but I just want to say to everyone who’s been involved — from everyone in the courtroom to everyone outside, including the police department — that I’m very grateful and I thank them. I guess in closing, I’d like to say we can all be more safe out there, and I’m going to do my part. I hope that everyone else does their part, and thank you very much.”
Timberlake also agreed to do 25 to 40 hours of community service and pay a fine that had yet to be revealed.
Over on X (formerly Twitter), Victoria revealed the forthcoming album’s release date, writing: “ JAGUAR II DELUXE is otw!! 10/4! It’s available for pre-order right now. go do that please .”
Back in February during an appearance on iHeart Radio’s The New Hit List, Victoria confirmed she begun working on the project but was hesitant to share any further details. Now, supporters have a better understanding of what’s to come thanks to a sit down with Apple Music’s New Music Daily, we know Jaguar II will feature several new tracks within the parameters of the Jaguar musical universe.
So far, Victoria has released one new track, “SOS (Sex On Sight)” with Usher, which is slated to appear on the upcoming body of work. Over on the Apple Music pre-save page, eight unnamed tracks will join “SOS (Sex On Sight),” and Victoria’s Bryson Tiller duet “We Might Even Be Falling In Love” to make up the Jaguar II Deluxe‘s official tracklist.
But this project is bittersweet moment for Victoria’s superfans. Victoria has made it clear that Jaguar II Deluxe marks the end of this era sonically. However, there’s still more to come.
Artwork
RCA
Jaguar II Deluxe is out 10/4 via RCA. Find more information here.
While Ice Spice’s debut album Y2K!didn’t exactly set the world on fire, it’s generally agreed that the standout song is “Popa.” Naturally, that’s the latest song from the project to get the music video treatment, and the video is, well, basically a strip club commercial. There are lots of G-strings and BBLs and pretty much everybody is twerking for most of its two-minute, 40-second runtime. Don’t watch it at your desk, is what I’m saying here.
Ice Spice and her entire generation have come to prominence under a truly ridiculous amount of scrutiny. That she’s able to shake it off, stick to her guns, and continue to deliver is something to admire, even if you don’t always agree with the content.
You can watch the “Popa” video above.
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JAGUAR II DELUXE is otw!! 
10/4! It’s available for pre-order right now. 
go do that please 
.”