Love em or hate em, you CANNOT escape The Property Brothers. I applaud them for all that they have done, and actually have found them to be good guys in my limited dealings with them, but they might be a bit overexposed. Just sayin. (Thanks to my friend for passing along the link!)
I won't bludgeon you with Fargo season finale recaps, but it was a great end to a great season last night. Here's just one interview with Noah Hawley. "Nobody probably noticed, but if you go back to the Stussy Lots Limited offices, outside of everybody's door, there are these two yellow lines on the floor that look like parking place. It's the sort of jokey thing where you can imagine them going, 'Oh it's funny! This is my parking space office and this is your parking space office' and nobody probably notices, but it's there, for me, because I think that's my job is to put it into the show so that it's part of the story."
The NBA Draft airs tonight and so help me if it loses to premieres of these guaranteed failures that ABC has lined up tonight:
Boy Band -- a new series where talented singers battle it out to become a member of the next great music sensation. And for the first time ever, viewers at home will vote for their favorite five band members, live, creating a group America can truly call its own.
The Gong Show -- hosted by British comedic legend Tommy Maitland, the show is executive produced by actor/comedian Will Arnett. Every episode will celebrate unusually talented and unique performers on a primetime stage. A revolving panel of judges featuring Hollywood's hottest stars praise, critique and gong contestants in one of TV's all-time great variety shows.
NBC is coming out guns blazing tonight as well with season premieres of Hollywood Game Night and The Wall.
Scarlett Johansson is Inside The Actors Studio tonight.
"A Republican coal baron is suing John Oliver, HBO, Time Warner, and the writers for Oliver’s show over the most recent episode of Last Week Tonight. The suit, filed on June 21 in the circuit court of Marshall County, West Virginia, holds that Oliver and his team 'executed a meticulously planned attempt to assassinate the character of and reputation of Mr. Robert E. Murray and his companies' by airing an episode that ripped into him. Murray runs the country’s largest privately owned coal company, Murray Energy Corporation. 'They did this to a man who needs a lung transplant, a man who does not expect to live to see the end of this case,' reads the complaint, which also lists Murray’s companies as plaintiffs. The lawsuit isn’t a surprise to Oliver. In fact, the British comic said on the episode of his show that aired on June 18 that he expected it, noting that Murray has sued several other media outlets in the past (including, in May, the New York Times). In the episode, Oliver criticized Murray’s business practices, saying he doesn’t do enough to protect his miners’ safety. Oliver also noted that his team contacted Murray’s company before the episode aired, and that the company sent a cease-and-desist letter––the first time that had ever happened to his show."
A Downton Abbey movie is happening.
On that note, Sophie Turner is the new face of Wella Hair.
Ashton Kutcher was great on yesterday's Howard Stern Show. More on AK below.
"The upcoming Paramount Network (currently Spike TV) is developing [a] half-hour single camera comedy The Interventionist, executive produced by Tom Arnold and Kapital Entertainment’s Aaron Kaplan. Written by Steve Pink (High Fidelity), The Interventionist is based on Tom’s life as a recovering addict and interventionist for substance abusers in LA."
Kathy Baker and Kyle Bornheimer have signed on for recurring roles in Netflix's Love. Baker will plav Vicki, Gus’ (Rust) mother and Bornheimer will portray Ken, Gus’ older brother. Baker will next be seen in a recurring role on truTV comedy series I’m Sorry, as well as in the feature film The Ballad of Lefty Brown. She also recurs on Netflix’s The Ranch. Bornheimer will recur as Teddy Wells on Brooklyn Nine-Nine and recently guest-starred in Angie Tribeca.
I implore you to watch the above video from last night's The Daily Show. "On Wednesday’s Daily Show, Noah played newly released dashcam footage of the moment Minnesota police officer Jeronimo Yanez shot Castile five times during a July 2016 traffic stop. Prefacing the footage, Noah remarked, “If you’ve already watched this video, you don’t have to watch it again. I wouldn’t say anyone has to watch this video, but if you haven’t seen it, it is graphic and you probably should watch it.
“'I won’t lie to you: When I watched this video, it broke me. It just— it broke me,. You see so many of these videos and you start to get numb. But this one? Seeing the child — that little girl getting out of the car after watching a man get killed — it broke my heart into little pieces.' After reflecting on stereotypes about black dads, Noah emphasized, 'that‘s a black dad that’s gone. That’s a child that grows up not knowing what it’s like to have somebody in their life.' He then tried to make sense of all of the solutions that were meant to stop police shootings like this one from happening.
“'For years, people said… just give the police body cameras [and] film everything, then there will be no question about what happened. And black people have already taken that initiative; thanks to cellphones, every black person has a body camera now,' including Castile’s girlfriend, Diamond Reynolds, who filmed the immediate aftermath of the shooting and her interaction with Yanez. But worst of all, Noah said, was that the jury saw this footage and still somehow sided with the officer.
“'Having watched that video, having listened to that exchange, they still said "Yes, I can see why that cop was afraid." But why?' Noah asked. 'Let’s be honest… Why would you say he was afraid? Was it because Philando Castile was being polite? Was it because he was following the officer’s instructions? Was it because he was in the car with his family? Or was it because Philando Castile was black? It’s one thing to have the system against you — the district attorneys, the police unions, the courts — that’s one thing. But when a jury of your peers — your community — sees this evidence and decides that even this is self-defense, that is truly depressing. Because what they’re basically saying is, "in America, it is officially reasonable to be afraid of a person just because they’re black.”'"
From The Hollywood Reporter: "Big Brother season 19 is almost here and soon on June 28 all will be revealed.
The fresh batch of 16 new houseguests were announced on Monday and their interviews with The Hollywood Reporter were released on Tuesday. And as the old saying goes all good things come in threes because now, it's time to take an inside look at the house.
"THR spent some time in the newest house with host Julie Chen and executive producers Allison Grodner and Rich Meehan and got some answers to some of the biggest burning questions for the new season.
"Below, Chen, Grodner and Meehan reveal this summer's temptation twist, how the no napping rule from Big Brother: Over the Top will be coming back, how the road kill competition won't and much more:
Right now there are two nomination chairs and last year in the beginning of the season there were three. Will we see three nominees again?
Grodner: You never know! We've played with three, two and have actually had four at one point. It's always possible that twists can lead to more than two nominees.
Chen: I always say expect the unexpected! We'll see. I'm tricking you right now. It's a misdirect. That's how we do things around here. But the theme is about temptation this summer. That's why throughout the house you're going to see apples and where there's an apple you're going to find a serpent or two.
Fans called last season's winner Nicole Franzel a snake. Did she inspire that?
Grodner: Did Nicole inspire the serpent? No! (Laughs!) There are some people that definitely weren't Nicole fans last season and obviously there are some people that were.
Meehan: Lots of people could be called snakes on Big Brother. The theme is all about temptation.
Grodner: I bet you we could go through every year and there's one in every season. That does lend itself a bit with the idea that there's always the snake that's going to stab you in the back when you lease expect it. And then there are those dangerous snakes that are right in the open! (Laughs.) They exist along with the others who are trying to play by their word.
Meehan: You have to have all types to make it a fun summer.
What else can you say about the twist this year?
Meehan: It's a summer of temptation! Not only does the house represent that, but the rooms carry through with some of those themes and we're bringing that all the way through with the twists of the game this summer as well. With temptation there are lots of different paths the season could go on depending on which temptations the houseguests take. We've never done anything quite like that throughout the course of the season. So we have plans and backup plans for all different things.
Grodner: Which door? Door number one or door number two? Because door number one will take you down a whole different path and we have to produce it that way too. We have to be prepared. On opening night we have two different scripts and two different possibilities depending on what's going to happen.
Meehan: We've never done that before.
What do you mean by that?
Grodner: There will be choices like a Pandora's Box leads to some choices. Will you take the temptation? And if you do it will have a consequence. If you turn it down then something else will happen.
Meehan: It's a different reality in the house.
Grodner: On opening night there's a series of temptations that will be presented to the houseguests and that means there's a series of different ways things can play out.
In past seasons in competitions there have been temptations also. Will that be back too?
Grodner: Yeah. There are some common themes on the wall over there that play out in this house. Obviously everyone here is here to win the money at the end and can be tempted by money. But there are other things too like game items for safety and the ability to do things. We've taken that and multiplied it.
Meehan: There will be some things that are familiar and other things that are totally unique and random that we've never done and I don't think you would think we would do.
Will there be as many competitions as season 18's premiere?
Grodner: The temptations create a bit of a different format for the premiere night, but it is a two hour special event. It's going to be a very busy night full of lots of surprises and twists and turns. I know it sounds like we say that a lot, but it's fair to say we are guaranteeing it for the premiere.
Meehan: There's definitely competitions, but it depends on what pathway we go down.
Grodner: It's actually possible that a competition could be in the backyard ready to go and our art department has worked really hard to put it out there and the houseguests don't play it because of a decision they made.
The last two seasons there were two female winners. Over Nicole and Morgan Willett who was your favorite?
Chen: I preferred Morgan. She had this exterior where you thought she was going to be one way, but she to me was wicked smart at playing this game. She had her head in the game and that was impressive. And she wasn't a phony and I liked that. I don't like phonies. You can play this game and play people, but you can't be a back stabber. That's just to me, weak. I don't like worms.
The houseguests complain a lot. What are the complaints you get sick of hearing the most?
Grodner: Having to wait so long for a competition in the backyard.
Meehan: Being locked inside for a long time.
Grodner: By the way I get it. It's very difficult. There's a lot of downtime for these houseguests. They're locked in the house because we do a complete turn around of that back yard and it takes time.
Meehan: We're pretty forgiving when it comes to them complaining.
Chen: After a while some of the houseguests can become a little bit high maintenance so they're going to find everything to be irritating. We don't really try to show it on the show. How interesting is that? A bunch of whiny houseguests. But we can make a funny story out of it when they complain, complain, complain.
What is there to complain about they have a chance to win half a million dollars?
Grodner: Yeah! You have a roof over your head, a place to sleep, mostly food, unless your on slop. For a lot of people it's their dream and I think that's what irritates the fans and what you see on Twitter where people get upset with the houseguests when they bitch about it because they feel like I could be there. You took the spot from someone who really, really wants to be here.
Meehan: On opening night they listen and follow every rule and by day 60 you have to call them to the diary room like 19 times.
Grodner: [And tell them to] put on your microphone. They turn into teenagers by the end.
How many times have you wanted to come into the house and take someone out of the game?
Chen: I've wanted to take people out of the game, but I never want to come into the house. Actually on finale night I don't want to come in because there's this certain smell after three months. It's like stale, heavy and thick. It's like nothing you've ever smelled.
Will we see the no napping rule on season 19?
Grodner: What do you think of that? Do you think it worked?
It definitely worked.
Grodner: It helped. I think we should absolutely implement it. No napping! (Laughs.)
Last year you revealed to me that battle of the block wasn't returning for season 18. What else can you tease about the new season?
Meehan: I'll give you a tease for the Sunday show.
Grodner: There's no road kill competition.
Meehan: That means there will be new twists to the game in the Sunday show and they can take a couple different forms.
Grodner: The idea is that it may not just be one thing. In the past we've had just the [battle of the block] or just the road kill on Sundays. Expect that there may be surprises throughout the whole season that take place not only in the whole summer, but specifically on the Sunday show that changes the Sunday show throughout the three months that we're on the air."
A article very much worth reading, courtesy of TheWrap: "It came as a shock, the explosion that hit Chrissy Metz last fall. There she was, an actress in her mid 30s who’d rarely found herself in the spotlight, when she landed a key role on the series “This Is Us.” Within a week of the show’s premiere last September, NBC picked it up for a full 18-episode season.
"Then came the Golden Globe and Critics’ Choice Award nominations, including a Globe nod for Metz herself, and the spot on the AFI’s list of the year’s top 10 shows. By January, the network committed to two more seasons, while more nominations came in from the Peabody Awards, the SAG and WGA Awards and more.
"And for Metz, that suddenly meant red carpets, interviews, photo shoots and the kind of attention that can be tough to take in for someone who’d been in the public eye for less than a year. 'It’s very strange because I came from very humble beginnings,' she said. 'I’m really grateful. But initially it was like, "Um, what is all this?”'
"All this is what happens when you land one of the hottest roles in primetime. Since This Is Us first debuted last September, Metz has found herself smack in the middle of Hurricane Hollywood. Her candid portrayal of Kate Pearson, a woman navigating dating life and family drama as she struggles with her body image, is already being credited with redefining long-held standards about beauty and perfection.
“'Everyone I meet, from an 8-year-old kid to an 80-year-old woman, has stopped me to talk to me,' Metz said. 'I’ve cried with strangers in bathrooms who told me, "I’ve never understood my daughter’s weight issue. Thank you so much for bringing this to light.”'
"Even though she’s not the first plus-size actress to make a big splash in the Hollywood pool (Melissa McCarthy, Rebel Wilson, Gabourey Sidibe and Amber Riley have all helped change the perception), her character is one of few to tackle the issue without being the punch line. And Metz is keenly aware of her role in the national conversation.
“'I think we fear what we don’t know,' Metz said. 'The show is educating people in that people who are overweight don’t just sit in a corner eating themselves into oblivion. The food is the symptom, it’s not the issue. When you put the food down, the issues come up. And that’s what we need to be talking about.'
"She admitted there have been some snarky comments about her weight on social media, but none that she’s taken to heart. 'Hurt people hurt people,' she said matter-of-factly. 'That has nothing to do with me. It’s their projection. If you love yourself then you love other people.'
"Metz, 36, spent most of her childhood in Japan (her dad was in the U.S. Navy) before moving to Gainesville, Florida. She said she always wanted to perform but was “too intimidated” by her school’s drama department to try out, though she did join a chamber choir. It was only years later, after becoming a preschool teacher, that she found herself in an actual audition room.
"As the story goes, when she was 20 years old, she drove her sister, who was interested in modeling, to a local open call. She was filling out her sister’s forms when a woman gave her a nudge, both literally and figuratively. The stranger, whom she did not recognize, said she was a former teacher at Metz’s high school and suggested that Metz audition too. 'I’m not kidding, I never saw this woman again,' Metz said. 'I felt like it was a guardian angel giving me a little push to have the confidence to audition.'
"She insisted she still doesn’t know who that woman was, but she’s thankful for the advice. Soon after her audition she got a call from a manager who offered to 'cultivate' her. Within months, she headed to Los Angeles for pilot season, eventually moving west a couple of years later. When her agent in L.A. needed an assistant, she reluctantly took the job as a way to learn the business and make ends meet. For the next nine years, Metz worked her way up the Hollywood ladder, becoming an agent herself. She continued going on auditions, but there weren’t too many roles for 'plus-size women,' as she put it.
“'I worked at really great firms and learned so much,' she said about those years. 'But it was like watching your boyfriend take a girl out every day.'
"She managed to book a few small gigs, including the part of 'Heavy Girl' on My Name Is Earl. But otherwise she had little to show for more than 12 years pounding the pavement. In the process, she gained about 100 pounds and suffered bouts of depression. Things got so bad that on her 30th birthday she was rushed to the hospital thinking she was in cardiac arrest. (It was actually a panic attack.)
“'I learned a lot of humility.'
"She was about to throw in the towel and move back home when she got the call for This Is Us. 'Dan Fogelman, the writer and creator of our show, had the courage to write this role and he just stuck to his guns,' she said. 'He was like, "No, I want it to be a plus-size woman.”'
"Fogelman based the character on his own sister who, like Kate, was living in the shadow of her successful brother. The show became an instant hit and a ratings phenomenon, making Metz an overnight superstar. 'I can actually pay my bills and take my friends to dinner,' she said with a laugh. 'I even brought my family out for a Vegas weekend when I booked the show–things I’d never imagined I’d ever do.'
"She wouldn’t divulge much about Season 2 — particularly when it comes to the death of Kate’s father, Jack (Milo Ventimiglia) — except to say that it’s 'pretty traumatic' and that 'the way that Jack passed away is the way that he lived his life and that is really beautiful.' Nor would she talk about whether or not Kate, who nixed the idea of gastric bypass surgery last season, will be losing any pounds.
"And does she ever get tired of being asked about weight issues? 'For me it’s about longevity of health,' she said. 'If I’m healthy, great. Who I am as a soul, as a spirit and as a human being? Small, thin, tall, fat, whatever it is — that doesn’t mean anything. We are opening up discussion about weight. And people fear it so much. That’s why we create art and movies and television,' she added. 'Because someone somewhere needs to know that they’re not alone.'”
Vanity Fair offers up some praise for The Ranch (Netflix): "It was naively eager to return to The Ranch. Netflix’s casually profane multi-cam sitcom was an odd pleasure in its first season, a curious tonal mix of Roseanne, redneck comedy, and American Playhouse that had surprising depth and texture. Its butchness and conservatism were safely performative; the Hollywood cast was just playing at being hardscrabble, hard-drinkin’, narrow-minded Colorado ranchers. The series felt like a generous, competent acknowledgment of that oft-referenced silent majority, the fly-over real Americans whom us snobby coastal elites ignore all too often. In a perverse way, The Ranch had a sense of justice to it, despite the many ways it was, y’know, problematic.
"But that was in the relative Eden of 2016, back when our bleakest political nightmare was only potential, not actual. Now, The Ranch, which just returned for a 10-episode second season, exists in an altered America, one in which a mutated strain of the show’s red-state values has assumed control of the nation. In that new, harsh light, The Ranch’s cis-white-male orthodoxy—and its stridency about that—has a nasty tang. The show’s once-affable rudeness, its gentle, blockheaded rebuke of pansy P.C.-ism, is now edged with something darker. These assholes won; they’re on the news every day. So why should we watch a sitcom about them, too?
"While the second season of The Ranch handles the issue of abortion mostly with tact, it uses deportation of undocumented immigrants as a crass plot point. It’s otherwise mute on race, and any reference to anything queer comes only in shades of panic. So, the show has its issues. I’m still not sure how much of that I want to forgive, especially now that the show—with its implicit ideology now governing our country—is punching down more often than not. (If it ever wasn’t.) Did we actually ever need this show? Isn’t so much of American culture—our movies, our TV, our sports, our music—already a paean to white, heteronormative America, coded or not? Have we been so duped by the powers that be (and always have been) that a TV series so expressly, defiantly, proudly about that chauvinistic worldview is celebrated as something different, something new? That’s pretty sinister, when you actually think about it. Maybe The Ranch is an agent of harm in the world, a shaggy deification of the animus currently ruling over us.
"And yet . . . it’s kind of a a good show. Yes, you can see its crude jokes coming a mile away, and its politics are blithe and often bad (not always, though). But the series is also so pleasingly lived-in and well lit (important for a filmed play, which the show essentially is), and the performances are sharp and appealing. The Ranch makes the best case for Ashton Kutcher I’ve yet seen. In Colt, a faded football star who fizzled out in the big leagues, Kutcher has finally found the perfect vessel for his oafish charm. His late-‘90s popular-boy mien—those Hollister good-looks, that affably flat, class-clown line delivery—is basic and bro-y, but he’s not a bully. Colt isn’t mean; he’s just heedless and dumb. But like the rest of his family, Colt also has something weather-bitten and sad about him. He’s a golden boy who’s lost his luster and, in his more self-reflective moments, knows it. It’s an interesting character. Turns out Ashton Kutcher is terrific at playing a bumbling, troubled dope.
"Danny Masterson, Sam Elliott, and Debra Winger (still amazed she’s here at all) are all solid as well. But in Season 2 I’m especially fond of Elisha Cuthbert and Kelli Goss, who play Abby and Heather, the two blonde women in Colt’s orbit. In Season 2, they’re dealing with a tricky situation: Abby and Colt, high-school sweethearts, have finally found their way back to each other, just as Heather, who is young enough to be a former student of Abby’s, reveals that she’s pregnant and Colt is the father. Throughout all this, Cuthbert and Goss find humanity in what could easily be mere obstacle roles, put in Colt’s way for him to wrestle with. Credit to the show’s writers—the series was created by Jim Patterson and Don Reo—for giving both characters the breathing room that they do. Neither is given quite as much agency as the core four characters, but they’re getting there. That Heather was not just tossed off as a brief distraction, a jailbait joke, and has instead been given voice and motivation, is more than can be said of a lot of non-main-love-interest female characters on male-centered shows. Let alone ones that make affectionate Reagan jokes and only let the women be liberals. (Winger’s character recognizes that climate change is real. Good for her.)
"The aforementioned deportation plotline is handled badly—it becomes just another factor in a white character’s shitty day—and when the topic of abortion is raised, the show focuses on Colt’s reaction far more than it does on Heather’s decision. Which is unfortunate, yes. But there is perhaps also some value in showing a man struggle to arrive at (and eventually get to) a place where he can accept and support a woman’s decision either way. I doubt that there are that many impressionable young men tuning in to this odd show, so it’s not likely that it’s changing the pertinent hearts and minds. But still, these are moments when the show is trying to say and do the right thing within its particular context. At its best, The Ranch doesn’t so much moralize or instruct as it does gently guide its characters toward decency. Which helps dull the show’s spikier political thorns.
"Or maybe it sharpens them? That’s the thing with The Ranch: it changes shape depending on where you’re watching it from. There’s a grim read of the show that says it soft-pedals bigotry and toxic, small-minded thinking, that it gives the worst of American ego and id—the kind that voted the current president into office—a pass by peppering that antipathy with snappy quips, racy jokes, and cozy sentiment. That read isn’t wrong. But another interpretation positions the show as simply an engrossing teleplay about economics and masculinity and the slow creep of time strangling opportunity—both personal and national.
"Maybe I’m being too generous, but I think the show can be both, a sort of hideous conservative apologia and a bright, well-told piece of Hollywoodized sociology. The Ranch is an eminently watchable slice of life, one that’s never really laugh-out-loud funny, but that does, in its alternately boorish and quiet way, still amuse and entertain. But really, it’s the more serious stuff, the human drama cutting through all the boozy good times, which there are a lot of, that’s most arresting. That’s when the show does a rare thing, making these cartoons come to actual, human-sized life."
Per Buzzfeed, "[o]ver its five seasons, the Orange Is the New Black writers have unleashed unholy hell on the women of Litchfield: mind-warping days in solitary, brutally bloody fight clubs, and utterly dehumanizing treatment from guards. But nothing compares to the absolutely harrowing ordeal Red (Kate Mulgrew) is forced to endure at the hands of corrections officer Desi Piscatella (Brad William Henke) in The Reverse Midas Touch, the 10th episode of Season 5.
"This altercation serves as the culmination of a storyline that began in Season 4 when Red and Piscatella first clashed: She took umbrage with his brutish, ironfisted approach to managing the prison’s guards; he didn’t like the way she lorded over the prison and sought to strip her of all her power. Their face-to-face battle is put on hold when the prisoners riot and take over Litchfield, but that time apart — Piscatella is locked outside during the melee — only amplifies their anger. Piscatella channels his frustration into trying (and failing) to take charge of the operation to reclaim Litchfield, while Red sees this as an opportunity to scour Litchfield’s records for irrefutable evidence of his nefarious ways. And when she discovers that proof, Red enacts a plan to lure Piscatella inside the prison. Unfortunately, Piscatella deciphers her strategy and enters the prison with a vicious plan of his own: to use her family to exact the ultimate revenge on Red.
"So he sets out to capture the women she’s closest to: Piper (Taylor Schilling), Alex (Laura Prepon, who directed the episode), Nicky (Natasha Lyonne), Boo (Lea DeLaria), and Blanca (Laura Gomez). One by one, Piscatella tracks them down and, effectively, holds them hostage. They’re bound and gagged, helpless witnesses for his final act of depravity: With Red tied up and surrounded by her 'children,' Piscatella takes a knife and begins to slice off pieces of her hair and her scalp in an attempt to strip the prison’s mother of her power.
“'This was a way of reducing Red in front of her daughters that would be not only so visceral, so disturbing, but it would also be the only way he could bring her down,' Kate Mulgrew told BuzzFeed News. 'He uses Red to drive the point home that he is invincible and the privatization of prisons is invincible and the system is invincible and that's what I believe he represents ... until we turn the tables on him. But even then it's too late; I have been scalped. I have been tortured. I have been threatened. And I have been severely and roundly debased.'
"It’s a profoundly upsetting scene for a myriad of reasons: Prepon wisely makes viewers wait for the shocking reveal — but at its core, the reason Piscatella’s actions carry such sickening weight is because he’s not inflicting physical harm on Red, he’s cutting straight to her core as a powerful woman. 'It was something we talked about for a very long time because it felt, obviously, very important to get right,' Lauren Morelli, a writer and co-executive producer on the show, told BuzzFeed News. 'Coming back to something that's really character based but all about her pride and her ego and stripping her of that. He would be smart enough to know that's the way to go with her; he doesn't have to cut off her finger, he doesn't have to physically harm her more than he already has — he has to degrade her.'
"As difficult as the scene is to watch, it was equally challenging to film. Mulgrew and Henke spent a long time working out the physicality of the scalping, but opted not to discuss the minutiae of their individual emotional journeys in hopes everything would feel more organic in the moment. 'It was hard. It was hard,' Mulgrew said of the 'disturbing' scenario. 'I had to reflect on a lot of things, vanity being foremost among them. All of that had to be quickly thrown away, and I'm not one to dismiss my vanity out of hand. So I had to really take it off the table and allow this other thing to enter in, which is called evil.' Through that process, Mulgrew got a valuable, albeit painful, insight into Red’s world. 'It led me to a more cogent understanding of … this horror,' she said. '[More] than any other single moment in the five years I've been on the show, because she was so perfectly helpless. Heretofore I've always had a card up my sleeve. He took my entire deck and stripped it bare.'
“The Reverse Midas Touch also illuminates Piscatella’s backstory, showing him years earlier at an all-men’s prison, where he falls in love with and begins a relationship with Wes Driscoll (Charlie Barnett), an inmate who is later gang-raped by a group of prisoners because of the affair. For Henke, the backstory provided important clarity on how and why Piscatella has become so hardened. 'I think that we all do and say things when we feel hurt or when we feel upset, and I feel like with Red, she constantly pressed my buttons and I constantly felt disrespected and unseen by her, which I think makes me think of my mom,' Henke told BuzzFeed News, referring to the gay conversion camp Piscatella’s mother sent him to as a child. 'She triggered me. She triggered me and I went to a place where, in a month, I would think, Why did I fucking do that? But I feel like she triggered me and it was a place where I couldn't control my actions.'
"Of course Piscatella won’t be given the opportunity to repent for his transgressions because, in the closing moments of Season 5, he’s accidentally killed by another guard. 'Of course there's a really delicious irony to it,' Morelli said, touching upon fact that Piscatella was responsible for creating the circumstances that led to Poussey’s tragic death at the end of Season 4. 'I apologize to Brad in advance, but I think there's a real delight in watching him go down — especially having it be in this accidental way circles back to all of these things that had been set up.' While Henke is sad to no longer be a part of the show, he agrees with Morelli that it was best Piscatella meet his demise in Season 5. 'I feel like I had a transformation,' he said. 'I'm a by-the-book, learn-your-shit-type guard, and then this fucking kid shoots me and kills me? I think that's great. I think that as an actor, the scene couldn't have been better. As an individual, I wish I could go back next season.'
"And while Mulgrew has no idea what’s in store for Season 6, she knows Red’s experience with Piscatella will have long-lasting ripple effects. 'The scar tissue that this trauma will have produced in Red must be evidenced going forward — otherwise she becomes a caricature of herself,' she said. 'She's not someone who can just take these things willy-nilly. We have to see the price paid. Where does it resonate? Where did it go in her? What happened to her mettle? What happened to her soul? What happened to her heart?... Is she going to rise above this or, even though she vindicated herself, will she always feel slightly reduced and threatened by what happened? And if that's true, how will it affect every one of her relationships in the future? We shall see.'”
"'If you asked us four years ago if we had a billion dollar company, I don't think we would have said yes,' Clooney told CNBC via email. "'his reflects Diageo's belief in our company and our belief in Diageo. But we're not going anywhere. We'll still be very much a part of Casamigos. Starting with a shot tonight. Maybe two.'
"Diageo said it will initially pay $700 million, with the potential for another $300 million based on the tequila's performance over 10 years. The transaction is expected to close during the second half of 2017.
"Diageo doesn't expect the deal to add to its earnings until its fourth year. In the first three years, the brand will not have any impact on earnings
"Clooney and co-owners Rande Gerber and Michael Meldman are expected to stay with the company after its acquisition.
"Gerber founded nightlife companies Midnight Oil and the Gerber Group, and Meldman is a real estate tycoon.
"Casamigos, which translates to 'house of friends,' started as a private collection of tequilas meant just for Gerber and Clooney's friends and family. However, in 2013, the team brought the label public when they had to get licensed to continue making the tequila.
"'It immediately took off,' Gerber told CNBC in November. 'Right now, we're the fastest growing ultra-premium tequila in the country.'"