TV production companies use third-party firms and DBS checks to vet talent's social media, but failures keep happening. Netflix's Emilia Perez Oscar campaign was derailed by missed posts from lead actress Carla Sofia Gascon — and it cost them everything.
Where this was said
At 21:50 · chapter starts 17:10
Dylan Stone's question about who could simultaneously fill the UK's three high-profile vacancies — Prime Minister, James Bond, and Doctor Who — sends the episode into its most playful stretch. Marina Hyde and Richard Osman agree the answer has to come from the acting world, not politics, though Osman briefly entertains Andy Burnham on the grounds that successfully running Manchester's bus network is probably adequate preparation for a TARDIS. The real candidates are actors: Osman nominates Kathy Burke as the triple threat he'd trust most across all three roles, Ross Kemp as his perennial answer to everything, and Danny Dyer as the ideal transitional figure to 'keep the country on an even keel' during the adjustment period. Then — mid-sentence — Osman pivots to David Tennant, who has already done Doctor Who, could plausibly do Bond, and could conceivably be a Prime Minister. The exchange ends with the hosts proposing a job share — two people splitting three roles — before Osman suggests the elegant solution of simply having three different people do three different jobs, a punchline that cuts the whole segment's absurdity beautifully.
The UK needs a new Prime Minister, James Bond, and Doctor Who simultaneously. Richard Osman's verdict: Kathy Burke for the full triple, Danny Dyer to steady the transitional period, and David Tennant as the most credible all-rounder.
The entire plot of the original Terminator film depends on the phone book. The Terminator looks up 'Sarah Connor,' finds multiple listings, and starts killing them one by one. No phone book, no movie.
Rico has already appeared in Den of Thieves, Den of Thieves 2, and Roadhouse alongside Jake Gyllenhaal and Dave Bautista. Jason Statham is developing a specific role for him. Working alongside elite actors taught Rico something about himself: the emotional suppression that makes him a great fighter is exactly the material that makes great acting — if he learns to stop pushing it away.
Trump joked that Health Secretary Robert F. Kennedy Jr. personally ran over, butchered, and delivered the evening's beef tenderloin to the dinner — then topped it with a punchline about RFK wanting to serve raccoon roadkill as an appetizer. The crowd's laughter at jokes targeting his own administration signaled a rare night of good-natured self-deprecation from Trump.
Jimmy Tatro is playing the nemesis-son to Will Ferrell's washed-up golfer in The Hawk, his fifth project with Ferrell and Ferrell's first lead TV series. The real highlight: Molly Shannon, playing his on-screen mother, drove off set on the last day with Chief Keef blasting from her subwoofers.
Alan Ritchson walked into a Thor audition with his sides still in his hand, half-assed it on a spotlight-lit stage before two silhouettes in a dark theater, and bombed so completely that the casting director broke protocol to call his team. The feedback? He had no craft. That one sentence sent him to acting school — and changed the trajectory of everything.
Alan Ritchson walked out of his Titans audition so sure he'd booked the lead that he called his wife and told her he was going to buy a Tesla. She said he hadn't booked it. He went and bought the car anyway. His instincts were right — he was offered the role — just not the one he wanted.
Reacher drew 56 million global viewers in a single week of Season 2. Alan Ritchson points out what makes it unusual: unlike ensemble shows, almost all of that visibility lands on one person. It's an anthology with a rotating cast built around a single titular character — and the scale of it is something even he calls unprecedented.
Motor City has no spoken dialogue. Every major leading man in Hollywood — Jake Gyllenhaal, Hugh Jackman, Gerard Butler, Adrian Brody — was attached at some point. It was greenlit nine times. The concept was simple: Greg Silverman wanted a film everyone in the world could watch with the exact same experience, regardless of language. Alan Ritchson read the script and called it a masterpiece.
Working with Arnold Schwarzenegger showed Alan Ritchson what 100% recognition looks like. People feel Schwarzenegger before they see him — like a meteor approaching. Alan's wife wants a strict no-photos policy around family. Arnold stops for everyone. The contrast was a master class in how gratitude should manifest when fame is inescapable.
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