finale

This article contains spoilers for the Season 9 finale of “Love Is Blind.”

Netflix’s hit dating series “Love is Blind” is actually an experiment, its creator, Chris Coelen, says. The show tests whether couples can build a lasting relationship based on a core emotional bond that is not tethered to physical attraction or appearances.

In Season 9, for the first time in the show’s history, the experiment failed to create lasting bonds. No couples from this season said “I do” at the altar in the finale, which began streaming Wednesday.

Six couples left the pods engaged, but the decoupling began almost immediately, with Kacie McIntosh breaking things off with Patrick Suzuki. They were followed by Annie Lancaster and Nick Amato, and finally Madison Maidenberg and Joe Ferrucci, whose breakups were documented in Episodes 10 and 11. The remaining couples going into the final episode, where the weddings would take place, were Ali Lima and Anton Yarosh; Kalybriah Haskin and Edmond Harvey; and Megan Walerius and Jordan Keltner.

Megan and Jordan didn’t make it to the altar — Megan broke things off just before the wedding because she felt their lifestyles would not mesh well long term. That partly had to do with their jobs. Jordan works long hours in transportation and logistics, while Megan is a wealthy entrepreneur with a flexible working schedule. Jordan is also a single father to a young son, who has Type 1 diabetes. Over the course of the season, the pair often discussed the demands of parenting.

Anton said “I do,” but Ali said “I can’t be your wife” at the altar. She said she felt like the man she had fallen in love with in the pods was not the person she’d been experiencing in real life before she ran off in tears. Anton said in an interview later that he had “done nothing but care for her,” and that the rejection “f— sucks.”

Kalybriah also said no at the altar after her fiancé said yes. Kalybriah said Edmond “deserve[s] someone that is 100% at the altar” and that she wasn’t there. Edmond had a tempered reaction to the rejection, and Kalybriah thanked him for being graceful before the two walked off hand in hand. Kalybriah left the door open for a possible reconciliation down the road.

Season 9 was full of messy breakups and controversial comments from the participants. Patrick went into the experiment with insecurities about his Asian American identity, and his short-lived fiancée, Kacie, broke up with him on the heels of their first meeting. Annie and Nick, who split before the wedding preparations were in full swing, received backlash over a conversation they had about raising LGBTQ+ children, and they have both since walked back those comments in recent interviews. And an argument between Kalybriah and Edmond about her decision to wait until the wedding to have sex with him was the subject of intense scrutiny on social media.

Before Season 9, each season ended with at least one couple getting married. While some later split, many still remain married and several have started families. Days before Season 9’s finale was released, Cameron Hamilton and Lauren Speed-Hamilton from Season 1 announced Monday that they welcomed their first child together.

The Season 9 reunion, which will address unanswered questions about the many breakups, will be available to stream on Netflix on Oct. 29 at 6 p.m. PT/ 9 p.m. ET.

Brad Ingelsby knew after the breakout success of HBO’s “Mare of Easttown” — a crime drama about a police detective (Kate Winslet) investigating the murder of a teenage girl in a fictional working-class town — he didn’t want his next series to be another whodunit.

“That’s Mare’s thing,” he says on a recent late afternoon. “So, you start to go, if you’re going to write another story in the crime genre, what would get the audience to keep clicking to the next episode? I just thought, ‘Well, maybe a collision course show, where [in] every episode, we get a little closer, a little closer, a little closer, until things collide.’ ”

In “Task,” which concluded Sunday on HBO, Mark Ruffalo stars as Tom Brandis, a priest-turned-FBI agent leading a task force investigating a series of robberies in Delaware County, Pa., an area commonly referred to as Delco that was also the setting for “Mare of Easttown.” (And with references to Wawa and Scrapple, along with visits to Rita’s Water Ice, it slips into its role of expanding the universe.) It leads Tom to Robbie Prendergast (Tom Pelphrey), a sanitation worker who robs drug houses at night to provide for his family. Both men are emotionally tortured by life events — Tom’s wife was murdered by their adopted son, who is incarcerated; Robbie’s brother was killed by a member of a motorcycle gang — that have set them each on different, but destructive paths.

In “Task,” Mark Ruffalo, left, Alison Oliver, Thuso Mbedu and Fabein Frankel portray law enforcement officers who are part of an FBI task force investigating a string of robberies.

(Peter Kramer / HBO)

“ ‘Mare’ was about the moms — the damage that all the guys have caused and the women are kind of having to pick up the pieces of that,” Ingelsby says. “This [show] is all about the fathers and being left behind, seeing the damage they’ve done to their kids, how they’re going to fix that in their lives — or not be able to fix it. The guys who are actually doing the damage without knowing.”

Ingelsby says his uncle, who was an Augustinian priest, helped inspire the throughline of the series.

“I’ve always been very intrigued by his idea of faith in God over the years, and how it’s changed over time, and what he believed once and what he believes now,” he says. “I was intrigued by the idea of a guy who, everything he held as truth, all the pillars of his life, have come crumbling down. And Robbie has a much different faith. And it’s through the gauntlet of the story, how their lives intersect, that they both get to navigate their own journeys of faith.”

Over dinner at a West Hollywood hotel, The Times sat down with Ingelsby, Ruffalo and Pelphrey to discuss their faith journeys, economic inequality, fatherhood — and Wawa, too. Here are edited excerpts from the conversation, which contains spoilers about the finale.

After the success of “Mare of Easttown,” creator Brad Ingelsby wanted his follow-up, “Task,” to feel connected, but not repetitive: “ ‘Mare’ was about the moms,” he says. “This [show] is all about the fathers and being left behind, seeing the damage they’ve done to their kids, how they’re going to fix that in their lives — or not be able to fix it.”

(Bexx Francois/For The Times)

The themes of the show involve forgiveness and faith. Every person has experienced something in life that has tested those ideas. How has your own relationship to faith and forgiveness evolved as you’ve lived more life or taken on roles that ask you to live different experiences?

Pelphrey: My faith, to me, is when I got sober. God willing, Oct. 1, which is three days from now, it’ll be 12 years. That’s truly by the grace of God — you hear that phrase, but I genuinely, I mean that. That’s how I’ve experienced faith, through my sobriety. I was raised Catholic, but the experience I had at 31 was like in a different dimension to what I thought of religion or ideas. It’s one thing to have an idea, it’s another thing to have your heart opened. It’s definitely an important part of my life. And I think Brad did such a beautiful job conveying that. My grandma used to have one of these things when I was a kid — not a real gem, but like a glass cut thing so if you put it in the window, the sun shines through a million different ways, and the color goes everywhere. I feel like you [Brad] did that with some themes in the show where you’re like, “Let me just hold it up, and we’ll just look at it a few different ways.”

Ruffalo: My journey with faith is probably very similar to Tom’s. When you get a job or something, it can take you on a journey that you’re ripe to take. It touches your life at a very moment where you need it. I’d say, after my brother died, the whole notion of faith just went out the window for me. But oddly enough, I have a lot of addiction, alcoholism in my family. I say, either you are one or you love one. When you love somebody who’s struggling with that, it takes a lot of faith to let them go and to trust it will be OK. My friend says to me, “They got a God and you ain’t it.”

My faith has been renewed, actually, through Tom [the character] — he is an alcoholic. It’s touched my life in so many ways, even with my brother, that it’s like where I lost my faith and where I gained my faith again has been through this journey with alcoholism and drug addiction. And I waver. You look at the world and you’re like, “Where is God in this? Please show yourself. ” But the thing about faith is it requires you to believe without any evidence of its existence. I’d rather believe in that than nothing. Although, I fought him [Brad] all the time. I was like, “He’s [Tom] not really praying here. He’s trying to pray. He’s going through the actions of praying, but he can’t quite get to the opening sentence, which is “ … God …” He does pray, eventually, but it’s a journey.

There’s the powerful moment in that car when Tom and Robbie finally meet in Episode 5. Robbie says, “I don’t think I’ve ever experienced God in my life.” This is a man that hasn’t felt hope, and he has this glimmer of it with this goal of escaping to Canada. Tom, how was it getting into the mindset of this guy just trying to get out of this life?

Pelphrey: It’s heartbreaking. We’re articulating an American dream that far too many people don’t get to experience, and maybe are starting to lose the hope of ever experiencing it. That’s a very real thing — unfortunately, way too real and increasingly way too common. It was just constantly reminding myself: What does this character want? And at the end of the day, regardless of how extreme some of the things Robbie’s doing, he just wants a decent life for his kids. And the fact that he’s having a hard time getting it is heartbreaking.

That scene and in the car, the first time I read it, I was like, “Oh, he’s [Brad] got some balls.” You have so much s— boiling over — the plot lines, the violence, the stakes are through the roof for everyone now in the show, and we are going to sit in a car for half an episode? And two dudes are gonna talk?

In Episode 5, Robbie Prendergast (Tom Pelphrey), left, and Tom Brandis (Mark Ruffalo) finally meet.

(HBO)

Ruffalo: There’s no chase! And when they finally face each other, they’re not even [actually] facing each other! They’re both pushed to the edge and you don’t know where it could go. Tom certainly doesn’t know where it will go. Tom’s kind of at that point, like, “F— it. Go ahead.” We talked about it a lot, I was like, “I think Tom should die.”

[They break into laughter]

Ingelsby: Every single day he was pitching it.

Ruffalo: I was pitching Tom should have a heart attack at the end and he literally sees God and he says to God, “I’m ready.” He finally finds his faith. It’s finally paid off and he says [gasping], “I’m … reaaady.”

Ingelsby: Enough people die here. But that particular episode has always been very special to me. That’s when the show is operating at the peak of its powers. It just felt like, how do we subvert the expectations of the audience and do that in a way that still feels true to who these characters are? I remember talking to you [Tom] about this. You were like, “As soon as I know Cliff’s done, I’m on a one-way street. I have a plan.” But with you [Mark], once they get out of the car and you feel like you’re going to die, you’re like, “I want to call my family.” That’s when you get activated in a way. You’ve been going through the motions in life, but that’s when it gets very real.

Ruffalo: It’s like being reborn. It opens his heart. He sees how life can be taken away.

We’re in a political and cultural moment where the mood of the country is simmering — there’s anger and rage on all sides, and a lot of it stems from class and systemic issues that are in place that put people in certain positions. There’s that layer, but there’s also the grief element both these men are facing.

Ingelsby: With Robbie in particular, I was interested in a guy that felt really stuck. What I liked about Robbie was, if he didn’t take action, what would happen to Robbie? He’d be a trash man in too deep his whole life. Who cares about Robbie and his family? Nobody. He was left behind. In early versions of the script, I very explicitly said, “He wants his bite of the apple.” There are lots of people like that now. I loved writing Robbie because it felt like he was raging against being left behind and and I felt, in many cases, in the script, why wouldn’t you do something? Whether you agree with the actions or not —

Pelphrey: He had his f— life stolen from him. What he’s going after is a very specific thing. He’s not lashing out blindly against anybody to get any money at any cost. He’s like: “I’m gonna take it from these mother f—, who are bad dudes.” Even within that, he has principles. No one’s gonna die — obviously, the rules all go out the window Episode 2, but we’re not going to take the drugs, we’re not going to sell the drug. We’re going to destroy the drugs. We’re going to take the cash. Even within his brand of lashing out, he actually has a set of principles that he’s operating by.

Mark Ruffalo, left, and Tom Pelphrey star as two troubled men on a collision course in “Task.” Ruffalo portrays an FBI agent recovering from a family tragedy, while Pelphrey plays a garbage collector and criminal involved in a series of robberies. (Bexx Francois/For The Times)

Mark and Tom, as sons and fathers, how did you think about the father-child relationships of these two men and the collateral damage of their choices?

Ruffalo: It’s so hard to be a father, especially now because this generation is like, “We’re not going to do it the way our parents, our fathers did. We see that there’s another way to do it. We’re actually talking about it.” At the same time, we don’t exactly know what it is that we should do differently, plus we have the responsibility of, financially, keeping it together. It’s obviously hard to be a mom too. These guys are doing the best they can.

Pelphrey: Becoming a dad two and a half years ago now, it’s just the most f— awesome, wild, intense, crazy s— I’ve ever experienced in my life. It’s like getting struck by lightning. I’m so in love and I feel so vulnerable and I feel so happy — it’s all the feelings. Then suddenly, when you’re thinking about how you feel, you go, “How do I balance this? How do I protect her, but make sure that she’s brave and experiencing things? And you quickly realize there is so much to this that I will have no power over and the realization of that, in the deepest sense — and I’ve already had moments of that and we’re just getting started here. You imagine what it’s like, when you don’t have kids, but you have no f— clue. One of the things I could say without blinking, ever, is, “I totally understand why he’s doing what he’s doing.”

Was there a version where Robbie lived?

Ingelsby: No, I felt like structurally what needed to happen was Tom had to witness Robbie’s kindness, then his sacrifice. It felt very necessary to be like, “Oh, wait. Robbie — he went up to the woods…” Because he’s always like, “What’s the plan?” Tom realizes, “Oh, I know what the plan was. He went there to die.” Part of Tom’s journey to getting rid of the anger and to believing in something at the end, was to have witnessed the goodness in Robbie. He [Robbie] also gets in so deep eventually, he has pushed himself into such a corner and there’s no good way out of this. What’s an audience gonna think if he gets out of this unscathed? Even if he were to survive, he’s gonna be in jail for the rest of his life. The idea of sacrifice would speak to Tom as a character and get him to his ultimate decision to give the boy [Sam] up, but also forgive his own son and, quite literally, get the house ready for him.

Mark, how did you feel about the statement that Tom winds up giving at the hearing in the finale?

Ruffalo: He had to sit down and write that. I don’t think he really knew what he was going to be writing. He’s taking stock of his life and his son’s life and the story of the life. It’s connecting him to the whole story. It’s not just the loss of my wife, but also we raised that boy. We made this life together and, even in the hard part of it all, that’s where we learned what love is. Then when he gets in there, he doesn’t even know that he’s gonna say it. He doesn’t know he’s going to confront him with it and say [to his son], “Look at me.” But the whole journey, leads us there.

There’s something, too, about his composure in that moment.

Ingelsby: That’s the genius of Mark. That was the first or second take, what we used.

How many versions of it did you write? Was there an overly emotional or dramatic version?

Ingelsby: There was a longer version. But I think what was important about it was — and Mark does such a beautiful job — was that he had to be honest about how hard it was. I was always worried it would be a bit maudlin, if he just went in and said straight away, “I love you.” It was almost like he had to be really honest with everybody, like, “Hey, this was f— horrible.” And the shame of changing your name —

Ruffalo: Yes. To be that honest and to say that I pretended like I wasn’t his father. It’s so shameful. It’s so honest.

Ingelsby: I think because he’s so honest, it makes the forgiveness even more impactful. When he says, “I forgive you,” you believe because he’s earned the trust in the speech by admitting the things that were so shameful .

Ruffalo: It doesn’t just go one way — forgiveness. There’s a lot of shame on it on the other side, that’s where the anger comes from. There’s always this question: What could I have done? The backstory was I left, knowing that he was in an episode, but I had to go. I left her with him, thinking it would blow over. And it didn’t. He has to also be honest about his part in it. What dad says, “That’s not my kid. You’re in retreat already.”

Ingelsby: That’s what we want the ending to be. It’s not that everything’s going to be easy. I think the same for Mare — it wasn’t like Mare’s life was so great at the end of the show. There was a lot of going on.

Ruffalo: She’s going to an AA meeting. Tom and Mare can meet at an AA meeting.

Tom Pelphrey as Robbie Prendergrast, a garbage collector trying to avenge his brother’s death by hitting trap houses belonging to a local gang before getting caught in a deadly standoff. (HBO)

Mark Ruffalo, Silvia Dionicio and Phoebe Fox in “Task.” Ruffalo plays a priest-turned-FBI agent who hasn’t confronted his feelings about the murder of his wife at the hands of their adopted son. (HBO)

To that point, was there thought about whether to incorporate “Mare” characters in this show, if they’re in the same universe?

Ingelsby: It’s funny you say that. [In] one of the early scripts, we had a scene where Emily (Silvia Dionicio), at the end of the show, went to a concert with her boyfriend, Leo, the guy that’s a magician. And Mare’s daughter, Siobhan (Angourie Rice), was playing. And there was another connective piece I’m missing. I think Leo’s brother was in the band. And they had a moment together, because I felt like Emily and Siobhan were very, very similar. That they had the weight of the world on their shoulders in some way, Emily especially —

Ruffalo: They’re well suited for each other. They could just sink to the bottom of the lake together.

He’s got a crossover season mapped out for you.

Pelphrey: If we hold hands, we can sink faster.

Ingelsby: But we did have something connecting them. But I’m glad HBO read it and were like, “Is it a bit much?” It felt like maybe we were reaching to do something that the story didn’t require. And when we took it out, I felt like this story exists on its own, and we didn’t need that. If we had threaded it through the story in a more interesting way, maybe it would have worked, but it would have felt really tacked on and kind of just fan service for the sake of fan service, which I didn’t want.

Can we talk about the Phillies cup? It’s seems like such an obscure detail, but that cup triggered me. I know it well. A father trying to hide his vice.

Ingelsby: That’s another detail of my own life that I can repurpose, steal. That’s my dad. He drinks out of that. He watches every Phillies game. There’s 162 games. And if he can’t watch, he’s listening to it in a radio in the car. I feel like we always talk about in the specific, is the universal. And Mark did the swirly thing.

Ruffalo: That’s what made me want to do the show. That he was drinking out of that. And then he swirled his hand. I said, “This guy is writing character like nobody is doing that I’ve seen in television.” I only read the first episode and I was like, “I want to go. I trust this journey with him.” And it was from that nuance thing. I know that guy. He’s a priest who swirls his vodka and tonic with his finger. In a Phillies cup. And he thinks he’s pulling it over. That’s my family. It’s so honest.

The accent was such a feature of “Mare of Easttown.” I imagine that had its own expectations or pressure for this show.

Ingelsby: “Mare” was more a community — very, very specific community. I felt like, in that show, we had to go all in and Kate did. A lot of Mark’s character was driven by my uncle, who has no accent at all. Because he went to the seminary, then he went to Merrimack College, he was a teacher — he bounced around. And even me, there’s a couple words I’ll say that you can’t pick up a heavy accent. There’s a couple words, where maybe you could pick it up.

Ruffalo: We tried. I tried it. I kept kicking it out, it just didn’t feel right. He does hit some of those words. He does say wooder — cheery wooder ice. We kept some of it in, but we didn’t go as hard at it because he goes another way. I feel like he might have ended up in South America at some point. I was thinking he traveled the world.

Did you pay many visits to Wawa? I remember Kate telling me about her Wawa experiences.

Pelphrey: I grew up going to Wawa. I was Wawa all the time because I was living out in the suburbs.

Ingelsby: I think Kate ate hoagies or something.

Pelphrey: They make a good sandwich.

Ruffalo: Oh, bro. I started with a fat suit and then I had to take it off. I just kept getting fatter. My wife saw me and she’s like [to the kids], “huh, your father’s eating his way through Philly.” But, man, I’d be like, “How about a sandwich for the scene?” [Mimics scarfing down a sandwich.] Like a troll.

Ingelsby: He is an amazing sandwich eater. We were talking about it.

Pelphrey: We were.

Ruffalo: Oh, I knew I was going to be eating a sandwich that day [in a scene], so I starved myself so I could just plow that thing.

Are you interested in a Season 2, Brad?

Ruffalo: No one wants a Season 2. [the trio laughs] No, I’m kidding. That would be amazing.

Ingelsby: It would be amazing. If people respond and we get a chance to do it.

Could we get that “Task”-”Mare” crossover?

Ingelsby: A lot could happen.

Ruffalo: Some “Mare” people could show up. There could be a love affair.

Half-full duffle bags littered the floor of the Dodger clubhouse Sunday morning while a neat line of suitcases stood just outside the locker room door.

Sunday’s 3-1 matinee loss to the San Francisco Giants, a game which featured another late-inning bullpen meltdown, was the last chance to see the Dodgers at home during the regular season and 46,601 brought tickets to celebrate the occasion, pushing the team’s attendance over 4 million for the first time.

But the vibe wasn’t so much “good-bye” and it was “we’ll be right back,” since the team and its fans are expected to return to Dodger Stadium to open the National League playoffs next week. Even the retiring Clayton Kershaw made that point when he briefly addressed the crowd before the game.

“Remember, we’ve got another month left,” he said. “So we’ll see you at the end of October.”

That may be a bit ambitious. But barring disaster — never count out the Dodgers’ bullpen — the team is guaranteed at least two more games at home this season. The Dodgers will hit the road Monday for their final six games of the regular season with a magic number of three, meaning any combination of Dodger wins or Padre losses totaling four will give the team its 12^th West Division title in 13 years — and the Dodger Stadium playoff dates that go with it.

“Our head right now, to be honest, is on winning this division and going forward,” manager Dave Roberts said. “I just want to win the division and get to the postseason.”

They missed a chance to move a big step closer Sunday when they wasted another brilliant performance from right-hander Emmet Sheehan, who held the Giants to a hit over seven innings, retiring 15 in a row at one point.

Sheehan, who didn’t allow a runner after hitting Andrew Knizner to open the third, matched a career-high with 10 strikeouts. But for the third time in four appearances that wasn’t good enough to get the win after reliever Blake Treinen gave up three eighth-inning runs to turn a 1-0 lead into a 3-1 deficit.

Giants’ starter Trevor McDonald, who was making his first big-league start, was nearly as good before tiring in the seventh. Max Muncy opened the inning with a walk — the only one McDonald allowed — and moved to second on a two-strike single to right by Andy Pages. Michael Conforto then looped the first pitch he saw into shallow left field to score Muncy and end McDonald’s day after 89 pitches.

The Dodgers could get no more with pinch-hitter Tommy Edman lining into a double play to end the inning and that proved costly when Treinen (1-7) came out of the bullpen to give up three consecutive hits, the last a run-scoring double from pinch-hitter Patrick Bailey.

Three batters later Willy Adames drew a bases-loaded walk to give the Giants the lead, an advantage they extended to 3-1 on Matt Chapman’s soft grounder to short.

The Dodgers went quietly after that, with a pair of Giant relievers holding them to just a hit over the two innings.

That spoiled the day for a sun-splashed crowd that made history by pushing the Dodgers’ home attendance to a franchise-record 4,012,470. The Dodgers, who averaged 49,537 fans a game in 2025, have led the majors in attendance the last 12 years — excluding 2020, when the pandemic forced teams to play behind closed doors. But the most they had drawn in a season previously was 3,974,309 in 2019.

The Dodgers are the fifth team to top 4 million in a season, joining the Blue Jays, Rockies, Mets and Yankees, but the first to do so since 2008, when both New York teams did it. Colorado holds the major league record having sold 4,483,350 tickets during it inaugural season in 1993, when it played at an 80,000-seat football stadium.

“Like every season it’s been up and down, an emotional year. And for these fans to show up every day, it’s incredible,” Roberts said. “There’s a reason why I feel that we have the best fans in sports, and the numbers speak to it.”

The Dodgers rewarded that loyalty, with their 52 wins at home this season leading the majors. What they weren’t able to do was clinch the division title in front of their fans.

But if they can do that on the road this week, they’ll be right back home for at least two more games at Dodger Stadium in the playoffs.

Notes

Right-handers Blake Stewart and Roki Sasaki both pitched scoreless innings in relief for Triple A Oklahoma City in their final rehab appearances before the postseason roster is set. Stewart struck out one and gave up a hit, throwing nine of his 15 pitches for strikes. Sasaki did not allow a runner, striking out one of the three batters he faced and getting strikes on five of his eight pitches.

Dodgers fans pay up, in significant numbers and in significant amounts, to watch their team on SportsNet LA: Home team, home channel.

Not on Friday, though, when Clayton Kershaw takes the mound for what might well be the final time at Dodger Stadium.

The exclusive broadcast rights for the game belong to Apple TV+, as part of a package of Friday night games bought from Major League Baseball. Apple is guaranteed a minimum of four exclusive broadcasts for whatever teams it chooses to air, according to a league official. Friday’s game will be the Dodgers’ fourth on Apple TV+ this season, so it remains exclusive to Apple.

The alternate Apple game Friday involves the Toronto Blue Jays. As it became apparent the Blue Jays might clinch a playoff spot on Friday, Apple and MLB agreed that Sportsnet — the Blue Jays’ equivalent of SportsNet LA – could air a simulcast of that Apple TV+ broadcast. (That change was announced Thursday morning, before a Jays loss and Cleveland Guardians win made it impossible for Toronto to clinch on Friday.)

However, the Jays will total five exclusive Apple TV+ broadcasts this season.

This will not be the first bit of Dodgers history limited to the Apple audience. In 2022, when Albert Pujols hit his 700th career home run, the game was on Apple.

The man who called the Pujols game for Apple also will call the Kershaw game for Apple: Wayne Randazzo, the voice of the Angels.

Kershaw, the 11-time All-Star and three-time Cy Young award winner, said Thursday he would retire at season’s end. After the weekend series against the San Francisco Giants, in which Kershaw is scheduled to start Friday’s game, the Dodgers finish the regular season on the road. The Dodgers have not said what role, if any, Kershaw might fill on their playoff roster.

Fans can sign up for a free seven-day trial of Apple TV+ here. (If you’re signing up just to watch Kershaw, you’ll need to cancel within the seven-day window, or you’ll be billed $12.99 each month.)

This article contains spoilers for the Season 3 finale of “The Summer I Turned Pretty.”

Isabel “Belly” Conklin and Conrad Fisher had a très romantique reunion in Paris in the highly anticipated series finale of “The Summer I Turned Pretty” this week — but that’s not the end of their love story.

Hours after Prime Video dropped the series finale of the hit show on Wednesday, the streamer announced a feature film continuation to be written and directed by author, creator and co-showrunner Jenny Han.

“There is another big milestone left in Belly’s journey, and I thought only a movie could give it its proper due,” Han said in a press release. The surprise announcement was made during the red carpet finale premiere in the City of Love, with Han and the stars of the series, including Lola Tung, Christopher Briney and Gavin Casalegno, in attendance.

Story and production details for the untitled “Summer I Turned Pretty” movie are under wraps, as is the release date. But fans of Han’s bestselling book series of the same name have already guessed which major milestone a “Summer” movie is likely to reveal: Belly’s wedding to Conrad.

The wedding, an ultimate happy ending for the couple after their tumultuous three-season journey of first love and heartbreak, was originally revealed in the epilogue of Han’s third “Summer” novel, “We’ll Always Have Summer.” Curiously for the series, in which Han has shown meticulous creative control with well-curated book moments, music and visual details, Belly and Conrad’s onscreen love story comes to an open-ended conclusion when they return together to the Cousins summer house, with Belly narrating an ambiguous forward jump in time.

Additionally, a credits montage titled “Christmas in Paris” shows snapshots of them spending the holiday together and an onscreen letter from Han thanking fans that appears to open the door to more of Belly and Conrad’s story: “Maybe we’ll meet again one summer in Cousins.”

Belly and Conrad’s onscreen love story comes to an open-ended conclusion when they return together to the Cousins summer house in the series finale.

(Eddy Chen / Prime)

The final three episodes of the global hit series expand on the book’s epilogue, switching the setting from Spain to Paris, where Belly (Tung) finishes college abroad after a love confession from Conrad (Briney) upends her would-be nuptials to his brother, Jeremiah (Casalegno). The penultimate episode included the handwritten letters from the book that Conrad begins sending Belly during their time apart, leading to their eventual romantic reconnection.

In the 79-minute series finale, written by Han and co-showrunner Sarah Kucserka and directed by Jesse Peretz, Conrad arrives in Paris a year later to surprise Belly on her birthday. They clear the air and rekindle their spark during a “Before Sunrise”-esque day together. A passionate night is followed by a tearful goodbye, an emotional revelation, a dramatic dash to the train station, and the return of the infinity necklace that has symbolized their love since Season 1.

The episode also checks in on the folks back home in Cousins, including Steven (Sean Kaufman) and Taylor (Rain Spencer), who are navigating the next steps of their own relationship, and Jeremiah, now an up-and-coming chef, who has moved on from his breakup with Belly and is forging a romantic connection with former co-worker Denise (Isabella Briggs).

After watching the finale, some fans on social media felt that Belly and Conrad’s love story was incomplete, wanting to see more of the couple together, and that it missed book moments like their wedding, closure for other characters, and a reunion of the whole Cousins crew.

Avid fans had already begun poring over the episode for hints of more “Summer” to come. Eagle-eyed viewers like TikTok creator @bookbeedani noted that the numbers “12” and “14” appearing throughout the episodes and holiday hints, including a red and green dress worn by Han in a promo revealing the finale title, support speculation that a Dec. 14 Christmas special might be in the works.

Those details could hint at what’s to come in a “Summer” feature film, including what we didn’t see in the series finale, like the letter Susannah wrote to Belly before her death, a “Bonrad” wedding — and first dance to “Stay” by Maurice Williams and the Zodiacs — and a final scene with the pair on the beach that has been witness to several of their important moments together.

“I’m definitely open to doing more stories in the universe,” Han told The Times in an interview ahead of the finale. The film, which will mark Han’s feature directorial debut after making her first foray into directing with a Season 3 episode told from Conrad’s perspective, could also tie up loose ends or tee up spin-off potential for other beloved characters, including Steven and Taylor in California; Laurel, John and Adam on that singles cruise; or Jeremiah and Denise in … love?

Pro-Palestine demonstrators have repeatedly targeted the Israel-Premier Tech cycling team during the race in Spain.

Pro-Palestinian demonstrations in Madrid have forced the abandonment of the Vuelta a Espana cycling race’s final stage, with Danish rider Jonas Vingegaard declared the overall winner as police fought with protesters.

Demonstrators blocked sections of the race route in the Spanish capital on Sunday, moving past metal barriers and stepping out onto the road. Police deployed in large numbers, but the race was abandoned.

Organisers confirmed the suspension of the event. “The race is over,” a spokesperson told Reuters.

Spanish authorities said that 100,000 pro-Palestinian protesters took to the streets of Madrid on Sunday.

The protests have repeatedly targeted the Israel-Premier Tech cycling team, owned by Israeli-Canadian property developer Sylvan Adams, over Israel’s war on Palestinians in Gaza.

Adams, the president of the Israel region of the World Jewish Congress, is referred to by that organisation as “committed to promoting Israel’s global image”.

Demonstrations disrupted multiple stages in recent weeks, with some riders threatening to quit after blockades caused falls on the course.

In Bilbao, stage 11 of the race was neutralised with no winner declared after protesters blocked the approach to the finish last week, while on Tuesday, hundreds of demonstrators forced stage 16 in Galicia to be shortened after confronting police near the route.

More than 1,000 police officers were deployed on Sunday in Madrid to secure the finale of the 21-day race in Madrid, which had been scheduled to finish at 7pm (17:00 GMT).

While race organisers denied they were considering cancelling earlier stages, they had suggested Israel-Premier Tech withdraw to protect the safety of other teams.

The participation of Israel-Premier Tech has drawn widespread criticism in Spain, where support for the Palestinian cause is strong.

Lily Mayers, a freelance journalist, told Al Jazeera: “This afternoon, thousands of protesters gathered … with flags and banners in support of Palestine. At around 6.30pm [16:30 GMT], crowds flooded onto the street, pushing down the barriers and clashing with police quite dramatically.

“Police in response used tear gas on protesters to push them back.”

The Spanish government this week recalled its ambassador from Tel Aviv and barred two far-right Israeli ministers from entering the country, while it officially recognised a Palestinian state last year.

Sports Minister Pilar Alegria has previously argued that Israeli teams should be banned from international competitions, similar to restrictions imposed on Russian teams following Moscow’s invasion of Ukraine in 2022. She said allowing them to compete showed a “double standard”.

Meanwhile, Israeli Prime Minister Benjamin Netanyahu has publicly praised Israel-Premier Tech for continuing in the race despite the protests.

Spanish Prime Minister Pedro Sanchez also voiced support for the pro-Palestine protesters. Speaking at a Socialist Party rally in Malaga on Sunday, he said: “Today marks the end of the Vuelta.”

“Our respect and recognition [is] for the athletes and our admiration for the Spanish people who are mobilising for just causes like Palestine,” he said. “Spain today shines as an example and as a source of pride, an example to an international community where it sees Spain taking a step forward in the defence of human rights.”

Downton Abbey: The Grand Finale is the last film in the Downton Abbey franchise and fans have been walking out of cinemas in tears.

The grand conclusion of Downton Abbey is finally upon us, with the cast of the renowned ITV period drama bidding an emotional adieu after 15 years.

The last film in the Downton Abbey series, directed by Simon Curtis and penned by Julian Fellowes, graced UK cinemas on September 12.

Devoted fans have been left teary-eyed as they bid farewell to their favourite characters, reports the Express.

“Take tissues,” one viewer advised on Rotten Tomatoes, as another fan shared: “They wrapped up the whole saga so well. I was crying. Beautiful and triumphant.”

A third wrote: “Loved this movie. It wrapped up loose ends and answered questions. The ending did make me cry. I’m very sorry to see it over.”

What is Downton Abbey: The Grand Finale about?

The synopsis for Downton Abbey: The Grand Finale reads: “The cinematic return of the global phenomenon follows the Crawley family and their staff as they enter the 1930s.

“When Mary finds herself at the centre of a public scandal and the family faces financial trouble, the entire household grapples with the threat of social disgrace.

“The Crawleys must embrace change as the staff prepares for a new chapter with the next generation leading Downton Abbey into the future.”

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How many Downton Abbey movies are there?

There are three Downton Abbey movies in total, with Downton Abbey: The Grand Finale confirmed as the third and final film in the franchise.

The first movie, entitled Downton Abbey, came out in 2019, while second film Downton Abbey: A New Era was released in 2022.

How long is Downton Abbey: The Grand Finale?

Downton Abbey: The Grand Finale is exactly 125 minutes long, meaning the run time is 2 hours and 5 minutes.

The original 2019 Downton Abbey film had a similar run time of 122 minutes, while sequel film Downton Abbey: A New Era was also exactly 125 minutes long.

How many seasons of Downton Abbey are there?

There are six seasons of Downton Abbey in total, with season 1 first airing on ITV in 2010 and the final season airing in 2015, finishing with a Christmas special.

The award-winning show’s incredible popularity meant that it became the most successful British costume drama since ITV’s 1981 TV adaptation of Evelyn Waugh’s Brideshead Revisited.

Where can you watch Downton Abbey: The Grand Finale?

Downton Abbey: The Grand Finale is now available to watch in cinemas across the UK and is anticipated to stay in theatres for several weeks.

Where can you watch Downton Abbey?

The original 2010 series of Downton Abbey is available to stream in its entirety on ITVX.

The 2019 film Downton Abbey is also available to stream for free if you have a subscription to Disney Plus or Prime Video, while the 2022 sequel Downton Abbey: A New Era is free to stream on ITVX.

Downton Abbey: The Grand Finale is being released this week and despite the subtitle of the film, it’s already been teased that the story may not be over for fans just yet

Downton Abbey: The Grand Finale fans are expecting to bid farewell to characters from the beloved franchise when it’s released on Friday. The third film in the series, it follows on from Downton Abbey (2019) and A New Era (2022).

Focusing on the Crawley family and their staff as they navigate how to lead Downton Abbey into the future, the film sees the story enter the 1930s. It’s previously been teased that it will “close off” the stories that began on the ITV show, which ran for six seasons from 2010 to 2015.

Despite being billed as the “grand finale,” it’s been suggested that fans may not have to say goodbye just yet. There’s been hints about potential spin-offs already and it’s now teased that a prequel series could be underway in the future.

READ MORE: Downton Abbey Mrs Patmore star Lesley Nicol admits cast divide as she gushes over one bondREAD MORE: Downton Abbey’s final film features unexpected cameos from relatives of iconic star

Allen Leech, known for his role as former chauffeur Tom Branson, has teased that the story may not be over despite the marketing of the film. He’s suggested that a future prequel could delve into the backstory of Violet Crawley, played by the late Dame Maggie Smith.

Violet, the Dowager Countess of Grantham, was a matriarchal figure in the franchise but was killed off in the second film, released three years ago. Cast member Maggie then herself died, aged 89, just last year.

Allen, 44, said on Virgin Radio this week that Violet’s history could be explored in a prequel project. He shared that it could be in the pipeline moving forward, following rumours last year of a spin-off about Violet’s younger years.

Speaking on the Ryan Tubridy Show, he said: “I was chatting to the director, yesterday, Simon [Curtis], over lunch and he was saying there is a great poignancy about this movie, not just for Downton fans but for anyone. It’s about letting go and it’s about moving on.”

Asked about the potential for more stories, he said: “From what I hear, the plan is if they’re ever gonna do anything with it, they’re either gonna go back in time and [do a] prequel [about Violet] in her younger years, which would be very interesting.”

Allen added that a project set in the 1970s at the property could be on the cards instead. He said: “Or they’re gonna go seventies [and] all the debauched madness that happened in the house then. I think it’d be kind of interesting.”

The upcoming film has previously been described as a “last tributing” to Maggie. Speaking on the radio station last year, her on-screen son Hugh Bonneville, 61, said about the latest film: “It’s very much set in the house and saying goodbye to all these characters and we obviously say goodbye to Dame Maggie, which was very poignant on screen and now in real life. She’ll be sorely missed. But the final film will obviously be a great lasting tribute to her.”

Maggie had been among the cast when Downton Abbey first aired in the UK in 2010. It later proved popular in the US and its six seasons have been followed by the film continuations. As well as receiving critical acclaim, the show is said to have boosted tourism to villages like Bampton in Oxfordshire and Highclere Castle in Hampshire.

Speaking ahead of the third film’s release, creator Julian Fellowes, 76, told the Writing Studio: “It feels quite complete. I’m not saying we’ll never see Downton Abbey in any other form – one should never say never, but I think it feels natural and right that we have made the journey with the original concept and the original cast, so I’m rather pleased about that.”

He has however suggested that several characters could be worthy of spin-offs. Discussing the prospect of one centred on Thomas Barrow, played by Rob James-Collier, Julian told RadioTimes: “I think you could make a case for many of them.”

Fans eager for more Downton Abbey don’t have long to wait as ITV will also be releasing a special about the franchise on the day of the film’s release. It’s teased that the doors to the iconic property will be “opening one last time” for Downton Abbey Celebrates The Grand Finale as the cast reunite to share memories and secrets from the last 15 years.

Downton Abbey: The Grand Finale is released on Friday in the UK. Downton Abbey Celebrates The Grand Finale will be available on ITVX then too and the special will later air on ITV3 on Saturday at 9pm.

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THE CONJURING: LAST RITES

(15) 135mins

★★★★☆

3

FOR over a decade, the Conjuring franchise has been scaring us silly with its “true stories”.

But this will be the final haunted hurrah from parapsychologists Lorraine (Vera Farmiga) and Ed Warren (Patrick Wilson).

The married couple are as devoted to keeping bad spirits at bay as they are each other.

The film begins with a flashback to 1964, where a haunted mirror causes Lorraine to go into early labour.

The birth is traumatic and the demon that wants to get her young baby, Judy, almost wins, with the tot being stillborn.

Evil presence

But after begging the Lord to make the baby breathe, Lorraine wins that battle and we see the loving family grow up with happiness around them.

All while ghostbusting, of course.

But demons don’t rest and Judy, who has visions like her mum, often feels that she is being watched.

Fast-forward to 1986 and the Warrens are retired due to Ed having a heart condition.

But that pesky mirror turns up again, this time in the family home of the Smurls in Pennsylvania.

There are some seriously creepy goings-on and this is a demon not to be messed with. The Smurls have been so violently attacked by a powerful evil presence that they all live in terror.

As usual in these films, what you don’t see is far more terrifying than what you do.

Every usual horror trope is thrown out with a vengeance. But hey, if it ain’t broke. . . 

And it certainly feels like it’s not, as my palms grew clammy and heart rate shot up countless times.

The performances by Farmiga and Wilson are as extraordinary as always, bringing believable calm to the roles.

The climax of the supernatural events includes daughter Judy (Mia Tomlinson) and her boyfriend Tony (Brit actor Ben Hardy), are both tense and unsettling.

Directed by Michael Chaves, who was also the director for the three previous entries in the franchise, the film has a hand-held camera effect that tunes into the 1980s feel very well indeed.

There’s also a nice rounding off at the end with some familiar faces that superfans will appreciate.

A spine-tingling finale to a series of films that will likely haunt generations of fans to come.

ON SWIFT HORSES

(15) 119mins

★★☆☆☆

3

THIS odd beast of a film from Daniel Minahan is adapted from Shannon Pufahl’s 2019 novel.

It opens with Muriel (Daisy Edgar-Jones) and her soon-to-be husband, Lee (Will Poulter), chasing the Californian dream after his return from the Korean War.

Their plans for a fresh start are almost derailed by the arrival of Lee’s magnetic younger brother, Julius (Jacob Elordi), who departs for Las Vegas the next day.

There, Julius finds work in a casino and falls into a secret romance with his charismatic coworker, Henry (Diego Calva).

Back in California, Muriel begins her own double life, gambling at racetracks and discovering an unexpected passion with her neighbour, Sandra (Sasha Calle).

On paper, this is rich material, but on screen, Minahan never quite delivers the goods.

The film certainly looks the part – Andre Chemetoff’s cinematography bathes everything in a golden haze – but beneath the gloss there isn’t enough here to truly hold it together.

In the end, On Swift Horses aspires to be a sweeping saga in the vein of East Of Eden, but it never gets out of a slow trot.

All style, with little substance.

LINDA MARRIC

THE COURAGEOUS

(12A) 83mins

★★★★☆

3

JASMIN GORDON’S debut feature film is an honest portrait of survival, love, and dignity.

Set against the beautiful landscape of Switzerland’s Valais region, it follows Jule (Ophelia Kolb), a rebellious single mother of three who refuses to give up on her family despite poverty, past mistakes and the indifference of the welfare system.

Kolb, best known for the hugely popular series, Call My Agent!, gives a career-defining performance. She captures Jule’s contradictions with remarkable depth.

Gordon directs with sensitivity, as she blends social realism with poetic imagery in a film that never feels needlessly moralising.

Her film never resorts to cliché or sentimentality; instead, it shines a light on the often invisible battles of the working poor in a modern Swiss society where destitution is often a taboo subject.

This is a powerful, heartfelt drama about love, resilience, and the complexity of being a flawed human.

Gordon’s sensitive direction and Kolb’s mesmerising performance combine to create a film that is both socially aware and profoundly moving.

It may be her first ever feature, but Gordon has made a film that feels both mature and hugely engaging.

LINDA MARRIC

The second season of Love Is Blind’s UK season came to a dramatic end today – and fan favourite couple Kieran and Megan have ‘convinced’ fans their love is still going strong

Netflix fans have been hooked on the second season of Love Is Blind UK, which came to a dramatic end today.

It was no surprise that Kieran and Megan said ‘I do’ at the altar– and although they’re sworn to secrecy on what happened after until the reunion, they’ve dropped some major hints that they’re still in love.

Megan and Kieran connected from the moment they met in the Netflix pods, although Kieran also struck up a connection with Sophie. It came crashing down pretty quickly, however, when she realised Kieran had given Megan a cute gift – whereas she was left empty-handed.

READ MORE: All the Love Is Blind couples that are still together – as Netflix drops shock UK finaleREAD MORE: Netflix fans in tears as final Love Is Blind UK series two episodes finally air

A distraught Sophie quit the process, and Megan and Kieran went on to get engaged, and later married, in today’s epic finale. It looks like their love story has continued to blossom, as they’ve dropped major clues they’re still together over on Instagram.

Fans witnessed a fairy tale wedding between the two, with Kieran breaking down in tears when he laid eyes on his bride. ” I still can’t quite believe how perfect you are for me … We’re living our fairytale right now, and Megan, you’re my happily ever after,” he said.

Although fans only witnessed the weddings today, they were actually filmed last year. The contestants have been sworn to secrecy, although some fans were left ‘fuming’ with their hints on TikTok before the wedding ceremony. ***Warning: Love Is Blind UK Season 2 spoilers ahead***

To no one’s surprise, Kieran and Megan have dropped the biggest hints yet that they’re together, as their pictures have coincidentally shared the same background more than once.

Before the finale dropped, eagle eyed fans noticed that the two had taken a trip to Frankfurt, Germany at the same time. Although they were careful not to include each other – they weren’t fooling Netflix fans.

Dropping an even more telling clue, fans noticed that the couple have the same background when posting in their houses – ‘confirming’ that they’re still married a year on from the show.

“Megan and Kieran are very married, you can see from the photos/videos that the house is the same, I love them,” wrote one fan on X, formerly known as Twitter, while another said: “I hope they are married. Because look at these photos!!! Aaahhh!”

Although fans are convinced the couple are still very much together, they’ll have to wait until Sunday, 31 August for the reunion show, where each couple’s status will be confirmed.

During the final two episodes, we also saw Kal and Sarover and Ashleigh and Billy tie the knot. However, Bardha shockingly said no to Jed at the altar – but have they kept a relationship going?

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Love Is Blind UK fans have been left fuming with the second series, as they claim the contestants being allowed to post on social media has ‘given away’ who’s still together

Netflix has had fans hooked with the second series of Love Is Blind UK, with the second batch of episodes dropping earlier this week. Next week, fans will be able to watch the final two episodes, in which they’ll find out which couples survive the altar – but spoilers may have already given it away.

At the end of episode eight, there are just four couples remaining in the process, with after hearing about Javen’s antics at the mixer afterparty.

Next week, fans will witness Kal and Sarover, Megan and Kieran, Billy and Ashleigh and Jed and Bardha walk down the altar, but who will say I do? Well, fans think they’ve already worked it out from the stars’ social media – and they’re not happy.

READ MORE: Love Is Blind UK couple’s ‘epic’ love story not shown on TV and how it nearly fell apartREAD MORE: Love Is Blind UK fans ‘can’t watch’ after star’s awkward blunder

Eagle eyed fans have spotted clues on couples Megan and Kieran and Jed and Bardha’s Instagram posts, hinting that they’re still together.

Fans have noticed Megan and Kieran have been posting pictures with the same backgrounds – with the two both taking a trip to Frankfurt.

“Megan and Kieran are very married, you can see from the photos/videos that the house is the same, i love them,” wrote one fan, with many others spotting the similar backgrounds in their pictures.

Elsewhere, another fan says to have left a comment on Sarover’s TikTok, saying she ‘deserves better’ than her partner Kal – with Sarover liking the comment.

“You’re literally somebody’s dream girl,” the comment read. “You deserve wayyyyy better than him.”

Aside from social media, next week’s teaser shows Bardha breaking down in tears during the hen do, revealing they had a huge argument. Later on in the trailer, Bardha can be seen breaking down in tears while her friend consoles her.

Fans think this is a huge giveaway the couple didn’t tie the knot, although it could just be a part of the edit to throw viewers off…

From the start of the series, fans had been issuing complaints that the participants had been given the freedom to post on social media while the show was airing, claiming it had ‘ruined the show’.

“They’re making it obvious they’re not married,” wrote one, while another said: “This season is actually good they need to stop spoiling it.”

“I’m already figuring out who’s married or not and it’s so annoying omg,” wrote another, as another fan penned: “I think they’re speaking to defend themselves but the reality is they have no control over how they are perceived by the public (no matter how many videos they make) – the producers do.”

Shila, who starred in Love Is Blind Germany also commented on social media, claiming: “And we weren’t even allowed to follow each other until the reunion aired.”

Viewers will have to wait until Wednesday to see what really happens…

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My Life With The Walter Boys season two is on the horizon and Netflix has already renewed the hit teenage drama for a third outing.

WARNING: This article contains spoilers from My Life With The Walter Boys.

Netflix’s My Life With The Walter Boys season two is on its way and fans are chomping at the bit to get all the juicy details.

The life of Jackie Howard (portrayed by Nikki Rodriguez) took a dramatic turn in the first series when she was compelled to leave New York and move in with her mum’s best mate Katherine Walter (Sarah Rafferty) in Silver Falls, Colorado, following the tragic demise of her family.

She had no idea that she would be sharing a roof with nine lads, including two nephews, and Katherine and George’s (Marc Blucas) only daughter Parker Walter (Alix West Lefler).

What came as an even bigger surprise was the budding love triangle between herself, the gentle-hearted Alex (Ashby Gentry), and the seemingly rebellious Cole Walter (Noah LaLonde).

But what’s next after Jackie’s passionate kiss with Cole before her abrupt departure from Silver Falls?

My Life With The Walter Boys season two release date

The countdown is on for the return of My Life With The Walter Boys for its second season, with the Netflix sensation set to make a comeback on Thursday, 28 August, on Netflix.

Netflix has also already given the green light for a third instalment of the drama, with production for My Life With The Walter Boys season three already in progress.

My Life With The Walter Boys season two cast

All the main stars from the inaugural series will be back for the second run of My Life With The Walter Boys.

This includes Rodriguez reprising her role as Jackie, LaLonde as Cole, Gentry as Alex, and Rafferty as Katherine.

Other stars returning to their roles include Marc Blucas as George, Johnny Link as Will, Connor Stanhope as Danny, Corey Fogelmanis as Nathan and Ellie O’Brien as Grace.

Several fresh faces are joining the cast this series, featuring actress Natalie Sharp as champion rodeo rider Blake Hartford, Carson MacCormac as charming senior Zach, Joanne Wagner as Grace’s traditional mum, Riele Downs as “flirty” Maria and Jake Manley as competitive rodeo rider Wylder Holt.

What to expect from My Life With The Walter Boys season two

Jackie will be heading back to Silver Falls following her summer stint in New York, a spontaneous journey triggered by her kiss with Cole.

She’ll be attempting to rebuild her bond with Alex, establishing limits with Cole and seeking to rediscover her position within the Walter household.

Meanwhile, Alex will be concentrating on rodeo preparation whilst Cole continues to grapple with losing his football identity and quickly reverts to previous patterns.

There’s also drama brewing for George and Will as their scheme to transform their farm into a commercial venture doesn’t receive a warm reception from all community members.

My Life With The Walter Boys season two launches on Thursday, August 28, on Netflix.

“And Just Like That,” it’s over.

Earlier this month, showrunner Michael Patrick King informed the world that the long-awaited, highly anticipated and then almost universally hated sequel to HBO’s groundbreaking series “Sex and the City” would end. Mere weeks later, it did just that and rather abruptly, with two Thanksgiving-themed episodes, which felt a bit odd in these dog days of summer. But at least it allowed the writers to box up and tie off all the various storylines as if they were the medley of pies Carrie (Sarah Jessica Parker) picks up and delivers to all her friends during the show’s finale.

If you think those pies denote happiness, you would be right. The main feast at Miranda’s (Cynthia Nixon) apartment falls far short of perfection — loads of no-shows, the appearance of chef Brady’s (Niall Cunningham) passive-aggressive baby mama, an undercooked turkey and a toilet disaster — but in the end, every character is left wallowing in peace and satisfaction.

Miranda lowers her defenses enough to tell Joy (Dolly Wells) that she is a recovering alcoholic, to which Joy responds with deep understanding. Prostate cancer survivor Harry (Evan Handler) becomes fully, er, functional again and in the afterglow, Charlotte (Kristin Davis) finally surrenders the girly expectations she once had for her nonbinary daughter Rock (Alexa Swinton). After fleeting concern that her crunchy gardener lover Adam (Logan Marshall-Green) doesn’t believe in big weddings or even marriage, Seema (Sarita Choudhury) accepts that true, and committed, love comes in all shapes and sizes. As do Anthony (Mario Cantone) and Giuseppe (Sebastiano Pigazzi). Whether Lisa’s (Nicole Ari Parker) renewed devotion to husband Herbert (Christopher Jackson) counts as a happy ending is open to debate, but at least he seems to be letting go of his “humiliating” loss in the New York City comptroller race.

As for Carrie, well, after her renewed romance with Aidan (John Corbett) became blighted by mistrust, she had a lovely brief affair with Duncan (Jonathan Cake), the British biographer living in the basement of her townhouse. But in the end, she decides, via the novel that served as this season’s voice-over, that life in a fabulous Manhattan apartment with a closet that looks like it was shipped from “The Devil Wears Prada” costume department and a group of fine faithful friends (including a cantankerous baker who allows her to order pies long past the pie-ordering deadline), does not require a man to be complete.

After breaking up with Aidan (John Corbett), right, and a brief affair with Duncan (Jonathan Cake), Carrie (Sarah Jessica Parker) realizes she’s better off alone.

(Craig Blankenhorn / HBO Max)

Culture critic Mary McNamara, staff writer Yvonne Villarreal and television editor Maira Garcia compare notes on the end of one of the most discussed, if not beloved, reboots in television history.

Mary McNamara: When I wrote about “And Just Like That” a month ago, I expressed my hope that Season 3 would be the last, so I feel nothing but relief (though had I known the universe was in listening mode, I would have also mentioned wanting to win the lottery and a few other things).

I am not worried, as others appear to be, about the legacy of “Sex and the City,” which is all around us in series as disparate as “Broad City,” “Fleabag” and “Insecure.” Nor do I think that the failure of “And Just Like That” has anything to do with the current political climate or the rise of the trad wife or whatever hot takes seem handy. It was simply and consistently a very bad TV show.

I tuned in initially because, like many, I was excited to see how these characters were coping with late middle-age life — by apparently not experiencing menopause for one thing (an early indication that female authenticity had fallen by the wayside) or developing any sort of interior life.

Real crises — Carrie losing Big and “dealing” with Aidan’s troubled son, Miranda discovering her queerness and alcoholism, Charlotte struggling to cope with her daughter’s gender fluidity and her husband’s cancer — were treated performatively, as plot twists to underline, apparently, the resilience of each character and the core friendship. Not a bad objective, but the hurdles, which increasing felt like a whiteboard checklist (podcasts! pronouns! prostate cancer!), came and went so fast they quickly became laughable (and not in the comedic sense), culminating with Lisa’s father dying twice.

I kept watching, as many did, not because I loved hating it, but because there was a good show in there somewhere and I kept waiting for it to emerge. When it didn’t — well, the Thanksgiving/pie finale was a bit much — I honestly didn’t care how it ended, as long as it did.

Miranda (Cynthia Nixon) confronts her alcoholism and discovering her queerness in the show, but heavy issues were treated performatively as plot twists to reinforce characters’ resilience.

(Craig Blankenhorn / HBO Max)

Maira Garcia: Mary, after you wrote your column, I decided to take a break from the show because it summarized some of my frustrations with the reboot that seemed to come to a head this season — Aidan’s unrealistic expectations for his relationship with Carrie, the perfunctory way it addressed ADHD, the lack of rugs on Carrie’s floors. Of course my break didn’t last long because I caught up and now I’m here wondering what it was all about and what it could have been. While the line from King and Parker is that this season felt like a good place for the show to end, based on the number of developing storylines, like Brady becoming a father, I have a very hard time believing it. But the problem of how to fix this show was too big — it was better that they ended on this chapter (whether or not that decision was made by them).

I think like many viewers, I just wanted to enjoy spending some time with these ladies again at a later stage in life after a couple of decades with them through reruns and the films. But this was something else and while the addition of new characters seemed well-intentioned, they either lacked dimension, meaty storylines or were plain annoying (ahem, Che) — except for Seema. I love Seema. Please get Sarita Choudhury a spinoff.

Yvonne Villarreal: Uh, is it sad that I’m sad? I know, I know. But, look, I feel like the girl who cried “Che?!” too many times and now it’s real and it’s like I’ve been mentally placed in that insane DIY mini foyer of Carrie’s old apartment trying to emotionally find my way out. Like you, Mary, I’ve been frustrated endlessly by the series and have long felt like it needed to be put out of its misery, but I still dutifully watched every episode with a weird mix of enthusiasm and dread — and the community that grew (in my TikTok algorithm and in my group texts) from that shared experience was oddly one of the bright spots. So for HBO Max to call my bluff by actually ending it still feels like a breakup as flabbergasting — albeit, necessary — as Berger’s Post-it note peace-out.

I came in ready to approach this stage of my relationship to these characters the same way I approach the friendships I’ve maintained the longest — excited to catch up once our schedules aligned, trying to fill in the blanks from the long absence caused by life, but still recognizing the foundation of who they are and how they’re choosing to navigate life’s curveballs. But with each passing episode, it always seemed like I was at the wrong table, perplexed and trying not to be rude with all the “But why?” questions. Miranda’s quote from this week’s finale, as she took in the most bizarre Thanksgiving dinner television has ever put onscreen, felt like the epilogue to my experience watching it all: “I’m not sure exactly what’s happening now, but let’s all take a breath.”

The scene where Carrie, left, Seema, Charlotte and Lisa are at the bridal fashion show, expressing their feelings about marriage, is something our writer wanted more of in the series. (Craig Blankenhorn / HBO Max)

I will mourn the potential of what this series could have been. Like Carrie’s playful tiptoe stride through the streets in heels, the show pranced around topics that, had it walked through them with intention, would have given the series traces of its former self. That friend moment between Seema and Carrie outside the hair salon in Season 2 — where the former is reluctantly but bravely expressing that she feels like she’s being dropped now that Aidan is back in the picture — was such a genuine peek at the vulnerability between friends that so many of us valued from the original series. And that moment from this week’s finale, where the women are gathered at a bridal runway show, sharing their varying feelings on marriage at this stage in their life — I just wanted to shout, “MICHAEL PATRICK KING, this is what I wanted more of!” Though, I would have preferred if they were around a table, looking at each other as they shared and unpacked. I wanted an extended scene of that, not Carrie ordering pies! I don’t like to be teased with goodness. And that’s how it often felt.

Also, I know it’s a comedy, although the decision to lean into the sitcom style of humor remains perplexing (Harry and Charlotte, I’m looking at you), but I felt like there was a way to explore grief — the death of Mr. Big and Stanford, plus the strain on the group’s friendship with Samantha — in a way that felt truer to the characters and the style of the show. Heck, even Miranda’s drinking problem was squandered. I feel like the loss of a spouse (through death, divorce or emotional distance), the fading out of friendships and reconsideration of lifestyle habits are the most talked-about topics in my friend group at this stage in my life — sometimes the convos happen while we’re huddled around a Chili’s triple dipper, which is as bleak and real as it gets. And I’m sorry, but if I were to use one of those outings, when I’m in my mid-50s, to tell them an ex wants me to wait five years while he focuses on being a toxic parent before we can really be together, they’d slap me with a fried mozzarella stick — I will never forgive the writers for how lobotomized these characters feel. Mary and Maira, how did you feel about how the show handled its biggest absences? The show began in such a different place than where it ends — did it evolve in the right direction? Where did it go right for you?

McNamara: Oh Yvonne, you are so much kinder than I am. I never felt it was going right — the writers seemed so determined to prove that women in their 50s aren’t boring that they constantly forced them into all manner of absurd situations without much thought for what kind of actual women these characters might have become. Age was represented mostly by bizarre, grannified reactions to younger folk and their strange ways (up until the finale, which gave us that baby mama and her buddy Epcot), as if the women (and the writers) had been kept in a shoe box for 20 years.

Looking back, the lack of Samantha, and Cattrall, feels like a deal-breaker. For all her campy affectations, Samantha was always the most grounded of the characters, able to cut to the heart of things with a witty line, biting comment or just a simple truth. Seema, and Choudhury, did her best to fill that void, but she never got quite enough room to work — her relationship was almost exclusively with Carrie for one thing and Carrie was, even more than in “Sex and the City,” the driving force of the show.

Kim Cattrall made a brief appearance as Samantha Jones at the end of Season 2, but she was sorely missed throughout.

(Max)

I agree that grief was given very short shrift, and the fact that no one seemed to miss Samantha very much, or be in touch with her at all (beyond the few exchanges with Carrie) was both bizarre and a shame — coping with the loss of a dear friend, through misunderstanding or distance, is a rich topic and one that many people deal with.

As for the resurrection of Aidan, well, who thought that was going to work? Especially when it became clear that the writers thought it made perfect sense to keep Carrie and Aidan’s children separate — so unbelievable, and demeaning to both characters. Carrie’s final “revelation” that a woman doesn’t need a man to be happy would have had a much more meaningful resonance if Carrie had been allowed to explore her grief, fear, frustration and hope beyond a few platitude-laden conversations and that god-awful novel. Which, quite honestly, was the funniest thing about this season. When her agent went bananas over it, I literally walked out of the room.

Garcia: Samantha, and Cattrall in turn, were sorely missed. And you’re right, Mary, Seema filled some of that void, and you really need that connection across the different characters. Which leads me to my biggest gripe: Why did some characters feel so distant? Lisa’s storyline this season was so disconnected from the rest — it seemed like she was with the core group only in passing. And it happened with Nya (Karen Pittman), who disappeared after Season 2, though that had to do with scheduling conflicts.

As far as its evolution, I was glad to see the podcast group, with its overbearing members, whittled away — though we had to deal with Che for another season. Those overbearing characters kept getting replaced with other overbearing characters like Giuseppe’s mother, played by Patti LuPone, and Brady’s baby mama and her odd pals (if the writers were trying to get us to scratch our heads at Gen Z, they did it). While I’ll miss being able to turn my brain off for an hour each week, along with the occasional shouts at my TV over some silly line or moment, I can’t say I was satisfied in the end. At least when someone said or did something stupid in previous iterations of the show, it was acknowledged in a way that felt true the characters and there was some growth expressed. After the return of Aidan, I can’t say that’s true here.

But now that we’re at the end, I have to ask you both how this affects the SATC universe? Did this disrupt the canon? Was there something memorable you’ll take away at least? A character, a moment, a ridiculously oversized piece of jewelry, hat or bag?

Villarreal: Oh geez. There’s no question — for me, at least — where this sequel falls in the SATC universe. The original series, even with its moments that didn’t stand the test of time, will always be supreme; the first movie, while hardly perfect, gave us some memorable BFF moments — like Charlotte giving Big eye daggers after he left Carrie at the altar or Samantha feeding a heartbroken Carrie — that keep it in my rewatch rotation. I’d place “And Just Like That …” after that, with the Abu Dhabi getaway movie dead last.

What will I miss? For sure the fashion moments, especially the ones that broke my brain, like Carrie’s Michelin Man snowstorm getup or her recent gingham headwear disaster that my former colleague Meredith Blake described as Strawberry Shortcake … and don’t get me started on Lisa’s jumbo balls of twine necklace.

One thing we’ll miss: The over-the-top fashion like Carrie’s big hat and Lisa’s jumbo ball necklace. (Craig Blankenhorn/HBO Max)

I’m curious, Mary, as someone who has watched your share of series finales, how you felt about this conclusion and whether it served that mission. This season had episodes that felt like wasted filler and didn’t do much to move the plot forward. Last week’s penultimate episode is what convinced me the wrapping up of this series was not planned. It was 28 minutes of huh? And what about Carrie’s book? I would add it to my Kindle just out of curiosity. While I maybe would have seen all that’s transpired as an opportunity for Carrie to write a memoir on love and loss à la Carole Radziwill, I did get a kick out of the excerpts from Carrie’s take on a 19th century woman having an existential crisis. And look, maybe I’m schmaltzy, but I did sort of love the last line she tacked on in her epilogue: “The woman realized, she was not alone — she was on her own.” Mary, are you judging me right now? I promise I didn’t dance to Barry White’s “You’re the First, the Last, My Everything” through the halls of my apartment after watching. But I would have loved more exploration of that thread sooner — I mean, aren’t there studies about women being happier, or at least less stressed, later in life once their spouse dies? I believe it! It doesn’t mean you can’t have companionship in other ways. Anyway, what’s the takeaway from what happened with this show? Hollywood isn’t going to stop trying to find new life in established properties. So, what can be learned from what went wrong here?

McNamara: Yvonne! I would never judge you! And the world would be a far better place if everyone danced around their domiciles more often. I think Carrie realizing that her life is full and happy without a partner is actually a perfect way to end this series. (She will certainly never want for romance — So. Much. Tulle.) I just wish it had felt less rushed and did not involve a weird giant plushie at a robot restaurant. Whatever sequence of events led to the final scene, I have to believe that was going to be Carrie’s journey all along. I even liked the debate over the ending of her book — if only the book had not been so terrible!

I will certainly miss marveling at Parker’s Olympics-worthy ability to navigate nearly any surface in heels (and “sell” outfits that seem more like Halloween costumes than style) as well as those rare conversations, like the one at the bridal show, that allowed a situation to be viewed from multiple points of view.

As for the finale, it felt very much in keeping with the intention, if not the overall execution, of the series. I am not cold-hearted enough to want any of these characters to depart mid-crisis or accept less than a happy life. Sure, it was a bit pat, with everyone’s story neatly boxed up like a Thanksgiving pie. But who doesn’t like pie?

Garcia: I love pie! But let’s not forget, like the toilet that overflowed (with a few logs, to boot) in the final scenes, too much of something isn’t always what we need.

Villarreal: Is this a safe space to share that if the girls make up with Samantha/Cattrall in their 70s, I’ll be ready for their return to my screen? Sorry, not sorry — I don’t have time to set healthy boundaries with friendships that are no longer serving me.

We Were Liars left Prime Video subscribers distraught in the last few moments of its agonising finale.

WARNING: This article contains spoilers from We Were Liars.

We Were Liars star Caitlin Fitzgerald has addressed fans’ emotional TikTok videos as they film themselves reacting to the drama’s final episode.

Based on author E. Lockhart’s novel of the same name, We Were Liars revolves around the extraordinarily rich Sinclair family who spend their summers at their private island off the coast of Massachusetts.

One summer, Cadence Sinclair (played by Emily Alyn Lind) was involved in an incident that she can remember nothing about and no one will tell her what happened.

But it was the last episode of the Prime Video drama where her world really came crashing down when she discovers that she and her cousins Johnny (Joseph Zada) and Mirren Sinclair (Esther McGregor) and family friend Gat Patil (Shubham Maheshwari) set the mansion on fire.

In a devastating turn of events though, Cadence was the only one who was able to get out in time with Johnny, Mirren and Gat all dying in the blaze.

Throughout the series, Cadence had simply been imagining her friends were by her side, and was beside herself when she realised the truth.

Understandably, subscribers who hadn’t read the book were shocked, with an ongoing TikTok trend of fans filming themselves sobbing at the finale.

When Screen Time spoke to Penny Sinclair star Caitlin Fitzgerald about the reaction on social media, she admitted she wasn’t surprised.

“I always feel like I have to slightly apologise for what we put you through with that show. It’s a rough ride”, Fitzgerald laughs.

“A few years after the book came out during Covid, there was a similar kind of reading the last chapter and filming yourself weeping.

“So I was somewhat prepared for it but we knew because we couldn’t get through the script.”

Fitzgerald continues: “We did a read through of the final episode and all of us were beside ourselves.

“Even David Morrissey who is quite a stoic guy, was just like ‘give me a second’, had to kind of compose himself.

“And we knew what was coming so I can only imagine what it was like the first go around if you didn’t know.”

An official renewal hasn’t been given to We Were Liars just yet but there are talks of a prequel in the works, based on Lockhart’s novel Family of Liars.

So fans are just going to have to wait for now to find out if there will be more on the way from the Sinclair family.

We Were Liars is available to watch on Prime Video.

Maya Jama’s hair stylist has shared exactly how to recreate her sleek and glossy Love Island finale hair, including the £27 treatment that stopped frizzing in the humidity

Monday night’s Love Island finale may have finally revealed who would be crowned this season’s winner, but we still have some burning questions of our own. Namely, how did Maya Jama get her hair to stay so smooth and shiny in the Spanish heat?

With plenty of us jetting off on holiday this summer, we’ve all had our hair fall foul of the humidity, with the high temperatures and damp air leaving our hair frizzy, dry and dull looking. However Maya’s hair has never looked glossier, so we turned to her hair stylist Jay Birmingham for answers.

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Jay said: “For Maya’s Love Island finale hair, we wanted to create a dreamy, effortless look.” To make sure her hair stayed sleek and frizz-free throughout the finale, one of the first things he applied to Maya’s hair was the Color Wow Dream Coat Supernatural Spray (£27).

Jay shared that he applied it in sections before blow-drying Maya’s hair with the Dyson supersonic hairdryer, which helps to activate the treatment and creates that mirror-like shine that the Love Island host’s hair is famous for. The Color Wow spray also makes your hair waterproof, wards off humidity, protects from heat damage and seals in moisture, making it a saviour to bring in your suitcase.

Once her hair was dried, Jay used a GHD styling iron to enhance the curl definition, with particular focus on the ends. The curls were then brushed out to turn them into softer and looser waves, rather than rigid curls, to give it a more fluid look without too much texture.

The shine was why we were all so fixated on Maya’s hair, and to double up on the gloss factor Jay also added the Split Seal Serum from his own haircare brand, Jay B Haircare. This smoothed the hair and gave it that extra glossy finish.

Finally, to make sure there wasn’t a strand out of place during the finale’s drama, Jay used Living Proof’s Style Lab Flex Hair Spray to seal everything in place. He added that the hairspray is “one of my go-tos for creating effortless, flowing styles. It holds without stiffness and keeps the hair touchable and brushable throughout the night.”

And there you have it – one ultra-glossy, mirror-like shiny ‘do that Maya herself would be proud of. Now just don’t forget to pack them in your suitcase.

“Let it go!” one person screamed at a massive TV screen.

“Get him out of my villa!” shouted another.

“Oh, we’re voting tonight!” declared another as they whipped their index finger in a circular motion as if to say, “We need to round up the troops and get ready for war.”

It’s 8 p.m. at the Palm & the Pine and every single seat is taken, so some people have resorted to huddling outside to watch the action through a window. A small crew of bartenders are working double time to serve up wings, french fries and tropical-themed cocktails.

Attendees celebrate the start of the episode.

(Jason Armond / Los Angeles Times)

On most nights at the family-owned Hollywood spot, dubbed “your girlfriend’s favorite sports bar,” patrons might come to watch tennis or basketball or soccer. But on this Tuesday evening, the guests were there to watch a different type of game. They came to the crowded bar to watch “Love Island USA” with 200 other fans who are just as invested in the reality dating show as they are.

“The decibel levels crush any Super Bowl, World Series or anything we’ve shown there,” said Colin Magalong, co-owner of the Palm & the Pine.

“This is our Super Bowl,” added Madeline Biebel, founder of the pop-up event series that screens reality TV shows called Reality Bar, which has been hosting free “Love Island USA” watch parties at the Palm & the Pine and other bars across L.A.

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While people have been gathering to watch high-profile television episodes in public spaces for years, the communal watch party has been having a resurgence, fueled in part by social media and the highly dissectible nature of shows like “The White Lotus,” “Severance” and “Traitors.” This summer, “Love Island USA,” a spinoff of the U.K. reality dating show that airs six days a week, has sparked a pop culture craze and Angelenos are flocking to coffee shops, bars, restaurants, social clubs like Soho House and arcades like Dave & Buster’s just to watch the show and kiki about it with others in person.

“This is our Super Bowl,” says Madeline Biebel, founder of Reality Bar, which hosts reality TV watch parties around L.A.

(Jason Armond / Los Angeles Times)

Now in its seventh season, the premise of “Love Island USA” is fairly simple: Ten singles are plopped into a lavish villa in Fiji, where they must couple up with a member of the opposite sex or risk getting dumped from the island. Over the course of several weeks, contestants (who are referred to as “islanders”) participate in extravagant challenges — many of which require them to wear revealing outfits and make out with one another — that are designed to stir up drama. At random, “bombshells” are brought into the mix to encourage the islanders to test their romantic connections. All the while, viewers at home can vote for their favorite islanders, sort of like “American Idol,” with hopes that they will make it to the end and win the $100,000 prize.

“It is so outlandish,” said Lauren Sowa, who lectures on television and pop culture at Pepperdine. “Shows like ‘The Bachelor’ try to maintain a level of decorum and something like ‘Love Island’ throws that into their ocean and their pool and their foam parties with both hands.”

Between the spicy games, the contestants’ disconnection from the world, their dorm room-style living conditions and the ultimate challenge of finding love, Sowa says, “The stakes couldn’t be higher. The drama couldn’t be more and therefore we could not be more entertained.”

The idea of bringing people together to watch “Love Island” and other reality TV shows came to Biebel in 2021 when L.A. was starting to reopen after the COVID pandemic. She wondered, “Why isn’t there a bar or restaurant that shows ‘The Bachelor’?” Biebel, 28, recalled.

At first the bartenders at her local sports bar laughed at her request to turn on the show, but when a crowd of people joined her to watch it on the patio, she knew that she was onto something.

Attendees arrive as early as 5 p.m. to secure a seat at the “Love Island USA” watch party in Hollywood. (Jason Armond / Los Angeles Times)

“Those moments where everyone is freaking out together are just magical,” said Madeline Biebel, founder of Reality Bar. (Jason Armond / Los Angeles Times)

She hosted the first Reality Bar event in 2023 at a restaurant on the rooftop of the Kimpton Hotel Wilshire and 40 people showed up to watch “Love Island USA” Season 5. She continued hosting watch parties for reality shows including “The Real Housewives” and “The Bachelor,” one in which Joey Graziadei, the Bachelor himself, made a surprise appearance.

But none of the events have been as popular as the parties for the current season of “Love Island USA.” Thanks to a TikTok that got nearly 3 million views, the watch party at the Palm & the Pine went from having about 100 RSVPs to 1,500. On Sunday, fans cheered when Austin Shepard and Charlie Georgiou, who were booted from the island, made an appearance at the event. To keep up with the growing demand, Biebel added 10 other venues to watch the show at including the Nickel Mine in Sawtelle, Roosterfish in West Hollywood and the Happy Rabbit in Sherman Oaks.

“People are just so hungry for connection and community especially post-COVID,” said Biebel, adding that it brings people together who share a common interest. “Those moments where everyone is freaking out together are just magical.”

(Clockwise from left) 1.) Fans of “Love Island USA” cheer, scream and gasp during the dramatic episode. 2.) Reality Bar’s “Love Island USA” watch parties became so popular that 10 more L.A. locations were added. 3.) Maya Suarez, left, and Reanna Davidson enjoy drinks and roses courtesy of Reality Bar. (Jason Armond / Los Angeles Times)

At the Tuesday night party, people started arriving as early as 5 p.m. to secure a seat inside the two-story bar. As pop and hip-hop music played loudly over a sound system, attendees sipped on “Love Island”-themed cocktails with clever names like the “I’ve Got a Text-ini” (a vodka martini with cranberry juice), “Bare Minimum” (an espresso martini), “Hot New Bombshell” (tequila, grapefruit and lime), “Aftersun Spritz” (Prosecco, mint, soda and lemon) and “I’m Open” (cucumber, vodka, lemon and soda).

When the show promptly appeared on the bar’s multiple TV screens at 8 p.m., a thunderous roar of cheers exploded. Throughout the dramatic episode — which involved the islanders reading anonymous letters about how their fellow cast mates truly felt about them — many patrons talked among themselves and shouted at the TV, but no one seemed bothered. The energy was high and the subtitles were on.

Branson Bond, 27, of Hollywood and six of his friends went to the watch party for the first time after learning about it on social media.

“It’s one thing to see people’s perception online, but it means so much more — whether it’s music or film — to be around people who have a common interest,” said Bond, who managed to find a booth in the upstairs area of the bar with his friends. “Especially with everything going on in the world, it’s cool to kind of decompress with something silly every now and then.”

“We love to kiki, to party [and] we need a debrief like immediately after the show, so I needed to experience this,” said Giselle Gonzalez, 27, of Hollywood.

Reanna Davidson, 26, and her sister Maya Suarez usually rotate watching “Love Island USA” together at one of their homes, but they thought a watch party would be more fun.

“I feel like we’re obsessed with “Love Island” and we go crazy at home so we wanted to see what the environment was like here,” Davidson said in between sips of a martini.

“I like the drama, but also I like the love,” she said. “Like last year, watching them all fall in love and really have relationships outside of it was so sweet.”

“I love the camaraderie here and everybody yelling,” says attendee DeVante Waugh.

(Jason Armond / Los Angeles Times)

After attending one of Reality Bar’s watch parties at a different venue, DeVante Waugh, 32, wanted to come back with a group of his work friends who all started watching the show recently.

“I love the camaraderie here and everybody yelling,” said Waugh, adding that he’s still mad that Jeremiah was sent home during one of the show’s most shocking moments. “It’s fun. It’s like watching a game. And then there’s a lot of pretty women, not a lot of guys,” he adds jokingly.

While some attendees left the bar immediately after the episode was over, some stayed to do karaoke, strike a pose in the photo booth or to recap what happened on the show with their new friends. It’s this community aspect that JP Stanley, 29, of Hollywood appreciates most about watch parties.

“I think it’s the sense of being a part of something,” said Stanley as he sipped on a glass of Prosecco. He attended the event with a friend and said he hopes to see more watch parties even after the current season of “Love Island” wraps. “L.A. is really yearning for that community and I think this is something that really gives people of any age a place to connect, and it’s such an easy common denominator.”

He added, “There’s no prerequisite required. You don’t have to know anything about me and I don’t have to know anything about you. I can just be like, “So, Love Island” and you’ll be like, “Right, Amaya!”

Rich people suck.

The message was loud and clear when Netflix‘s Korean thriller “Squid Game” arrived in 2021. Imagining wealth and class disparity at the heart of a high-stakes competition, it featured cash-strapped contestants playing a series of children’s games to the death while uber-wealthy spectators bet on their odds of survival. The show’s masked elites watched the carnage from a luxe, concealed spectator box, chomping on cigars and chortling as player after player met a gruesome death. The Korean-language show became the streamer’s most watched series ever.

Comeuppance for the hideously affluent seemed imminent and likely at the hands of protagonist Seong Gi-hun (Lee Jung-jae). The winner of Season 1’s “Squid Game” deserved vengeance after surviving a series of horrific scenarios — a hopscotch-type match played on a fragile glass bridge above a deadly chasm, a red light-green light contest where players who moved at the wrong time were “eliminated” by machine gun fire. He watched as good people were killed by pink guards, other contestants and their own stupid actions.

But no. The last six “Squid Game” episodes, now streaming on Netflix, did something entirely unsatisfying. They veered from the prospect of timely, eat-the-rich vengeance porn to unflattering commentary about the rest of us, the other 99% who aren’t Elon Musk, Mark Zuckerberg or Jeff Bezos. What did we ever do to deserve a lethal game of double dutch with two giant mechanical children swinging a 10-ton metal rod in place of a jump rope? A lot, apparently.

“Squid Game” shows that under the right circumstances, regular folks are just as greedy and morally corrupt as the obscenely prosperous, no matter if their money problems stem from unforeseen medical bills, wanton gambling or generational poverty. Press the little guy or gal hard enough and they’re just as ruthless as the mogul that’s suppressing them.

The VIPs in “Squid Game” Season 3, who watch as the contestants trample one another.

(Dong-won Han / NohJu Han / Netflix)

Season 3 picks up exactly where 2 left off. Gi-hun, who’d found his way back in the clandestine gaming complex (situated inside a mountain on a remote island), is Player 456 again among a new round of contestants. He’d planned to infiltrate the operation from inside, staging a coup against the VIPs and Front Man (Lee Byung-hun) who run the games. But now it’s clear he’s failed. He’s cornered by guards, the players who fought alongside him are dead, and he’s thrown back in with the remaining players, many of whom survived because they’re the most craven of the group.

Free and fair elections are at the heart of every democracy, or so “Squid Game” reminds us each time the bedraggled players are asked for their vote regarding the next round: Continue to compete and thin the herd for a larger reward or stop and split their winnings with their fellow contestants? Majority rules, and each time the group opt to sacrifice their lives — and everyone else’s — in pursuit of money. Series creator Hwang Dong-hyuk has spoken about his dwindling faith in humanity as it relates to his concerns about South Korea’s democracy, and you’ll hear him loud and clear in Season 3: Voting is power, but look what happens when the population increasingly puts its own self-interest above that of the greater good. It’s a scenario that should be recognizable to Americans by now.

“Squid Game” Season 3 takes that idea to the extreme, and quite fearlessly, Hwang puts the series to bed without punishing the rich. Instead he dares to lay bare a truth that’s become all too apparent of late: Wealth wins over morality and money trumps accountability. Nice guys not only finish last, they wind up pulverized like everyone else below a certain tax bracket, no matter their dedication toward humanity.

The Korean show’s run has ended, but not before a finale that alludes to a Hollywood sequel. The episode, set in Los Angeles, shows a familiar scene. A down-and-out man is approached by a mysterious, well-dressed figure who uses a simple kid’s game to test his want of money against his tolerance for pain and humiliation.

Those who’ve watched “Squid Game” will recognize it as the beginning of Gi-hun’s journey, which ended with a sliver of redemption in an abyss of darkness. The mysterious figure appears to be a recruiter for a new, English-language “Squid Game.” She’s played by an A-list celebrity — Cate Blanchett — operating in a city renowned for its self-involvement and privilege. “Squid Game” has a whole new playing field.

A superb century from Ben Duckett helped steer England to a sensational five-wicket win in the first Test against India after a thrilling final day, the hosts reaching a target of 371 – the 10th highest successful run chase in Test history.

Having turned the cricket match on its head at Headingley after India had been 430-3 in their first innings, England appeared to be cruising to a dramatic win on Tuesday.

Openers Duckett and Zak Crawley eased their side to the break at lunch on 117-0 in their second innings.

Duckett continued his imperious form with another four through the covers to reach his sixth Test hundred, before Crawley fell for 65.

Their 188-run partnership was the second-highest England opening fourth-innings stand in Tests.

Two wickets in two balls – Duckett and Harry Brook – dragged India back into the enthralling contest. And when Ben Stokes fell for 33 attempting an ambitious reverse sweep, England’s hopes of victory lay precariously in the balance.

Joe Root’s unbeaten 53 calmed the nerves around his home ground, with the former skipper and Jamie Smith, who hit a six to seal victory, seeing England home as India, having scored five centuries in the match, somehow contrived to start the five-Test series in defeat.

“Incredible, what a Test match. It was a huge number of runs and we have been lucky with the weather,” Duckett said. “I am lost for words.

“We only had to look at the scoreboard to know that if we batted the overs, we would win the game. There were moments when I thought about stepping into another gear, but the breaks in the game helped us to stay calm.

“To start this series with a 1-0 win is huge for us. It felt calm in the dressing room. To have Root out there, it’s pretty easy to be calm.”

Resuming day five on 21-0, uncharacteristically for a team renowned for their ultra-aggressive batting, Crawley and Duckett took 99 balls to bring up their 50 partnership – the longest it has taken the pair to do so for England – before upping the ante.

There was slight concern for England when first-innings centurion Ollie Pope quickly followed Crawley back to the pavilion midway through the afternoon session, the number three becoming Prasidh Krishna’s next victim in back-to-back overs.

Duckett continued to accumulate runs quickly, however, before attempting one big shot too many to fall to Shardul Thakur for 149 – the second-highest Test fourth-innings score by an English opener.

The contribution of Duckett, in such a pressurised situation, cannot be underestimated – it is 15 years since an England opener last scored a fourth-innings hundred: Alastair Cook at Mirpur in 2010.

Nerves set in around the ground when Brook departed for a golden duck, two in two balls for Thakur, with further scares forthcoming as England looked edgy.

Stokes was left shaking his head at the way he fell to Ravindra Jadeja shortly after tea, but Root and Smith both dug in, stopped offering up chances and got the runs required, with Smith rounding off a remarkable victory in style.

Plenty of dropped catches and two batting collapses ultimately cost India. From 430-3 in the first innings, they lost their final seven wickets for just 41 runs, with the tail crumbling again in the second innings, 31 runs accumulated for the fall of the final six wickets.

It is the first time in cricket history that a team has managed five centuries in one Test and not emerged victorious, but also the first time those five centurions have been joined by six batsmen who fell for ducks – three in each innings – in the same match.

“We had our chances,” India captain Shubman Gill said. “A few dropped catches and the lower order not contributing as much as we would like [cost us], but I am proud. Our young team is learning.

“It just didn’t go our way in this match. We have to rectify [the batting collapses] in the upcoming matches.”

For England, at the start of a crucial period with the Ashes to come later this year, their summer could not have got off to a more promising start, with their aggressive approach, even if it has been toned down and refined, achieving their second-highest run chase in their Test history.

NEW YORK — Trent Grisham and Paul Goldschmidt hit consecutive homers in the second inning, and the New York Yankees beat the Angels 7-3 on Thursday to halt their six-game skid.

Carlos Rodón (9-5) allowed a season-high three homers but held the Angels to four hits in six innings to bounce back from two rocky outings against the Red Sox. The left-hander struck out seven and walked one on an 89-degree afternoon.

The AL East-leading Yankees stopped their longest losing streak since a nine-game slide in August 2023. New York also avoided its second four-game sweep at the current Yankee Stadium and first since September 2021 against Toronto.

Mike Trout, Jo Adell and Taylor Ward homered off Rodón, but the Angels were unable to finish off their first four-game sweep of the Yankees.

Cody Bellinger had three of New York’s 12 hits, including an RBI single that provided a 5-3 lead in the seventh.

Aaron Judge doubled before a 35-minute rain delay in the eighth and scored on a groundout by Anthony Volpe after play resumed. Austin Wells also hit a sacrifice fly in the eighth.

Angels starter Tyler Anderson (2-5) allowed four runs and eight hits in six innings. The left-hander stayed in after being hit on his lower right leg by Wells’ comebacker in the sixth and took his fifth straight loss.

Key moment

After the Angels went ahead 2-1 on Adell’s solo homer in the second, Grisham followed a single by DJ LeMahieu with his 14th homer. Goldschmidt then pulled a line drive down the left-field line for a 4-2 lead.

Key stats

It was the 10th time this season Grisham has homered to tie a game or give the Yankees a lead.

Up next

Angels LHP Yusei Kikuchi (2-6, 3.05 ERA) starts Friday at home against Houston.