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Everyone knows Rodgers and Hammerstein and the legacy that comes with their collaborations, but many forget the brilliance and heartbreak of Rodgers and Hart. The applause roars for one man while another slips quietly into the shadows. Fame and failure share the same stage tonight, divided only by a curtain call. That’s the haunting pulse of “Blue Moon,” a story of creative partners colliding at the peak of one’s success and the edge of the other’s undoing. Over one fateful Broadway night, a composer stands in the light of his newest triumph while his lyricist drowns in the darkness just beyond the spotlight. It’s a breakup told in music, memory, and smoke.On this episode of The Discourse, host Mike DeAngelo pairs conversations with Ethan Hawke & Richard Linklater and Andrew Scott, weaving their perspectives together on collaboration, rehearsal, and the human math of loving someone you can’t fix.READ MORE: ‘Blue Moon’ Review: Another Precious Pearl In Richard Linklater’s Chronicles Of The Human Condition [Berlin]Nine collaborations deep, Hawke and Linklater’s shorthand remains less code than continuum. Hawke said, "The changes are pretty invisible to me. It feels like one long collaboration, one long conversation." Linklater added, "I met Ethan in 1992. We went out later that night, we were at a bar, and we talked all night. We’re still talking. That's what it feels like." Scott, reflecting on their dynamic, noted that the film itself “is about two people who’ve been through so much together that their chemistry almost becomes a language.”

You don’t have to know a damn thing about football to get swept up in “Chad Powers.” The new Hulu comedy from Michael Waldron and Glen Powell takes an absurd premise, a fallen quarterback disguising himself as a walk-on to reclaim his dream, and builds it into one of the funniest, sharpest, and most heartfelt sports stories of the year. Adapted from Eli Manning’s viral sketch, the show follows Russell, a disgraced, washed-up pretty-boy QB who reinvents himself as the mustachioed, mulleted Chad Powers to chase glory once more. It’s “Mrs. Doubtfire” meets “Rudy” meets "Ted Lasso," with Powell delivering a tour-de-force of charm, cringe, and full-body commitment.Joining the Bingeworthy podcast, Michael Waldron, the writer and co-creator behind “Loki,” “Heels,” and “Doctor Strange in the Multiverse of Madness,” discussed shaping the series, collaborating with Powell, and finding its balance between satire and sincerity.

The streets of Tulsa have never looked meaner. With Season 3 of "Tulsa King" now streaming on Paramount+, Sylvester Stallone’s Dwight Manfredi faces more than just turf wars. He’s surrounded by chaos on all sides, from the FBI and old New York enemies to a new local threat who feels pulled from another century. The scale is bigger, the danger sharper, and the humor darker than ever before."It’s one of the darker ones," Stallone said. "But, you know, the humor comes through. It gets heavy." He admitted that the new season’s grind reflects a changing creative rhythm. "It’s very, very big because you have three forces coming at me. You got the FBI, you got the New York mob, and then you have this maniac from Tulsa who looks like he’s from a hundred years in the past. And then all the other intrigue about the elections and so on. And then we deal, oh, I forgot, the domestic terrorists. So we have a lot going on this year."

The hum in Delaware County, Pennsylvania, isn’t sirens so much as the grind of a garbage truck at dawn and the scrape of a window after dark. “Task” lives there, in a neighborhood that knows its people by what they throw away, where they go or don’t go to church, then shoves them onto a collision course. One side is a scuffed-up task force working out of a seized row house, and the other is a desperate crew that’s invisible until it isn’t. The engine isn’t a whodunit. It’s the slow, sick feeling of when. The series follows an FBI agent (Mark Ruffalo) who heads a task force to put an end to a string of violent robberies led by an unsuspected family man (Tom Pelphrey).Joining Bingeworthy are creator Brad Ingelsby (“Mare of Easttown”), and stars Emilia Jones (“Coda,” “Locke & Key”), Tom Pelphrey (“Ozark,” “Outer Range”), and Sylvia Dionicio (“FBI: Most Wanted”). During the interviews, Ingelsby smiles at the comparison some fans have been making from the start with Michael Mann’s heist epic, “Heat.” “That’s what we say. It’s like a blue-collar ‘Heat.’ This is very Delco, garbage collectors robbing kind of scuzzy houses, and Tom Brandis is not a very skilled investigator,” Ingelsby says. “The tension is, you want one to get away and you want the other to catch him. Those things can’t coexist. This is a collision-course show.”

They say dogs can sense death, staring at something just beyond our perception. In “Good Boy,” that instinct becomes the engine for an entire film. Directed by Ben Leonberg and produced by Kari Fischer, the story unfolds entirely from the perspective of a golden retriever named Indy, who seems to be the only one aware that a house carries a sinister presence. What begins as a simple “what if” idea blossoms into a chilling, 73-minute haunted-house thriller told through a dog’s eyes.The concept is both ingenious and risky. Leonberg and Fischer spent years refining it, drawing inspiration from Jack London’s animal adventures and the horror tradition of films like “Poltergeist.” Without dialogue to rely on, the filmmakers built the narrative through images, sound, and Indy’s natural behavior, creating a cinematic language where panting, footsteps, and a thousand-yard stare become the keys to suspense. The result is eerie, playful, and surprisingly emotional, inviting viewers to see a ghost story through the gaze of man’s best friend.For Leonberg, the idea had been percolating for over a decade. “I came up with the idea by watching ‘Poltergeist’ and thinking, man, somebody should tell a story entirely from the golden retriever’s perspective,” he explained. “I worked with a co-writer for years, really trying to crack the story…because we’re not using dialogue to tell the story. So how do you have all the narrative plot points that still feel like a story with a beginning, a middle and end and rising tension and conflict?”READ MORE: ‘Play Dirty’: Shane Black On Reinventing Parker, Mark Wahlberg Stepping In For Robert Downey Jr. & Much More [The Discourse Podcast]

The underworld is crowded with thieves, but Parker has always stood apart. Created by Donald Westlake in the early 1960s, the character has been portrayed on screen by actors including Lee Marvin, Mel Gibson, and Jason Statham. He's a blunt-force professional who isn’t Bond, isn’t Batman, but something rougher, hungrier, and coded by his own ruthless blue-collar sense of order. With "Play Dirty," filmmaker Shane Black takes his own crack at Parker, bringing the character to Prime Video on October 1 and casting Mark Wahlberg in the role. The film follows Parker, a ruthless thief, and his expert crew who stumble onto the heist of a lifetime that pits them against the New York mob. The film also stars LaKeith Stanfield, Rosa Salazar, Keegan-Michael Key, Nat Wolff, and more. This version doesn’t come with gadgets or acrobatics. Black describes a Parker who thinks fast, hits harder, and feels closer to the blue-collar world than to the spy fantasy. It’s the kind of material that lets him indulge his taste for pulp grit, sly humor, and the holiday backdrop he’s made famous. But it also opens the door to some bigger questions: what draws audiences to men this uncompromising? How do you make crime fun without sanding off the edges? And what happens when you cast Wahlberg instead of Robert Downey Jr.?READ MORE: ‘All Of You’: Brett Goldstein On Love, The Science of Soulmates, ‘Shrinking’ Surprises, & ‘Ted Lasso’ [The Discourse Podcast]Writer/Director Shane Black joins The Discourse to talk about the journey of bringing his Parker film to the screen, which started all the way back during the making of Black’s first film, “Kiss Kiss Bang Bang” in 2005. When asked what itch hadn’t been scratched by earlier adaptations, Black pointed to Parker’s uniqueness. “Each one represents the era in which it was produced. 'Point Blank' with Lee Marvin is a very specific film for that time period. And each actor who’s played Parker from there on, like Robert Duvall, Jason Statham, and Mel Gibson in "Payback." There has been a history of incarnations of this powerful, relentless character. But he’s not James Bond, which is why I liked him. He’s sort of blue collar. It’s almost like an American entrepreneur's story. But he happens to be a really awful, bad person and a criminal anti-hero.”

‘The Man In My Basement’: Nadia Latif & Willem Dafoe On Their Visceral and Poignant Thriller, Powerful Themes Staying with You, Robert Eggers’ ‘Werewolf’ & More [The Discourse Podcast]

Love stories are rarely clean, and in “All of You,” the mess is the point. The new drama follows Simon and Laura, lifelong friends played by Brett Goldstein and Imogen Poots, as they drift in and out of each other’s lives while a soulmate test promises definitive answers to the question of “the one.” Instead of neat bows and easy catharsis, the film leans into questioning love, heartbreak, longing, and the choices that cut both ways. It arrives on Apple TV+ on September 26 as a romance that challenges more than it comforts, leaving audiences to wrestle with what they believe about love itself.Goldstein, best known for his Emmy-winning turn as Roy Kent on “Ted Lasso,” makes a deliberate rejection of formula here with a deliberate rejection of formula. By refusing to turn the story’s love triangle into a moral shortcut, he forces every character to stand on equal ground. Laura’s husband isn’t a villain but a caring, funny, and decent man, which makes the decision at the film’s core sting much more. Time jumps and fragmented glimpses of Simon and Laura together invite the audience to fill in the missing years with their own experience, blurring the line between fiction and memory.READ MORE: ‘All Of You’ Review: Brett Goldstein & Imogen Poots Heat Up Decade-Spanning Sci-Fi Romance [TIFF]In this episode of The Discourse, host Mike DeAngelo sits down with Goldstein to discuss building a romance that resists tidy resolution, cutting dialogue in favor of subtext, and finding an improvised final line that changes the ending. He also opens up about his upcoming hard-R rom-com with Jennifer Lopez, new surprises in “Shrinking,” filming the next chapter of “Ted Lasso,” and his dreams of joining the Muppets on screen.

Secrets in the family have a way of festering, and in Alex Winter’s new thriller “Adulthood,” that rot takes the form of a literal body. The film thrusts estranged siblings Megan and Noah, played by Kaya Scodelario and Josh Gad, into a spiral where responsibility can no longer be avoided, and every choice risks compounding into catastrophe. The film arrives on digital on demand platforms on September 23; it is a chaotic blend of dark comedy and moral unease, where adulthood itself feels like the cruelest trap of all.Director Alex Winter, still beloved for cult staples like “Bill & Ted” and “The Lost Boys,” proves here that his filmmaking instincts are as sharp as his screen presence ever was. He keeps the story teetering between farce and tragedy, never letting the characters or the audience escape the consequences of a bad decision. Surrounding Scodelario and Gad are Billie Lourd, Anthony Carrigan, and Winter himself, rounding out an ensemble built to bounce between biting humor and raw tension.On this episode of The Discourse, host Mike DeAngelo talks with the stars of the film, Josh Gad and Kaya Scodelario, about building sibling chemistry, working with Winter as he evolves from cult icon to confident filmmaker, and unpacking the movie’s central metaphor. Gad also shares updates on his upcoming Chris Farley biopic starring Paul Walter Hauser and the long-gestating “Spaceballs 2,” while Scodelario clears up speculation about a potential return in “Crawl 2.”

The drive to be the best has always carried a cost, but in Justin Tipping’s new film “HIM,” that cost curdles into something nightmarish. Opening September 19 through Jordan Peele’s Monkeypaw Productions and Universal Pictures, the story takes the familiar arc of athletic ambition and twists it into a surreal descent where glory and terror run side by side. As one of the rare entries in the sports horror genre, it pushes the language of both forms into strange, unsettling territory.In the film, Tyriq Withers plays Cam, a rising football star whose career is derailed after a brutal assault leaves him with brain trauma. Salvation seems to arrive when his idol, legendary QB Isaiah White (Marlon Wayans), offers to train him at a remote desert compound. But mentorship quickly warps into manipulation, and the pursuit of greatness becomes a sinister crucible threatening to consume him entirely. The ensemble also features Julia Fox, Tim Heidecker, Jim Jefferies, and more.READ MORE: ‘Alien: Earth’: Noah Hawley On Creature Design, Transhumanism & Proving The Show Belongs In The ‘Alien’ Canon [Bingeworthy Podcast]Director Justin Tipping joined The Playlist’s Bingeworthy Podcast to discuss the film, and during the conversation, explained why the script instantly felt like his. “I was an athlete, played all the sports, and my father was a quarterback and like a pole-vaulting champion. I understood the drive and the passion and the agony of defeat and ecstasy of victory and the locker room aspects of it,” he said. “And then the sheer mashup with this horror genre — I cannot point to another comp. The opportunities here were to create a new language and combine languages to create something new.”