BEVERLY HILLS, Calif. (AP) — The revolutionary saga “One Battle After Another” won best picture, musical or comedy at the 83rd Golden Globe Awards.

“Hamnet” won best picture, drama at the ceremony Sunday night.

Entering the night, “One Battle After Another” topped the list of nominations with nine, followed by “Sentimental Value” with eight.

Comedian Nikki Glaser hosted the ceremony from the Beverly Hilton in Beverly Hills. The night marked Glaser’s second consecutive year as host.

The first award of the night went to Teyana Taylor, who won female supporting actor, motion picture for “One Battle After Another.”

The Golden Globes bill themselves as Hollywood’s booziest bash. The awards show was broadcast on CBS and is available to stream through Paramount+.

Here’s a list of winners at Sunday’s Golden Globes:

Motion picture, drama

“Hamnet”

Motion picture, musical or comedy

“One Battle After Another”

Male actor, motion picture, drama

Wagner Moura, “The Secret Agent”

Female actor, motion picture, drama

Jessie Buckley, “Hamnet”

Female actor, motion picture, musical or comedy

Rose Byrne, “If I Had Legs, I’d Kick You”

Male actor, motion picture, musical or comedy

Timothée Chalamet, “Marty Supreme”

Female supporting actor, motion picture

Teyana Taylor, “One Battle After Another”

Male supporting actor, motion picture

Stellan Skarsgard, “Sentimental Value”

Motion picture, non-English language

“The Secret Agent,” Brazil

Motion picture, animated

“KPop Demon Hunters”

Director, motion picture

Paul Thomas Anderson, “One Battle After Another”

Screenplay, motion picture

Paul Thomas Anderson, “One Battle After Another”

Cinematic and box office achievement

“Sinners”

TV series, drama

“The Pitt”

TV series, musical or comedy

“The Studio”

Male actor, TV series, drama

Noah Wyle, “The Pitt”

Female actor, TV series, drama

Rhea Seehorn, “Pluribus”

Female actor, TV series, musical or comedy

Jean Smart, “Hacks”

Male actor, TV series, musical or comedy

Seth Rogen, “The Studio”

Limited series, anthology series or made for TV movie

“Adolescence”

Male actor, limited series, anthology series or made for TV movie

Stephen Graham, “Adolescence”

Female actor, limited series, anthology series or made for TV movie

Michelle Williams, “Dying for Sex”

Male supporting actor, television

Owen Cooper, “Adolescence”

Female supporting actor, television

Erin Doherty, “Adolescence”

Original song, motion picture

“Golden” from “Kpop Demon Hunters”

Original score, motion picture

Ludwig Göransson, “Sinners”

Stand-up comedy performance

Ricky Gervais, “Mortality”

Podcast

“Good Hang With Amy Poehler”

By ANDREW DALTON, Associated Press

LOS ANGELES (AP) — Nikki Glaser went hard then eased up in her monologue to open Sunday’s Golden Globes.

In her earliest jokes she suggested stars in the room might be in the Epstein Files and took a shot at CBS, the network airing the show.

“There are so many A-listers, and by A-listers, I do mean people who are on a list that has been heavily redacted,” she said. “And the Golden Globe for best editing goes to the Justice Department.”

She segued into mocking the recent woes at CBS News and its killing of a critical “60 Minutes” story about the Trump Administration sending immigrants to a prison in El Salvador.

“The award for most editing goes to CBS News,” she said. “Yes, CBS News: America’s newest place to see BS news.”

She didn’t bring up Venezuela, a subject she told The Associated Press this week she was considering mentioning, but worried it would already be old news in the chaotic moment. And there was no mention of ICE.

Glaser also told the AP she was struggling to find a joke about Julia Roberts, saying she was so beloved and respected that nothing Glaser tried with her comedy club test audiences was landing.

She found a way to come at it sideways.

“Just like the podcasters nominated tonight, I should not be allowed to be this close to Julia Roberts,” she said, and got the big laugh she was looking for.

It was Glaser’s second time hosting the show. She was quickly rehired after getting strong reviews in her first outing last year. She was hired the first time after the ruthless roast she gave the attendees of the Netflix roast of Tom Brady. She’s been kinder on the Globes, but her jokes still had some bite.

She made the obligatory joke about Leonardo DiCaprio dating young women.

“You’ve worked with every great director. You’ve won three Golden Globes and an Oscar,” she said. “And the most impressive thing is that you were able to accomplish all of that before your girlfriend turned 30.”

She then went meta and apologized for being so obvious.

“Leo, I’m sorry I made that joke, it’s cheap. You know what, I tried not to, but like, we don’t know anything else about you, man. Like, there’s nothing else, like open up!” she said, getting a bigger laugh than she did for the first joke, especially from DiCaprio himself.

She focused on the lean frame of Timothée Chalamet in her inevitable joke about the nominee — and later winner — for “Marty Supreme,” calling him “the first actor in history to have to put on muscle for a movie about ping pong. This is true. He gained over 60 ounces.”

During the show, she stood in the audience and gave a presentation on the ballroom’s layout.

“To my right are the tables for ‘Hamnet,’ ‘All Her Fault’ and ‘Bugonia,’” she said, “an area we’re calling ‘traumatized woman alley.’ We’ll never find out where ‘traumatized men alley’ is because they’re not allowed to tell us.”

Like last year when she merged “Wicked” and “Conclave” into the aborted gag song “Popeular,” she started at one point to sing a deliberately hacky song.

This time she pretended to accidentally say “K-Pong Demon Hunters” before shedding her dress to show athletic wear underneath, grabbing a ping pong paddle-shaped microphone and merging “Marty Supreme” with “KPop Demon Hunters” to the tune of the latter’s best original song winner “Golden.”

“Marty” co-star Fran Drescher soon stepped out to cut Glaser off, saying in her famous nasal rasp, “You have to stop singing, your voice is so annoying.”

But Glaser was also on the receiving end of one joke, from Judd Apatow, who told a story before presenting best director.

“Nikki Glaser used to be our babysitter,” he said. “That’s true. She was our babysitter. And she’s like, ‘I do standup comedy.’ And then I went online to watch her set and it was all about smoking reefer and having weird sex and then she stopped being our babysitter.”

By BEATRICE DUPUY, Associated Press

Ariana Grande, Teyana Taylor, Timothée Chalamet and a sea of other stars said goodbye to color at this year’s Golden Globes, opting instead for black. And many in the crowd stuck with tried and true old Hollywood glamour Sunday.

But even in basic black, the red carpet had plenty of personal flourishes and playful embellishments.

Risk-takers Taylor, a winner for “One Battle After Another,” and Jenna Ortega went with “whale tails,” aka the tops of thongs, peeking out the backs of their black gowns. Taylor did it with her custom slinky Schiaparelli gown that showed off a deep low-cut back with a glittery low-hanging bow thong. Ortega, keeping it goth, wore a Dilara Findikoglu gown with black shoulder tassels and a black thong.

“I thought that was such a cheeky callback to Y2K fashion,” InStyle Fashion Director Kevin Huynh said. “I was just like, wow, you wouldn’t expect that on a red carpet.”

Grande left behind her “Wicked” character’s signature pink color for a black Vivienne Westwood couture dress but brought back her ponytail. Other notable celebrities in black included Ayo Edebiri, Selena Gomez, Miley Cyrus and Mia Goth.

Edebiri chose a black off-the-shoulder Chanel dress embellished with jewels on the shoulders from Matthieu Blazy’s Métiers d’Art 2026 show.

Celebrities held onto their gowns and watched their steps as they posed for photos on high stairs that served as the red carpet. Like the Met Gala, they lined up at the bottom and had to perilously climb their way up.

The 83rd Golden Globes gives a glimpse into how celebrities will showcase their original take on fashion as the awards season progresses. Since 1944, the show has honored the best in film and television.

The carpet, at The Beverly Hilton in Beverly Hills, California, is a chance for nominees to make a statement, though some are beholden to fashion houses who pay them as ambassadors.

Several, including George Clooney, wore Giorgio Armani. The fashion world lost Armani in September, but his eponymous brand lives on.

“It was nice to see so many attendees, including Julia Roberts and Kate Hudson, wearing the brand and pay tribute,” said Véronique Hyland, fashion features director for Elle.

Pops of color hit the carpet

Not all celebrities followed the black dress trend.

Host Nikki Glaser, who held hosting duty for the second time, wore a strapless satin blush-pink corseted satin gown with a full skirt by Zuhair Murad. Emma Stone stunned in a butter yellow Louis Vuitton skirt set.

“Sinners” star Wunmi Mosaku stunned in a flowy yellow Matthew Reisman gown. The mother-to-be revealed her baby bump on the carpet. Mosaku’s co-star Hailee Steinfeld showed off her pregnant figure on the carpet in a peach colored gown.

Stars shone in metallics. “Sentimental Value” actor Renate Reinsve twirled on the carpet in a shimmery silver tasseled dress by Nicolas Ghesquiere for Louis Vuitton. Her co-star Elle Fanning’s Gucci dress was embroidered with Norwegian flowers in honor of their Norwegian drama film.

Rising star Chase Infiniti reflected back the carpet and all its stars in her mirrored corseted gown by Nicolas Ghesquiere for Louis Vuitton.

“She’s now Louis Vuitton ambassador, which I think kind of shows her potential as a star,” Vanity Fair style writer José Criales-Unzueta said. “So much of what happens behind the scenes helps define what we’re looking at, whether it’s a deal, whether it sponsorship, whether it is brand ambassadorship.”

Claire Danes eschewed the academic, laid-back tailored looks of her “Beast in Me” character for an effortlessly elegant, couture gown designed by her close friend Zac Posen for GapStudio. Posen and Danes’ friendship and creative collaboration began in high school.

Posen began working on Danes’ Golden Globe gown in November. As both creative director for Gap and GapStudio designer, Posen told The Associated Press that elevating the American essential into eveningwear is part of his creative process for the brand.

For Danes’ look, Posen transformed the concept of the classic Gap pocket T-shirt into an off-white silk jersey couture gown with subtle bugle beaded detailing and embroidery. The shimmering dress featured a low scoop back and front pocket detail.

“Claire has a great elegance to her and is deeply inherently sophisticated, but yet cool,” Posen said. “Those elements fit perfectly with one of our icons that has built and defined our brands, the pocket tee.

Is sheer dressing still in?

Celebrities are keeping the sheer dressing trend alive with no signs of it slowing down. Lisa of Blackpink wore a black sheer Jacquemus dress, and Jennifer Lopez posed in a see-through dress by Jean-Louis Scherrer.

Jennifer Lawrence walked the carpet in a floral sheer dress by Sarah Burton at Givenchy and accessorized her look with a glamorous floral silk stole.

“Just to go out in a naked dress that leaves very little to the imagination is one thing but what Jennifer Lawrence did was such a romantic approach to it,” Huynh said. “I think that really says a lot to Sarah Burton, the designer of Givenchy. She is a woman designing for women.”

Men choose traditional looks

The male nominees didn’t stray too far from traditional looks. Colman Domingo pared down his typical colorful suits for a black suit by Valentino adorned with silver leaf brooches down his lapel. Timothée Chalamet, a winner for “Marty Supreme,” has become one to watch for his fashion choices. Departing from his past colorful looks, Chalamet wore a black velvet vest and jacket from Chrome Hearts with black Timberland boots. Chalamet’s partner of three years, Kylie Jenner, did not walk the carpet with the actor, but viewers captured her in a custom silver column look by Ashi Studio. It was hand-embroidered with a fan-shaped crystal bead neckline.

After his viral premiere orange look for “Marty Supreme,” Criales-Unzueta said Chalamet decided on a more traditional movie star style by choosing all black.

“Heated Rivalry” star Hudson Williams brought the cummerbund back but with a laid-back twist. The breakout star paired a white-peak lapel dinner jacket with an unbuttoned silk shirt. Williams, along with his co-star Connor Storrie, were presenters during the ceremony. Storrie wore a black tuxedo jacket by Saint Laurent, with black tie and shades.

“It’s really just sexy takes on classic menswear with just those little bit of edge to things,” Huynh said.

Jenna Rosenstein, beauty director for Harper’s Bazaar, noted Storrie’s hair transformation. He plastered his trademark curly locks into a shaggy, retro-inspired mullet. Among the women, beauty highlights included the swoopy bobs of Edebiri and Gomez, she said.

“If there’s one thing you should invest in after this carpet, it’s a really good round brush, a can of hairspray and a statement lipstick,” Rosenstein said.

AP writer Leanne Italie contributed to this report.

The Golden Globes bill themselves as Hollywood’s booziest bash. Political tension and industrywide uncertainty are the prevailing moods heading into Sunday night’s 83rd Golden Globes hosted by Nikki Glaser, a comic known for her roast appearances.

How to watch and stream the Globes and red carpet

The Golden Globes kick off at 8 p.m. EST on CBS while streaming live for Paramount+ premium subscribers. E!’s red carpet coverage begins at 6 p.m. EST.

The Associated Press is hosting a livestream show with a mix of stars’ arrivals, fashion shots and celebrity interviews. It is available on YouTube and APNews.

By JAKE COYLE, Associated Press

Paul Thomas Anderson’s ragtag revolutionary saga “One Battle After Another” took top honors at Sunday’s 83rd Golden Globes in the comedy category, while Chloé Zhao’s Shakespeare drama “Hamnet” pulled off an upset over “Sinners” to win best film, drama.

“One Battle After Another” won best film, comedy, supporting female actor for Teyana Taylor and best director and best screenplay for Anderson. He became just the second filmmaker to sweep director, screenplay and film, as a producer, at the Globes. Only Oliver Stone, for “Born on the Fourth of July,” managed the same feat.

In an awards ceremony that went almost entirely as expected, the night’s final award was the most surprising. While “One Battle After Another” has been the clear front-runner this awards season, most have pegged Ryan Coogler’s Jim Crow-era vampire thriller as its closest competition.

But “Hamnet,” a speculative drama about William and Agnes Shakespeare based on Maggie O’Farrell’s bestseller, won in the dramatic category shortly after its star, Jessie Buckley, won best female actor in a drama.

It was a banner night for Warner Bros., the studio behind “One Battle After Another” and “Sinners.” Warner Bros. Discovery has agreed to be sold to Netflix in an $83 billion deal. Paramount Skydance has appealed to shareholders with its own rival offer.

In his speech after winning best director, Anderson praised Warner co-chief Michael DeLuca.

“He said he wanted to run a studio one day and let filmmakers make whatever they want,” said Anderson. “That’s how you get ‘Sinners.’ That’s how you get a ‘Weapons.’ That’s how you get ‘One Battle After Another.’”

The final awards brought to, or near, the stage a handful of the most talented filmmakers together in Anderson, Zhao and Coogler — plus Steven Spielberg, a producer of “Hamnet.” Regardless of who won what, it was a heartening moment of solidarity between them, with a shared sense of purpose. Zhao fondly recalled being at Sundance Labs with Coogler when they were each starting out.

“As students, let’s keep our hearts open and let’s keep seeing each other and allowing each other to be seen,” said Zhao, while Coogler smiled from the front row.

“Sinners” won for best score and cinematic and box-office achievement. The win for box office and cinematic achievement, over franchise films like “Avatar: Fire and Ash,” was notable for Coogler’s film, a movie that some reports labeled a qualified success on its release.

Yet “Sinners” ultimately grossed $278 million domestically and $368 million worldwide, making it highest grossing original film in 15 years.

“I just want to thank the audience for showing up,” said Coogler. “It means the world.”

Coming off years of scandal and subsequent rehabilitation, the Globes and host Nikki Glaser put on a star-studded ceremony that saw wins for the streaming sensation “KPop Demon Hunters” (best animated film, song), a meta triumph for Seth Rogen’s “The Studio” and an inaugural award for podcasting that went to Amy Poehler’s “Good Hang.”

Many of the Oscar favorites won. Timothee Chalamet won his first Golden Globe, for “Marty Supreme,” after four previous nominations. The 30-year-old is poised to win his first Oscar. Fellow nominees like Leonardo DiCaprio and George Clooney stood to applaud his win.

“My dad instilled in me a spirit of gratitude growing up: Always be grateful for what you have,” said Chalamet. “It’s allowed me to leave this ceremony in the past empty handed, my head held high, grateful just to be here. I’d be lying if I didn’t say those moments didn’t make this moment that much sweeter.”

Glaser comes out swinging

The Globes, held at the Beverly Hilton in Beverly Hills, California, got underway with a pointedly political opening from host Nikki Glaser and an early award for the night’s favorite, “One Battle After Another.” Emceeing the show for the second straight year, Glaser kicked off the show with self-aware satire.

“Yes, the Golden Globes, without a doubt the most important thing happening in the world right now,” she said.

In a winning, rapid-fire opening monologue that landed some punch lines on the usual subjects — the age of Leonardo DiCaprio’s dates, Kevin Hart’s height — Glaser also dove right into some of her most topical material.

For the on-the-block Warner Bros., Glaser started the bidding at $5. Referencing the Epstein files, she suggested best editing should go to the Justice Dept. The “most editing,” however, she suggested deserved to go to Bari Weiss’ new CBS News — a dig at the Paramount Skydance-owned network airing the Globes.

Globes mix glitz and gloom

Political tension and industrywide uncertainty were the prevailing moods heading into Sunday’s awards. Hollywood is coming off a disappointing box-office year and now anxiously awaits the fate of one of its most storied studios, Warner Bros. Following the fatal shooting of Renee Good in Minneapolis by a U.S. Immigration and Customs Enforcement officer, several attendees wore pins reading “Be Good.”

The Globes, formerly presented by the Hollywood Foreign Press Association, have no overlap or direct correlation with the Academy Awards. After being sold in 2023 to Todd Boehly’s Eldridge Industries and Dick Clark Productions, a part of Penske Media, the Globes are voted on by around 400 people. The Oscars are voted on by more than 10,500 professionals.

But in the fluctuating undulations of awards season, a good speech at the Globes can boost an Oscar campaign. Winners Sunday included Rose Byrne (“If I Had Legs I’d Kick You”) for best female actor in a comedy or musical, and Wagner Moura, the Brazilian star of “The Secret Agent,” for best male actor in a drama. Kleber Mendonça Filho’s period political thriller also won best international film.

“I think if trauma can be passed along generations, values can,” Moura said. “So this to the ones who are sticking with their values in difficult moments.”

Other winners Sunday included the supporting actor front-runner, Stellan Skarsgård who won for the Norwegian family drama “Sentimental Value.” It was the first major Hollywood movie award for the 74-year-old, a respected veteran actor who drew a standing ovation.

“I was not prepared for this because I, of course, thought I was too old,” said Skarsgård.

‘The Studio’ and ‘Adolesence’ win

In the television awards, “The Pitt” took best drama series, while Noah Wyle won, too, brushing past his former “ER”-star Clooney on the way to the stage. Netflix’s “Adolescence” won four awards: best limited series, and acting awards for Erin Doherty, Stephen Graham and 16-year-old Owen Cooper.

Other winners included Rhea Seehorn for “Pluribus” and Jean Smart for “Hacks.”

But the most comically poignant award of the night went to “The Studio,” the best comedy series winner. Seth Rogen’s Hollywood satire memorably included an episode devoted to drama around a night at the Globes. (Sample line: “I remember when the red carpet of the Golden Globes actually stood for something.”) Rogen also won best male actor in a comedy.

“This is so weird,” Rogen said, chuckling. “We just pretended to do this. And now it’s happening.”

Michigan has been the setting for thousands of films. At one point, the state encouraged movie makers through incentives to produce their films here.

Those programs were cancelled a decade ago. Since then, productions have largely gone elsewhere to shoot.

As for the films set in Detroit, which ones really capture the city, its essence and the people who live here?

Steven Shaviro is a former film critic and professor at Wayne State University. He joins The Metro to discuss and critique movies that were made in or about metro Detroit.

Listen to The Metro weekdays from 10 a.m. to noon ET on 101.9 FM and streaming on demand.

Subscribe to The Metro on Apple Podcasts, Spotify, NPR.org or wherever you get your podcasts.

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Charlie Polinger achieves a lot with relatively little with his feature directorial debut, “The Plague.”

Getting a wide release this week, this slice of psychological horror is quite effective despite its small scale and a cast consisting largely of little-known young actors.

A cross between “Lord of the Flies” and … some other movie set at a youth water polo camp, “The Plague” explores, as Polinger puts it in his directorial statement, “the clumsy liminal space between childhood and adolescence, when the id grows too fast and too strong for the conscience to keep up.”

Also the film’s writer, Polinger found inspiration for the story when he unearthed old journals from when he was 12. He read his tales of a youth sports camp, where boys told tall tales of a mysterious “plague” that had infected one unfortunate kid — it was the reason for his acne-covered face and was turning his brain to “mush.”

That is the situation 12-year-old Ben (Everett Blunck) encounters when he joins the second session of a water polo camp after moving to the area from another city in summer 2003. A bunch of the boys — led by the charismatic Jake (Kayo Martin) — have ostracized another with a skin issue, Eli (Kenny Rasmussen), which they make very clear as they accept Ben into their fold.

“Those aren’t regular pimples,” Jake tells Ben as they sit on the bottom part of a bunk bed, several feet from Eli. “Those are plague pimples. That’s a plague face.”

Jake proceeds to fill Ben’s head with more disturbing details, including the fate of the unfortunate boy who supposedly gave the plague to Eli. (Spoiler alert: He’s said to be spending his time in a mental institution playing “Jenga.”)

You can tell from Ben’s face that he doesn’t believe any of this to be true — mostly, kinda, probably — but he does as instructed, scrubbing his skin quickly after any physical contact with the outcast. He’s just trying to fit in, especially after Jake gives him a hard time about having trouble pronouncing “t” sounds, earning him the cruel nickname “Soppy” as a result. We’ve all been there — if roughly, not precisely.

That’s why “The Plague” feels so authentic for its first long stretch: It’s relatable in a way you may not enjoy thinking about, even if you were more follower than leader, more Ben than Jake, in your youth.

As the film progresses, however, Polinger skillfully blurs the line between childhood nonsense and reality in a really potent and, at times, downright chilling way, as Ben takes the inevitable turn away from Jake and toward Eli — despite the latter’s odd social behavior. (To be clear, Eli’s idiosyncrasies feel authentic for an outcast kid … at least for the most part.)

With the help of collaborators who include director of photography Steven Breckon, production designer Chad Keith and sound designer Damian Volpe, Polinger creates an aesthetic that evolves from lovely (the opening underwater shots) to unsettling (well, you’ll see).

Plenty of heavy lifting is also done by the aforementioned actors, with Blunck (“Griffin in Summer”) compelling as a pre-teen everyman — not exactly cool but able to vaguely fake it — and newcomer Rasmussen, who throws himself into the role of a boy trying to make the best of being separated from the group at camp.

The standout, though, is Martin, who, as the ringleader, straddles the line between angel and devil, aided by an often-present smile that can be read either way. (Also into skating and boxing, the youth has about a million Instagram followers.)

Joel Edgerton (“Boy Erased,” “Train Dreams”) portrays the only meaningful adult role, that of the boys’ coach, Daddy Wags, and he turns in solid work, both when his character lays into Jake for his behavior and later tries to comfort Ben.

Know that a viewer isn’t likely to find much comfort in “The Plague.” It isn’t a fun experience, the film dipping its toes into such upsetting topics as self-mutilation, but it is impactful.

Without hinting at the nature of the conclusion, Polinger sticks the landing, leaving the viewer wanting more — not of “The Plague” but of him.

‘The Plague’

Where: Theaters.

When: Jan. 2.

Rated: R for language, sexual material, self-harm/bloody images, and some drug and alcohol use – all involving children.

Runtime: 1 hour, 38 minutes.

Stars (of four): 3.

By Mary McNamara, Los Angeles Times

LOS ANGELES — Even with inflation, endless air travel complaints and the recent flight cancellations caused by the government shutdown, millions of Americans, including me, will begin their holiday celebrations on a plane. And while some are already making their packing lists, I am more concerned about what I should watch. In addition to getting you where you want to go, those hours spent in uncomfortable seats — first at the gate and then on board — are a guilt-free opportunity to catch up on or revisit great shows and films.

In-flight viewing is a specific, and sometimes unintentionally communal, viewing experience; not everything works. Choose tearjerkers and musicals with care. Ugly crying over “The Notebook” or singing along with “Wicked” might feel great, but it can cause your fellow passengers unnecessary consternation and/or annoyance.

If you are traveling with or seated near children, you should avoid hard-R-rated fare — as I discovered while briefly attempting to watch “Game of Thrones” while seated beside my then-young son, nudity and beheadings don’t need the sound on to be inappropriate.

Likewise, avoid anything that involves tragic or problematic air travel — catch up on the “Final Destination” franchise another time — and you also might want to skip full-attention-demanding subtitles. The perfect airplane watch allows you to immerse yourself while also remaining aware of what’s happening around you. (Including and especially requests from flight attendants.)

With all these considerations in mind, here are some suggestions.

Watch at the gate

Comedy series are best, for obvious mood-sweetening reasons (should delays occur), but also because the episodes are short and tend not to have dramatic moments that might keep you watching even after your group number has been called.

“Schitt’s Creek” (Amazon)

Each episode of this perfectly addictive series about a once-rich (and very dysfunctional) family that finds itself forced to start anew in a small town will make you laugh no matter how many times you’ve seen it.

“Derry Girls” (Netflix)

Those unfamiliar with the Northern Ireland accent may find it necessary to use subtitles, which I just cautioned against. But this show is worth breaking the rules for. Living through the Troubles in 1990s Derry, five Catholic school friends and their families cope hilariously with everyday issues, including school life under the redoubtable eye of Sister Michael (Siobhán McSweeney).

“New Girl” (Hulu)

The shenanigans of friends/roomies Jess (Zooey Deschanel), Nick (Jake Johnson), Schmidt (Max Greenfield), Winston (Lamorne Morris) and Cece (Hannah Simone) are always a delight.

“Brooklyn Nine-Nine” (Netflix)

Any time’s a good time to watch the greatest police comedy series since “Barney Miller.” Andy Samberg’s Jake Peralta heads a misfit but inevitably successful team of New York detectives, headed by the driest, wisest chief in TV history — Captain Holt, played by the late, great Andre Braugher.

“Abbott Elementary” (Hulu)

Celebrate the holidays with this quick-witted, revelatory and very sweet teacher-centric mockumentary-comedy created by and starring Quinta Brunson. Compared with classroom chaos, even the airport will seem like an oasis of tranquility.

“What We Do in the Shadows” (Hulu)

If you somehow missed this hilariously unique comedy-horror mockumentary about a group of vampires living in modern-day Staten Island, now is the time to rectify that.

Watch on domestic flights

All of the above comedy series work here as well — but movies are best, especially if you can time it so the film begins when altitude is achieved and ends as you’re returning your seat backs and tray tables to their full upright positions.

FILMS:

“The Da Vinci Code” (AMC+)

The perfect in-flight film, “The Da Vinci Code” offers something like cultural edification (the Louvre! The Knights Templar! Biblical history!) while not forcing you to think too much. A tour of Paris, great action sequences, the always endearing Tom Hanks and a literally beatific conclusion.

“Spy” (Amazon)

Melissa McCarthy is an everywoman intelligence agent who chooses to go into the field for the first time in this strangely unsung hero of modern comedy. Guaranteed to make you laugh even if you’re stuck in the middle seat. (Also set in Paris, it’s a perfect double feature with “The Da Vinci Code” for those five-hour flights.)

“Crazy Rich Asians” (Netflix)

Jon M. Chu’s glorious romantic comedy will transport you into a world far beyond the dreary confines of contemporary air travel and make you feel, if only for a moment, that you too are flying in a first-class compartment that contains an actual double bed.

“Iron Man” (Disney+)

Travel back in time to the moment when Robert Downey Jr. jump-started the Marvel Cinematic Universe and remind yourself why. It really is that good.

“Sense and Sensibility” (Amazon)

The exquisite nature of the performances, writing, direction, cinematography and score has made one of the best Jane Austen adaptations a go-to comfort film for when you’re feeling ill. Which is why it’s perfect while flying.

“Paddington” and/or “Paddington 2” (Netflix)

Come for the adorable bear (voiced by Ben Whishaw), stay for the adventure and sweet hijinks (and, in “Paddington 2,” Hugh Grant!). You will reach your destination feeling more kindly to your fellow travelers, which can only improve any trip.

“Edge of Tomorrow” (Netflix)

Tom Cruise teams up with Emily Blunt to battle an alien invasion, with some help from time travel. Classic dystopian thriller with several clever twists. If you’re feeling hot and cramped, just think of Cruise and Blunt in those super suits.

“The Martian” (Netflix)

Feel bad that your flight got delayed and you might not make your connection? A little time spent with Matt Damon’s astronaut, stranded for years on Mars, will put everything in perspective. At least you don’t have to figure out how to grow potatoes in hostile soil.

“Jumanji: Welcome to the Jungle” (Amazon)

The ultimate full-immersion movie sees four teenagers sucked into a survival adventure game in which their avatars are played by Dwayne Johnson, Jack Black, Kevin Hart and Karen Gillan.

“Skyfall” (Amazon)

Honestly, most Bond films are a good choice but Daniel Craig is my favorite Bond and “Skyfall” features a more-than-usual presence of M (Judi Dench). Also, the song.

“Knives Out” (Amazon)

A classic manor house mystery, which revived the genre when it became a hit in 2019, “Knives Out” is the ideal blend of mystery and wit, with a cast of characters to keep you company.

SHOWS:

“Hawkeye” (Disney+)

If you’re looking for a five-hour (or so) miniseries with plenty of Marvel action and a holiday theme, look no further. A year after the events of “Avengers: Endgame,” Hawkeye super fan Kate Bishop (Hailee Steinfeld) teams up with her reluctant hero, Clint Barton (Jeremy Renner), to face down enemies new and old. Oh, and celebrate Christmas in New York.

“Black Mirror” (Netflix)

This sci-fi anthology series is perfect plane viewing because a.) It’s so very good and b.) Each episode is its own story, so you can construct however many hours you need (and, perhaps, catch up on a show so many people continue to talk about).

“Sherlock” (PBS)

Same principle — each episode is essentially a short film and you get to wallow in the wonder of Benedict Cumberbatch (Sherlock), Martin Freeman (Watson), Mark Gatiss (Mycroft) and all the rest as they solve crimes in modern twists on the classic tales.

Watch on international flights

For flights six hours and longer, you can hunker down and make your way through a film franchise or an entire season or seasons of a television series.

FILMS:

“The Lord of the Rings” trilogy (HBO Max)

Pick the director’s cut of all three and your journey through Middle-earth will take you almost 12 hours, which is about as long as it takes to fly from L.A. to New Zealand, where it was filmed.

“Hunger Games” (HBO Max)

The four films in which Katniss Everdeen (Jennifer Lawrence) and friends attempt to wrest a shattered land from the tyranny of President Snow (Donald Sutherland) clock in at about nine hours total, which, with bathroom and meal breaks, should get you from L.A. to London or Paris.

“Mission Impossible” films (Amazon and other platforms)

Although they often include mishaps in the air, the fantastic (in both senses of the word) nature of “Mission: Impossible” makes these films an ideal high-altitude binge. From first to last, they run more than 18 hours, which is, quite frankly, far too many hours of consecutive movie viewing. But with plenty of installments to choose from, you can accept whichever assignments (and Cruise stunts) appeal to you.

“Harry Potter” (HBO Max)

However one feels about J.K. Rowling’s politics, this is a delightful film franchise that’s even longer than “Mission; Impossible” — about 20 hours. But you can start, and stop, the series wherever you want (though I would urge you not to skip the underrated “Order of the Phoenix”).

SHOWS:

“Black Doves” (Netflix)

Keira Knightley and Whishaw play highly unlikely but ruthlessly skilled mercenary spies who work for an ice-cold Sarah Lancashire. The six-hour-long series tells a complete tale (though Season 2 is in the works) and as the events take place in London as Christmas approaches, makes a fine holiday thriller.

“House”

Pick a season, any season (there are eight of them, with an average of 22 episodes each) and the wit, wisdom and scathing insanity of Dr. Gregory House (Hugh Laurie) and his team will carry you through to any destination. And unlike other medical shows, most of the ailments are so bizarre that you won’t have to worry if that cough or twinge is a sign that you’re getting one of them.

“The Durrells in Corfu” (PBS)

It’s 1935 and young widow Louisa Durrell (Keeley Hawes) decides that the answer to her financial straits is to move herself and her four children to the island of Corfu. Sweet and scenic hilarity ensues, and includes the young Josh O’Connor (“The Crown”) and Callum Woodhouse (“All Creatures Great and Small”) as two of Louisa’s sons. Four seasons, 26 episodes. You’re welcome.

“Call the Midwife” (Netflix)

Seasonal purists could just download the dozen or so Christmas episodes of this long-running and still-exceptional drama about a group of midwives working out of a convent in London’s East End. (Between the nuns and the babies, the specials are always wonderful.) But if you haven’t seen the series, best to start with Season 1 and keep going.

“Mare of Easttown” (HBO Max)

If you somehow missed Kate Winslet’s turn as a small-town Pennsylvania cop (with a great Delco accent) who is trying to solve a brutal murder, then this is your chance. If you didn’t, well, it’s time for an eight-hour rewatch in which you can use the time you spent wondering who dunit to admire all the terrific acting.

“Slow Horses” (Apple TV)

The butt-numbing hours will fly by like minutes when you immerse yourself in the TV adaptation of the first five of Mick Herron’s Slough House novels. Gary Oldman is having a blast as Jackson Lamb, the greasy, rumpled, sharp-tongued and strategically flatulent keeper of a den of MI5 misfits. Who somehow manage to save the day.

“The Crown” (Netflix)

Think your flight is long? Consider the reign of the late Queen Elizabeth, played over the course of six seasons by Claire Foy, Olivia Colman and Imelda Staunton. For a full immersive experience, it’s tough to beat the royal settings, period clothes and changing times. And with 60 hours at your fingertips, you can move through history without ever leaving your seat.

“30 Rock” (Hulu)

Tina Fey’s send-up of a fictional “Saturday Night Live”-type show, and satirical look at the television business in general, is just as biting and gimlet-eyed as it was when it premiered almost 20 years ago. It got better as it aged, so for purposes of downloading, look to Seasons 4 and 5.

“Parks and Recreation” (Peacock/Amazon)

Life is always better when you spend some time with Leslie Knope (Amy Poehler), Ron Swanson (Nick Offerman), April Ludgate (Aubrey Plaza) and the many fine public servants in Pawnee, Indiana’s city government. The mockumentary series found its feet in Season 2, so you might want to start there.

“The Wire” (HBO Max)

David Simon’s five-season Baltimore-based crime drama is definitely R-rated (thus breaking one of our earlier stated rules) but it is the show that is consistently listed as one of the best — if not the best — TV dramas ever. So if a long-haul flight demands that you binge, why not binge big?

©2025 Los Angeles Times. Visit latimes.com. Distributed by Tribune Content Agency, LLC.

By KRYSTA FAURIA

LOS ANGELES (AP) — At the movies this fall, Josh O’Connor plays a hot priest with a complicated past, Keanu Reeves is an angel who lost his wings and Elizabeth Olsen has a romantic dilemma in the afterlife.

Hollywood, it seems, has found God.

But it’s not just starry big-budget Netflix films or A24 indies that are grappling with religion and its place in entertainment. In recent years, there’s been an explosion of films and television made from a confessional perspective that evangelize or portray a particular faith, often Christianity, that have performed particularly well with audiences.

There are animated biblical films from Angel, like the upcoming musical “David,” which the company said has already exceeded $14 million in theatrical pre-sale tickets ahead of its release this Friday, to docudramas like Martin Scorsese’s “The Saints.” While episodes from Season 2 are still being released, the first season of the Fox Nation series, which premiered last year, was the most watched on the platform.

“There has been a revival, a revolution of sorts, of spirituality and faith content,” proclaimed Traci Blackwell, head of targeted content for Prime Video and Amazon MGM Studios, at a recent Variety event in Beverly Hills for faith and spirituality in entertainment. Earlier this year, Amazon premiered the first season of its own biblical drama, “House of David,” and gained exclusive U.S. streaming rights to “The Chosen,” a massively popular drama series about the life of Jesus.

‘The Chosen’ effect

Historically some faith-based entertainment has performed well at the box office — Mel Gibson’s 2004 epic “The Passion of the Christ” was notoriously the highest-grossing R-rated film in the U.S. and Canada for two decades. But faith-based hits have been few and far between for most of this century.

“Hollywood has taken a lot of criticism by those in the faith community for not providing films that speak to them, that reflect their values,” said Paul Dergarabedian, Comscore’s senior media analyst, emphasizing the box-office potential of faith-based films.

Studios are realizing faith-based film and television is a worthwhile investment at least in part due to the success of “The Chosen,” which Angel helped launch in 2017, even if it initially took time to see those results.

“It was like pulling teeth to get people to watch it,” recalled Angel CEO and co-founder Neal Harmon. “People have this idea that faith means cheesy or preachy. And we had to break through that barrier.”

Once they did, it paid off. Since Fathom Entertainment began distributing “The Chosen” theatrically in 2023, the series has grossed more than $116 million domestically.

Though not a Christian company, Angel aims to distribute and market “values-based entertainment” that includes but is not limited to stories of faith. They’ve released a host of religious films, with “Zero A.D.,” a biblical epic about the Massacre of the Innocents recounted in the Gospel of Matthew, on the docket for 2026.

Meanwhile, Lionsgate is set to premiere “I Can Only Imagine 2” in theaters February, a sequel to the 2018 biopic starring Dennis Quaid, which was one of the highest-grossing Christian films of all-time in the United States.

Co-director Andrew Erwin said he noticed a “massive shift” take place about five years ago, after years of disconnect between the demand for these kinds of films and Hollywood’s willingness to make them.

“For the first time, movie studios are really giving us a fair shake,” he said, though he thinks the quality of the content was also a factor. “We didn’t have the knowledge of how to do the filmmaking side of things. And so, I think the storytelling has gotten a lot better.”

Lionsgate is also set to distribute the first of Gibson’s two-part sequel to “The Passion of the Christ” in 2027.

Defining ‘faith-based’

Trying to define what counts as faith-based programming is a bit like trying to define what counts as pornography.

Themes of belief, guilt and “foolish grace” abound in O’Connor’s “Wake Up Dead Man: A Knives Out Mystery” — the third of filmmaker Rian Johnson’s hit Netflix franchise. But few would call it a religious film.

Amanda Seyfried preaches celibacy and endures persecution in “The Testament of Ann Lee,” the musical biopic about the founder of the Shakers sect, in theaters Christmas. But in all the acclaim and Oscar buzz surrounding the film, there’s little talk of its engagement with faith.

Even Scorsese’s 1988 “The Last Temptation of Christ” or filmmaker Paul Schrader’s Oscar-nominated “First Reformed,” which also stars Seyfried, are hardly thought of broadly as Christian films, despite the fact that both men have been outspoken about their respective traditions.

“This film was his way of exploring his faith and exploring who his God is,” Scorsese’s daughter Francesca, who directed one of the episodes of “The Saints,” said of “The Last Temptation of Christ.”

Conversely, the people behind some of these recent projects resist them being called explicitly religious, even when audiences perceive them as such.

“I wouldn’t characterize it so much as overtly Christian,” Jonathan Roumie, who plays Jesus in “The Chosen,” told The Associated Press last year. “It’s a historical drama that centers on Jesus.”

For studios and filmmakers, acknowledging that a project is told from a religious perspective can be a double-edged sword.

“If you’re buying in on going to the movie theater for a faith-based movie, you know you’re gonna have people around you who are really into the experience,” Dergarabedian said. “The minute you say faith-based though, it kind of puts a movie in a box.”

A fad or here to stay

Many Christians celebrate the trend beyond its monetary potential. Phil Wickham, a Grammy-nominated Christian recording artist who voices the character of David in the upcoming Angel film, said it’s been gratifying to see the success of shows like “The Chosen” and “House of David.”

“Growing up, anything that was Christian media felt so preachy,” Wickham said. “Even as a pastor’s kid, it was a turn off. But now I think there’s just more opportunity to tell bigger stories over the course of a series and more people willing to really dig in and tell something with excellence and beauty.”

While it’s too soon to tell whether there’s been a sea change in Hollywood or if it’s a short-term fad, the success of some of these projects has stood out amid an otherwise perilous time in the business.

“Hollywood usually follows money,” Jason Klarman, Fox News Media’s chief digital and marketing officer, said as he touted Fox Nation’s packed slate of upcoming faith-based content, including Zachary Levi’s “David: King of Israel” docudrama. “Even when the trend ends, we’ll still be doing it.”

Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.

The post The Metro: How a crime fighting cyborg inspired a generation appeared first on WDET 101.9 FM.

Fiddy is making good on his promise to expose Diddy.

Hip-hop superstar Curtis “50 Cent” Jackson’s eagerly anticipated documentary about Sean “Diddy” Combs will finally see the light of day two years after the project was announced.

Netflix is set to release “Sean Combs: The Reckoning” globally on Dec. 2, the streamer confirmed on Tuesday.

The four-part series — directed by Alexandria Stapleton and executive produced by 50 Cent — is described by the streaming giant as “a staggering examination of the media mogul, music legend and convicted offender.”

The documentary will feature new interviews with “those formerly in Combs’ orbit,” according to Tuesday’s announcement. It also promises to “[tell] the story of a powerful, enterprising man and the gilded empire he built — and the underworld that lay just beneath its surface.”

In a teaser also released on Tuesday, former Bad Boy Records rapper Mark Curry is heard saying: “You can’t continue to keep hurting people and nothing ever happens. It’s just a matter of time.”

Combs was found guilty in July on two counts of transportation to engage in prostitution, following a nine-week trial in which his ex-girlfriend, R&B singer Cassie Ventura, served as the star witness.

Last month, he began serving his four-year federal prison sentence at FCI Fort Dix in New Jersey. He’s also currently facing a barrage of civil lawsuits connected to sexual misconduct allegations as he attempts to appeal his conviction and sentence.

“This isn’t just about the story of Sean Combs or the story of Cassie, or the story of any of the victims, or the allegations against him, or the trial,” said Stapleton, whose previous credits include documentaries on Reggie Jackson, Chelsea Handler and JonBenét Ramsey.

“Ultimately, this story is a mirror [reflecting us] as the public, and what we are saying when we put our celebrities on such a high pedestal,” she continued. “I hope [this documentary] is a wake-up call for how we idolize people, and to understand that everybody is a human being.”

50 Cent, meanwhile, said he’s “grateful to everyone who came forward and trusted us with their stories,” adding that he’s proud to have Stapleton to “bring this important story to the screen.”

The “In Da Club” rapper has had long-standing beef with Diddy, dating back to the 2006 diss track “The Bomb,” in which 50 accused Combs of having something to do with the 1997 murder of the Notorious B.I.G.

The feud has continued ever since through social media jabs and rival business ventures. Actress, model and entrepreneur Daphne Joy, who shares a son with 50 Cent, was also named as one of Diddy’s “sex worker[s]” in a lawsuit filed by Rodney “Lil Rod” Jones.

50 Cent has said he suspected Combs’ alleged illegal behavior for years and that the documentary was already in the works prior to Diddy’s arrest in September 2024.

If we have winners then, in most cases, we most also have losers.

And that most certainly is the case in the horror movie genre.

Yet, for better or worse, we consider ourselves horror completists and try and watch both the good and bad ones.

Here are the ones we were most sorry about seeing in 2025.

We advise you to avoid these 5 horror films this Halloween season.

We’ll start out with the worst of the worst and slowly creep to the merely miserable.

1.“28 Years Later”

It was one of the three or four most highly anticipated horror films going into 2025. Yet, it also turned out to be the most disappointing one we saw this year. It’s pretty much rubbish from start to finish, yet the last half is such an uninspired convoluted mess of “Apocalypse Now” and “Walking Dead” (with Ralph Fiennes coming in somewhere between Daryl Dixon and Marlon Brando) that you’ll be sorry for watching it.

2. “Him”

Take a seat and let director Justin Tipping hit you over the head, repeatedly, with the point that society puts too much emphasis on The G.O.A.T. – especially in sports. Yes, it’s a worthy point to make, yet it’s hard to imagine a worse way to make it than in this horror/sports epic that manages to fail both film genres.

3. “The Long Walk”

One Stephen King adaptation hit it out the park (“The Monkey”) in 2025, while this one – which King published in 1979 under the pseudonym of Richard Bachman – should’ve never gotten into the game. Failing at the fundamentals, from simple dialogue to character development to shot selection, this bore of a film should’ve been called “The Long Watch.”

4. “Death of a Unicorn”

Talk about a one-trick pony (pun intended). The filmmakers only had one joke – “Oh, no, it’s a killer unicorn!” – and literally nothing else. Watch “Bambi: The Reckoning” instead.

5. “I Know What You Did Last Summer”

It pains us a bit to see this one on the list, since we do really like the 1997 original model and even the following year’s goofy follow-up “I Still Know What You Did Last Summer.” Yet, the lack of quality writing and fresh ideas (or even inspired ways to connect to the source material) dooms the project. Still better than 2006’s “I’ll Always Know What You Did Last Summer” though.

Looking to be entertained this weekend? There’s plenty of the usual fare — lots of music, movie openings, TV, etc. But if you feel like stepping out for something special, there are a few significant opportunities in the metro area over the next few days …

• The Detroit Institute of Arts celebrates the opening of its reimagined African American Art Galleries with a number of events during the weekend. A preview for members runs all day on Friday, Oct. 17, with the grand opening and member lecture taking place at 6 p.m. in the Detroit Film Theatre. A special gala opening will be held at 6 p.m. Saturday, Oct. 18, and the galleries open to the public at 10 a.m. Sunday, Oct. 19. 5200 Woodward Ave., Detroit. 313-833-9700 or dia.org.

• Comedian and actor John Mulaney is making himself at home this weekend. He wraps a two-night stand on his “Mister Whatever” tour at 7:30 p.m. Friday, Oct. 7, at the Fox Theatre, 2211 Woodward Ave., Detroit. 313-471-7000 or 313Presents.com. Mulaney then moves to the Fillmore Detroit for one more show on Saturday, Oct. 18. 2115 Woodward Ave. Doors at 7 p.m. 313-961-5451 or thefillmoredetroit.com.

• The Dance @ Detroit Opera season begins with performances by Stars of the American Ballet at 7:30 p.m. Saturday, Oct. 18 and 2:30 p.m. Sunday, Oct. 19 at the Detroit Opera House, 1526 Broadway St., Detroit. The company will salute iconic choreographers Jerome Robbins, Twyla Tharp, Gerald Arpino and George Balanchine. Daniel Ulbricht, artistic director, will speak an hour before each performance. 313-237-7464 or detroitopera.org.

• We often forget that “Steel Magnolias” was a stage play — in 1987, by Robert Harling — before it became a hit film two years later. You can see it at 7:30 p.m. Saturday, Oct. 18 and 2 p.m. Sunday, Oct. 19 at the Macomb Center, 44575 Garfield Road, Clinton Township. 586-286-2222 or macombcenter.com.

• “The Rocky Horror Picture Show” 50th Anniversary Spectacular Tour — featuring cast members Barry Bostwick (Brad Majors), Laura “Little Nell” Campbell (Columbia) and Patricia Quinn (Magenta) — stops Saturday, Oct. 18 at the Masonic Temple Theatre, 500 Temple St., Detroit. Doors at 7 p.m. 313-548-1320 or themasonic.com.

Barry Bostwick to appear with ‘Rocky Horror’ co-stars in Detroit to celebrate film’s 50th anniversary

Tony Award-winning actor Barry Bostwick, alias Brad Majors from “The Rocky Horror Picture Show,” is going on a North American tour across 40 cities to celebrate the movie’s 50th anniversary.

Alongside co-stars Nell Campbell, alias Columbia, and Patricia Quinn, alias Magenta, Bostwick will appear at the Masonic Temple Theater in Detroit at 7 p.m. Saturday, Oct. 18. There will also be a live shadow-cast with Michigan Rocky Horror Preservation Society members, a memorabilia display and costume contest. The actors will speak about “Rocky Horror” and be available for a VIP Meet & Greet Experience. No outside props are permitted. However, every ticket purchased includes a bag of props.

“The crux of the evening is we’re just throwing a big party for those who want to come and witness what they remember from back in high school or college or if they’re a virgin to this whole phenomenon,” Bostwick said. “It’s an experience, a happening. It’s something that can’t be recreated. Every night we do it is different. Our job … is to continue that sense of party that you originally felt when you experienced it for the first time. We’re on our third generation of partygoers now; that’s a lot of beer in the bellies!”

Celebrations throughout metro Detroit mark ‘Rocky Horror’ 50th anniversary

Directed by Jim Sharman (who co-wrote the screenplay with creator Richard O’Brien), “Rocky Horror” blends comedy, parody, musical, horror and science-fiction, paying homage to low-budget 1950s-60s sci-fi and horror movies. It’s based on 1973’s musical stage production, “The Rocky Horror Show,” which O’Brien wrote.

“I’ve been a fan of this movie ever since we made it way back when. I continue to push its entertainment value. … It’s a one-off; it’s a phenomenon. It’ll never be recreated in the way that the fans created this entertainment. They really are the ones who made ‘Rocky Horror’ into what it is,” Bostwick said. “We just made a little movie in five weeks in 1974. When we left England in November of that year, it was like: ‘That was fun. That filled up a month-and-a-half of our lives. We sang good music and made some new friends.’”

“Rocky Horror” also stars future Oscar winner Susan Sarandon (“Thelma & Louise”) as Janet Weiss and Tim Curry (“Legend”) as Dr. Frank-N-Furter, who also originated this role onstage.

It begins with newly-engaged couple Brad and Janet, whose car breaks down. They walk to a nearby castle and meet mad scientist Frank-N-Furter, who creates his own Frankenstein’s Monster, the musclebound Rocky (Peter Hinwood). Subsequently, Frank-N-Furter seduces the couple. In the end, it’s revealed he’s an alien transvestite from the planet Transsexual in the galaxy of Transylvania.

Upon release, “Rocky Horror” received negative reviews. However, it became a hit on the midnight movie circuit. The screening of nonmainstream movies at midnight was aimed at building esoteric audiences, encouraging repeat viewing and social interaction. Fans began dressing up as the characters, spawning similar performance groups across the nation. Around the same time, fans began performing alongside the film and screaming back at the screen. Bostwick attributed its success to its legion of fans.

“I don’t think a lot of people were into it until it really took off on the midnight circuit,” Bostwick said. “I think the organic quality of how it became what it became is so special. Sal Piro was the first one to organize the audience into the party in which it became. Sal was always the host. He started the first fan clubs. He started working with 20th Century Fox to promote it, create the fanbase for it, and coalesce the fanbase worldwide. He published newsletters and wrote books about it. It’s him and the fans he was able to gather who created this entertainment.”

“Buffy the Vampire Slayer” alumnus Anthony Stewart Head played Frank-N-Furter in the 1990 West End stage revival. He offered his insight into the phenomenon.

“The original (stage) show was a massive success and, initially, the movie didn’t do as well as they expected,” Head said. “Someone said they left space in the edit for the audiences to laugh, which made it (drag) out a bit. It was because the audience then came up with the idea of heckling and chanting in the gaps that made it such a ‘live show’ film, and people would see it over and over. That then transferred back into the stage show, and the audience chanted and threw things onto the stage, (making) it a ‘Rocky Horror’ ‘community’ experience.”

Bostwick’s musical theater background on Broadway landed him “Rocky Horror.” He praised Curry, who had a stroke in 2012, calling him a consummate professional.

“Tim just blew the walls down! I wanted to work with him because he was such a phenomenon. When they offered it to Susan and me, it was a no-brainer. Who wouldn’t want to work with Tim and who wouldn’t want to be in something that was colorful, weird, and really different for the time? It propelled my musical career further than if I was just a guy on the Bowery, which I was just a guy on the Bowery, but I actually had some work behind me.”

Bostwick continued: “Tim had the grounded, sorta over-the-top wit that character needed with the undercurrent of evil, which that character had. Because he was such a good actor, there were so many layers to the character. I was a witness to this amazing creature that interacted with Susan and I on a daily basis making the film. At the same time, I knew Tim was a gentleman, a kind and compassionate human being, and not that character, who was weird and evil. I hope he continues to share his wit, sense of humor, and talents with the world – even though he’s been ill for many years now.”

Head also praised Curry.

“I loved Tim Curry’s manifestation of the character, both dark and funny,” Head said. “I will never get over the original live show; his performance was a real game-changer. You loved him and hated him at the same time. This should also be attributed to (O’Brien’s) creation of the character within the extraordinary story. The movie was a great translation of that, and we see deeper inside all of them, especially Tim’s Frank-N-Furter.”

Bostwick pointed out it’s the longest, continuous-running movie in film history because it’s always playing in movie theaters somewhere every week.

“It’s something when people say if we’d know that it would have the legs it would have, you have to say 'no' because this kind of entertainment didn’t exist – where the audience came in and threw stuff and yelled stuff and acted out the characters. And they still do!” he said. “I can only say it happened because of the fans. It happened simply because of the audience who wanted to act up, act out, and have an evening in the theater that they controlled with their enthusiasm and drunkenness.”

If you go

“The Rocky Horror Picture Show” at the Masonic Temple Theater, 500 Temple St., Detroit. Actors Barry Bostwick, Nell Campbell, and Patricia Quinn will appear at the screening at 7 p.m. Saturday, Oct. 18. The event will run for about 2 hours and 10 minutes. No outside props allowed. Due to its content, viewer discretion is advised. Ticket prices range from $73-$301. Call 313-548-1320 or visit themasonic.com.

The Oct. 18 event at the Masonic Temple Theater in Detroit with actors Barry Bostwick, Nell Campbell and Patricia Quinn isn’t the only way to celebrate the 50th anniversary of “The Rocky Horror Picture Show.”

So come on up to the lab and see what’s on the slab.

Barry Bostwick to appear with ‘Rocky Horror’ co-stars in Detroit to celebrate film’s 50th anniversary

The Michigan Rocky Horror Preservation Society, a live performance group dedicated to the preservation of audience participation of “Rocky Horror,” hosts screenings of the 1975 cult classic twice a month in Wayne.

There will also be “The Rocky Horror Show Live” at the Redford in Detroit the weekend of Nov. 7-8.

“Our cast isn’t affiliated with the performance at the Redford, but we are all very excited to go see that cast! It’s not that often that the live musical is produced around (metro Detroit), so it’s a treat to go see,” said Isabella Levitt of Bingham Farms.

Levitt, an alumna of Groves High School in Birmingham and Oakland University, has been a member of the MiRHPS since 2021. She’s portrayed Janet onstage, among other characters.

“The mission of MiRHPS is to create a safe and productive space for folks to indulge in their passion and participate in keeping a queer legacy of 50 years alive,” she said. “Between hearing about the movie for the first time and attending a screening, I showed the movie to as many people as I could and became fascinated by its place in queer culture. I attended my first show and continued to be an audience member until I was 21, when I joined MiRHPS.”

At first, Levitt was adamant she wouldn’t get onstage. She was fine helping behind the scenes. However, an emergency arose, and she stepped in to play Janet at the last minute.

“The rest is history, but that moment did change my life in so many ways,” Levitt said. “Shadow-casting is just so much fun! (Actor) Sal Piro started the shadow-casting tradition shortly after the film was released, and the ability to jump onstage and transform into someone else, to express yourself entirely freely in an accepting space is something that will always be needed, especially in the queer community. For many shadow-casters, it isn't even about the movie anymore. As much as I love the movie, I continue to come back because of the love I have for preserving queer culture and the love I have for my chosen family.”

She’s looking forward to performing with her fellow MiRHPS members when Bostwick, Campbell and Quinn come to Detroit.

“We've performed with Barry and Pat in the past,” Levitt said. “We will have the pleasure of meeting them before the show, as well.”

Created by Richard O’Brien, “Rocky Horror” began as a musical in 1973, spoofing low-budget science-fiction and B-horror movies. Bostwick, Susan Sarandon and Tim Curry starred in the movie. Curry played mad scientist Dr. Frank-N-Furter, the role he originated onstage and the franchise’s most popular character.

“There’s not a lot of words to describe Curry’s performance other than iconic,” Levitt said. “His voice and presence on the screen make it difficult to look at anyone or anything else. He captures your attention and never lets go. It never gets old to watch.”

Anthony Stewart Head, alias Rupert Giles on “Buffy the Vampire Slayer,” portrayed Frank-N-Furter onstage in the 1990 West End revival. He saw the stage version when it debuted in 1973 at the King’s Road Theatre in London, calling Curry’s performance a “real game-changer.” Yet Head made the role his own.

“I felt Frank-N-Furter growing inside of me, his voice in my head – different from everyone else who’d played him. It was quite bizarre. I felt truly connected to him,” recalled Head. “When (designer) Sue Blane and I talked about how I wanted to look, I said I’d always thought of having high heels than the platform shoes that he normally wore because I wanted to be very active. The platforms were very fashionable in the 1970s … but I felt they were a bit clunky for me. I also changed the hospital gown he appears in when he unleashes Rocky; there’s a bunch of classic B-horror pic references, which I thought might be enhanced by being dressed as a 1940s nurse. I also thought about wearing a wig because my hair was short … but would that fit, being wigged up? Then I suddenly thought of him actually wearing one himself and removing it in his apparently emotional moment when he sings, ‘I’m Going Home.’”

One of the most flattering things to happen to Head was when two friends saw his performance and didn’t realize it was him onstage until 20 minutes into the show.

“Once they had, they couldn’t believe I could be so unpleasant,” he said. “Watching the show online … takes my breath away at how I legged it around and all over the stage. I had memories of being active, but seeing it manifest itself in reality leaves me speechless. I couldn’t do it now. I think I’d rather leave it out there in people’s minds – very glad to.”

Head spoke about if Giles and Frank-N-Furter were to meet.

“First, would he be attracted to him? Maybe not, but Frank-N-Furter might find a way to deceive him. I wonder if they would stretch back to when Giles was Ripper (his dark side). I definitely think he’d like him, but wouldn’t trust him. Maybe he’d think he was a sexy, songful demon,” offered Head. “I’ve been so lucky to have been part of so many iconic shows, the last being ‘Ted Lasso.’ They live in my heart, and I do not take any of it for granted. I grew both Giles and Frank-N-Furter from within me. I sensed them there and ultimately let them be heard. It’s wonderful to be a part of two shows that people have told me changed their lives.”

Both Head and Bostwick offered their advice to actors performing “Rocky Horror” onstage.

“Do what Chris Malcolm (the original Brad) advised me to do in response to audience heckles: Write down a bunch of responses. I gathered a bunch of one-liners from all sorts of places, (including) a few from Rhea Perlman on ‘Cheers,’” Head said.

“They have to be grounded in reality with the characters. It’s not a comic book. That’s the mistake they make; they go out there and put a joke on top of a joke,” explained Bostwick. “It’s not as much fun if these people aren’t serious about who they are and where they are, even though the setting is absurd, their characters are not absurd.”

If you go

The Michigan Rocky Horror Preservation Society hosts “The Rocky Horror Picture Show” with a live cast on the second and fourth Saturday of each month at Phoenix State Wayne Theater, 35310 W. Michigan Ave., Wayne. Doors open at 11:15 p.m. Tickets cost $10 and $5 for a bag of props. No outside props allowed. Viewer discretion is advised. For questions or more information, contact michiganrhps@gmail.com.

“The Rocky Horror Show Live” will be at the Redford Theatre, 17360 Lahser Road, Detroit, at 8 p.m. Nov. 7 and 3 and 8 p.m. Nov. 8. Tickets cost $25, which includes a bag of props. No outside props allowed. Viewer discretion is advised. For questions or more information, contact 313-537-2560 or visit redfordtheatre.com.