Todd Gilchrist: Last News

Todd Gilchrist editor On Showtime’s documentary series “Couples Therapy,” clinical psychologist and psychoanalyst Dr. Orna Guralnik has served in many roles for her clients: sounding board, support system, referee, reality check and sometimes, an uncomfortable mirror. And she shares her insights in each capacity with plainspoken simplicity and with empathy. It’s what has made the show such a revelatory watch for her patients as well as viewers — it exemplifies the virtues of the therapeutic experience.  “As a psychoanalyst, you want to really have the same distance from all the inner voices in the patient,” says Guralnik. “Otherwise, I try to really keep going back to a place of what we call neutrality. Now, that’s not always possible, but that’s the North Star. That’s where I try to go to.” 

Todd Gilchrist editor “For Khadija” is billed as a documentary about French Montana, but there’s a reason that it’s named not after the hip-hop alter ego of Moroccan expatriate Karim Kharbouch, but his mother. “I felt like my mother’s story, the beginning to the end, the closure of her going back to Morocco, is when I was like, okay, now the story has a meaning,” French tells Variety. “This goes out to all the mothers that struggle, that have kids, that was forced to sacrifice.” Given the other films made about rappers and their families — including “Dear Mama,” about Afeni and Tupac Shakur and “Biggie: I Got a Story to Tell,” which heavily features Notorious B.I.G.’s mother Violetta Wallace — it’s not necessarily an unexpected place to start. But the documentary, which premieres June 16 at the Tribeca film Festival, uses the relationship between Karim and Khadija to highlight the unpredictable path that led a scrappy Moroccan child to become a worldwide rap star, while charting the financial struggles and familial strife that threatened to derail his meteoric rise.

Todd Gilchrist editor If an endless array of variations, alternatives and opportunities is a foundational concept of the animated superhero series “Spider-Man: Into the Spider-Verse,” it also seems like one for the career of Metro Boomin. St. Louis native Leland Tyler Wayne’s musical alter ego is not only the producer of the soundtrack for its sequel, “Spider-Man: Across the Spider-Verse,” but also plays a small role in the film as one of its Spider-people, Metro Spider, and collaborated with Nike on an elaborate, patchwork “Spider-Verse”-themed Air Jordan that sold out almost immediately after he and his siblings modeled for its advertising campaign.A post shared by Jordan (@jumpman23) In just the past few months, he also partnered with Major League Baseball to be the opening-day voice of its 2023 season, starred in a Budweiser Super Bowl commercial, and celebrated the release of “Heroes & Villains (Villains Version),” a remix edition of his second studio album, with a digital comic book and a debut performance at Coachella 2023 assisted by The Weeknd, Young Thug, 21 Savage, Diddy and more performers. This web (excuse the pun) of projects exemplifies the scale of his creative ambition, but even a cursory scan of their results highlights how much effort he puts into each one. After shepherding the sprawling “Across the Spider-Verse” soundtrack to completion, he spent a week on Instagram premiering Spider-person iterations of his collaborators, including Coi Leray, Future, Offset, James Blake and A$AP Rocky; it’s clear he’s not content to sit behind the boards and simply let his indefatigable collection of beats speak for him.

Todd Gilchrist editor SPOILER ALERT: This post contains spoilers for the Season 3 finale of “Dave,” titled “Looking for Love,” now streaming on Hulu. The already guest-star-studded Season 3 of FX’s “Dave” ends with not one but three of the biggest guests any show could hope to have in their cast: Rachel McAdams, completing a three-episode arc by appearing in the music video for rapper Lil Dicky’s (Dave Burd) tribute to idealized love, “Mr. McAdams;” superstar rapper Drake, Lil Dicky’s personal hero, and now, his mentor; and none other than Brad Pitt, who after making a cameo in the “Mr. McAdams” video shows up at Dicky’s door looking for a musical mentor of his own.

Todd Gilchrist editor Twenty-five years have passed since the release of Rufus Wainwright’s self-titled debut album, a rhapsodic collection of 12 songs celebrating his open homosexuality and given suitably cabaret-inspired flair by producer Jon Brion. In addition to commemorating the occasion with an expanded, remastered, digital-only re-release featuring ten extra songs from its three-year, 56-song recording process, Wainwright will on June 2 also premiere “Folkocracy,” an anthology of covers produced by Mitchell Froom. It’s a full-circle moment for the singer-songwriter after decades of sidelining his family’s pedigreed genre: though he’s collaborated many times with his folk-singer father Loudon Wainwright III, late mother Kate McGarrigle and aunt Anna McGarrigle, the album marks the first official folk/ Americana recordings of his career.

Todd Gilchrist editor In a Season 9 episode of “Seinfeld,” Kramer reconstructs the remnants of the “The Merv Griffin Show” in his apartment so he can host his own talk show. As far as “hipster doofus” fantasies go, it’s a pretty good one — what TV lover hasn’t fantasized about sitting down behind Johnny Carson’s desk from “The Tonight Show,” or wished they could post up for a pint next to Norm and Cliff at the bar from “Cheers”? Thanks to James Comisar, curator of the Comisar Collection, you can now do just that — and unlike Kramer, you don’t have to fish it out of a dumpster to do it. Starting on June 2, Comisar is selling almost 1,000 items from his personal collection of television memorabilia, from the 1050s to present day, that fans and collectors can win for as little as a dollar, if they’re lucky.

Todd Gilchrist editor Long before she guest starred as the love interest of rapper Lil Dicky aka Dave Burd’s on FX’s comedy series “Dave,” Chloe Bennet was a television mainstay — first on seven episodes of “Nashville,” then another 136 of “Marvel’s Agents of S.H.I.E.L.D..” Those experiences taught her a lot that she applied to Robyn, a photographer who ventures tentatively into a romantic relationship with Burd, a musician and performer who frequently blurs the lines between his professional ambitions and personal instincts. In “Dream Girl,” the penultimate episode of Season 3, those dueling impulses come to head after Robyn announces plans to move to Los Angeles, forcing them to confront the prospect of a more substantial commitment as Dave’s options — in his career, and his life — seem to be more open than ever before.

Todd Gilchrist editor There are few fears more universal than one of a monster under the bed or in our closet, and few filmmaking techniques more viscerally effective than the jump scare. These tropes collide — effectively, if without much originality — in “The Boogeyman,” a loose adaptation of Stephen King’s 1973 short story of the same name. Featuring an eponymous threat seemingly drafted from the same biological blueprint as the extraterrestrials in their breakthrough film “A Quiet Place,” writers Scott Beck and Bryan Woods graft the psychological and thematic shorthand of unresolved trauma onto a creature feature, while director Rob Savage (“Dashcam”) papers over the seams between the two with copious style and a bold, clear-eyed lead performance coaxed from “Yellowjackets” star Sophie Thatcher.

Todd Gilchrist editor On “Dave,” a show co-created by and starring Dave Burd that dramatizes his exploits as terminally navel-gazing hip-hop star Lil Dicky, there can be little room to explore the lives of others in his orbit. But since the 2020 pilot, Davionte “GaTa” Ganter has not-so-quietly been stealing scenes as Burd’s hype man and closest confidante. Not only has GaTa become the sounding board and best friend that everyone wishes they had (whether they’re a famous rapper or not), he has offered an intimate window into his own mental health struggles, reenacting them on screen with devastating vulnerability. As tough as his journey has often been to watch throughout the series, GaTa says that performing heavy scenes comes naturally. This is despite the fact he has no prior acting experience. “It’s easy for me to get emotional,” he says. “And I’m also a Cancer, and they say we’re emotional people.”

Todd Gilchrist editor Following a handful of supporting roles in “Tag,” “Green Book” and “The Irishman,” Sebastian Maniscalco makes his first bid for leading-man status with “About My Father,” a family comedy sourced from the same semi-autobiographical material that made his stand-up a commercial and cultural phenomenon. To say it’s better than all three “Meet the Parents” films may be a dubious compliment, but it’s one made more significant because it co-stars Robert De Niro — and more importantly, actually features recognizable human behavior amidst its suitably outlandish set pieces. Whether or not Maniscalco has a legitimate future as a movie star, he proves a likeable presence as a romantic lead, while director Laura Terruso skillfully delivers comedic payoffs that tap into his wheelhouse while introducing him to a wider audience.

Todd Gilchrist editor “White Men Can’t Jump” holds a special place in a lot of moviegoers’ hearts; while not the enduring sports classic that writer-director Ron Shelton delivered with his baseball mash note “Bull Durham,” the buddy comedy vividly captures the world of pick-up basketball players, and features three standout performances by Wesley Snipes, Woody Harrelson and Rosie Perez. Director Calmatic’s 2023 remake not only fails to recapture the energy of the first film but seems to misunderstand the cinematic language of streetball, and is largely uninterested in utilizing stars Sinqua Walls and Jack Harlow except as delivery systems for exposition. Updated only in its excess of contemporary slang and overwrought backstories, “White Men Can’t Jump” exemplifies the aversion to risk and lack of imagination in storytellers mining intellectual property at the behest of blandest-common-denominator-seeking corporate overlords.

Todd Gilchrist editor Soundstage facilities, an increasingly in-demand component of film production, are at the heart of New Mexico’s growing reputation as a destination for ambitious studios. Amber Dodson, director of the New Mexico Film Office, says that while locations from “the mountains of Montana in ‘Big Sky’ to the streets of Manila in ‘The Cleaning Lady’” make her state ideal for filming, what’s crucial is filmmakers’ access to interior production space. “We understand that stage space has been a struggle, not only in New Mexico,” she says. In fact, that’s what initially caused Netflix to lead the charge in making New Mexico a Hollywood away from Hollywood; in 2018, they purchased Albuquerque Studios, a 28-acre site where “Better Call Saul” and “Hell or High Water” completed production. In addition to that facility’s eight soundstages, the streamer employs workers at third-party properties outside Albuquerque, says a Netflix spokesperson.

Todd Gilchrist editor The explosive growth of film and television production in New Mexico has broadened perceptions about its eclectic landscape in a short amount of time, but despite increasingly well-documented evidence to the contrary, some misconceptions stubbornly persist. “One of the main comments I hear is ‘I didn’t know New Mexico has trees,’” says Amber Dodson, director of the state’s film office. While the state’s natural elements are undoubtedly beautiful and have stood in as a range of locales for countless film and TV productions, they’re only one factor in the state’s transformation from a short-term production location to a true hotspot for studios looking to put down roots.

Todd Gilchrist editor Over three seasons (and a pandemic special) on Showtime, “Couples Therapy” has quietly become a destination for healing for television watchers who are interested in the difficult work of digging into interpersonal relationships — or watching other people do that work, anyway. Through the empathetic, incisive probing of Dr. Orna Guralnik, executive producers Elyse Steinberg, Josh Kriegman and Eli Despres have not only explored the complexity of couples’ shared and individual lives, but the essential, often painful and yet invariably revelatory therapeutic process that helps people understand themselves, their partners and the world around them. Following the April 28 premiere of Part 2 of the show’s third season, Variety spoke to Steinberg, Kriegman and Despres about “Couples Therapy” as a mirror for the challenges that many relationship face. In addition to talking about the themes that emerged from the conversations shared with their selected couples this season, the filmmaking trio broke down the process, both logistical and philosophical, that guided them, and examined some of the deeper notions exposed by the series’ format — and by therapy itself.

Todd Gilchrist editor Connie Han has established herself as one of contemporary jazz’s most talented and inventive musicians by combining the precision of her childhood training as a classical pianist with the improvisation, and irrepressible emotion, of her heroes Freddie Hubbard and Kenny Kirklan. Just 27, it’s hard to believe Han released her first album eight years ago, but in that time, she’s built a dedicated following and gained the respect of genre peers through three full-lengths on Mack Avenue Records. Her latest, 2022’s “Secrets of Inanna,” draws upon ancient Sumerian myth not just for its song titles but its thematic underpinnings — a sophisticated foundation emblematic of a sophisticated performer.

Todd Gilchrist editor There are very few movie genres in which Emma Thompson hasn’t left her mark, but she’s established a special pedigree in romantic comedies: from “The Tall Guy” to “Sense and Sensibility” to “Love Actually” to “Good Luck to You, Leo Grande,” she’s explored love in more ways on screen than most people get to experience in real life. In the romantic entanglements of writer-producer Jemima Khan’s “What’s Love Got to Do With It?,” Thompson’s more of a well-meaning instigator than an active participant, playing a divorcee named Cath who clumsily tries to make a match for her serially-single filmmaker daughter Zoe, played by Lily James. Zoe, meanwhile, is more interested in documenting the arranged (or “assisted,” they rebrand it) marriage agreed to by her childhood friend Kazim (Shazad Latif), not realizing the complicated feelings that his impending nuptials are igniting in her about relationships past, present and future.

Todd Gilchrist editor Music Box Films has acquired North American distribution rights to “Fremont,” Iranian/British Filmmaker Babak Jalali’s follow-up to “Land” and “Radio Dreams.” Jalali’s film, which premiered in the Sundance Film Festival’s NEXT section and later screened at the SXSW Film Festival, tells the story of mid-20s Afghan refugee Donya (played by real-life refugee Anaita Wali Zada) wrestling with complicated feelings about her work as a translator for the U.S. military. “Quiet, tender, and deeply human, ‘Fremont’ hails the arrival of a strikingly talented new performer in Anaita Wali Zada and loudly announces Jalali as a filmmaker whose ability to tell soulful stories with humor and grace demands attention,” states Music Box Films’ Brian Andreotti. “With an impressive launch out of Sundance and SXSW, we’re thrilled to continue momentum and open this film theatrically to a wider US audience later this year.”

Todd Gilchrist editor SPOILER ALERT: This interview contains spoilers from “The Storm,” the April 26 episode of FXX’s “Dave,” now streaming on Hulu. On the FXX show “Dave,” rapper Lil Dicky’s friend and collaborator GaTa is the best friend and hype man we all wish we had — always around to provide for a few words of encouragement and inspiration, but just as available to deliver some plainspoken wisdom when it’s most needed. That the relationship between Dave Burd and Davionte Ganter mirrors the one they have in real life only amplifies the emotional intensity — and the humor — of their moments together on screen. Burd’s own open-book honesty has further encouraged GaTa to open up about his mental health struggles as storylines on the show, leading to several of the most powerful episodes across its three seasons, including this week’s “The Storm.”

Todd Gilchrist editor SPOILER ALERT: This interview contains spoilers from “Wisconsin,” the April 19 episode of FXX’s “Dave,” now streaming on Hulu. Breaking up is never easy, but on television it’s especially difficult — and moreso if audiences fall in love with both parties involved. In Season 1 of FXX’s “Dave,” the relationship between aspiring rapper Lil Dicky (Dave Burd) and his kindergarten teacher girlfriend Ally (Taylor Misiak) offered an essential window not just into who the series’ title character is, but why viewers should love him despite his often deeply narcissistic worldview. After Dave’s failed overture to reconcile with her in Season 2, Ally joins him in Season 3 to capitalize on his “Looking For Love Tour” by embracing her “single girl era” and finding love for herself — if she’s ready for it.

Todd Gilchrist editor Not to be confused with an adaptation of “The Hunchback of Notre Dame,” comedy troupe Broken Lizard’s “Quasi” tells a story that’s truer to the Oxford definition of its title than the 1831 Victor Hugo novel that inspired it. Kevin Heffernan settles uneasily into the director’s seat usually occupied by colleague Jay Chandrasekhar for an underdog story more interested in leveraging funny pronunciations of French words for underwhelming laughs than in creating real characters — much less a visual backdrop that doesn’t look like a second-rate Renaissance Faire.Set in a 13th Century France that narrator and sometime Broken Lizard collaborator Brian Cox helpfully informs us “sucked,” the film centers on Quasimodo (Steve Lemme), a social outcast who works in the torture chambers of King Guy (Chandrasekhar).

Todd Gilchrist editor “Fair to middling” is how Angie Dickinson is feeling this morning as she talks about “Rio Bravo,” the 1959 film that made her a star. “Somebody who says they’re great at 90, you can figure out that they lie a lot.” It’s a line that could have come straight from Jules Furthman and Leigh Brackett’s script for the film — and a reminder that Dickinson’s gift for delivery isn’t dependent on working with a brilliant director, though she has many times in her seven-decade career. Dickinson has more then 350 screen credits — an enormous body of work that includes “Ocean’s Eleven” (the 1960 original), “Point Blank” and “Dressed to Kill.” She’s set to appear April 13 at the TCM Film Festival to introduce a 4K restoration of Howard Hawks’ classic Western, whose boys’ club cast of John Wayne, Dean Martin, Ricky Nelson and Walter Brennan she breaks up with that same brisk humor. Ahead of the event, Dickinson speaks with Variety about catching the acting bug after spying Frank Sinatra (later a lifelong friend) on the set of “The Jimmy Durante Show,” working with Brian De Palma, and other highlights from a lifetime of memories.