TIME Television

Watch Allison Williams Sing in the New Peter Pan Live! Trailer

The Girl who wouldn't grow up

The newest trailer for NBC’s live production of Peter Pan is out, and it features just the tiniest clips of singing from Allison Williams (as Peter) and sing-song talking from Christopher Walken (Captain Hook.)

The televised live musical is set to follow up on last year’s live production of The Sound of Music, which snagged over 18 million viewers despite mixed reviews (and even though nobody was flying).

Peter Pan Live! is scheduled to air on NBC Dec. 4



TIME Television

Katherine Heigl’s State of Affairs May Not Save Her Reputation

Big Brothers Big Sisters of Greater Los Angeles (BBBSLA)
Katherine Heigl attends Big Brothers Big Sisters of Greater Los Angeles (BBBSLA) at the Beverly Hilton Hotel in Beverly Hills, Calif. on Oct. 24, 2014. Faye Sadou—UPA/Retna/Corbis

The actress deserves to play a character, not just a collection of cute traits

So this is her comeback.

Katherine Heigl’s return to television, State of Affairs, which debuts on NBC tonight, is the latest stage in Heigl’s ongoing, humiliating apology tour of America. The show, notionally about a tough CIA analyst who’s working to avenge her slain lover, is as much an attempt by Heigl to resuscitate her own flatlined reputation. Time will tell, but it seems Heigl may have more work to do.

The actress’s rise to prominence, as a star of Grey’s Anatomy and the lead actress in Knocked Up, was seeded with the elements of its own decline. Heigl was charmingly plainspoken in a way that made her perhaps the best interpreter of Shonda Rhimes’s dialogue we’ve ever seen. That plainspokenness also resulted in a series of P.R. fiascoes including her criticizing the writing of both of her starmaking projects, Grey’s for not giving her good material and Knocked Up for perceived sexism. Attempts to rebuild her reputation via magazine covers in which Heigl apologized to America seemed somehow ungenuine, or less nourishing than picking apart Heigl’s statements. (If Knocked Up’s sexism prompted Heigl to speak out, how could she go on to promote the arguably far more offensive movie The Ugly Truth?) Heigl’s performance in State of Affairs is her first since an independent film in which she appeared failed to meet its crowdfunding goals for distribution.

This has all been told before, a story that unfolded so long ago that recent schadenfreude over Heigl appearing in a ZzzQuil ad or her suing the pharmacy chain Duane Reade for tweeting photos of her shopping there felt past its expiration date. But even though Heigl’s perceived rudeness or “ingratitude” is an old narrative, it’s inflected every aspect of her publicity tour around the show. In every interview, Heigl is forced to contend with the old stories about her. She said in a Facebook Q&A: “Of course just like any human being I’ve made mistakes and unwittingly or carelessly spoken or acted but I always try to make any wrong right.” She told a group of reporters the same at a press conference ostensibly intended to celebrate her show.

The tentativeness around Heigl’s image problem inflects State of Affairs, a show without the courage to be much of anything. The show it is most evidently inspired by, Homeland, took advantage of Claire Danes’s relative lack of a public profile to build a lead character who was, from the get-go, a ball of contradictory impulses and all-too-human frailties. Heigl’s character on State of Affairs, Charleston Tucker, is a bundle of would-be-endearing quirks from her name on down, from the utter nobility of her animating passion (getting back at those who killed her love interest, who also happened to be the president’s son) to the mild snark she bats around idly with her coworkers to her lovely but unrealistic wardrobe of body-conscious dresses and leather jackets. She goes to a bar to pick up a stranger for sex, but the show frames this not as character trait but tragic biographical detail: Charleston only uses her vices as a manner of distracting from the loss of the true hero she deeply loved.

State of Affairs represents an attempt to frame a star in her best light: The only consistent thing about Heigl’s character from moment to moment is that when she’s in the frame, everyone else is totally focused on her. It’s as though if by telling us Charleston was all things — weak and strong, crude and high-minded, compromised and noble, incapacitatingly heartbroken and wildly competent — every viewer might be able to pick out an an aspect of Heigl they’d liked in the past, and she’d return to prominence.

But so far, Heigl’s project only reminds viewers, sadly, of how good she’d been on TV in the past — when she played a real character with concrete motivations, one whose every misstep didn’t need to be bolstered by an equal and opposite positive quality. If Heigl wants to get back in America’s good graces, she needs to be unafraid to go there. It may unfair to read State of Affairs as a bid to be liked again — but in the absence of a real character, Heigl, and her persona, is all we have to grab onto. That persona may not be deserved, but Heigl gives us nothing, here, to prove it wrong.

TIME Recaps

The Walking Dead Watch: ‘Consumed’

Melissa McBride as Carol Peletier - The Walking Dead _ Season 5, Gallery - Photo Credit: Frank Ockenfels 3/AMC
Carol: Woman on fire. Frank Ockenfels 3/AMC—© AMC Film Holdings LLC.

It's a ballad of the badasses as Carol and Daryl go on the hunt. Also, falling zombies redefine purple rain

“Consumed,” the sixth episode of the fifth season of AMC’s The Walking Dead, is a slow burn. The good kind—one of the series’ occasional faults is whiplash-inducing gear shifts—in which we get to watch Carol and Daryl go on the hunt for Beth.

The adventures of this Butch and Sundance (or is it Thelma and Louise?) are interspersed with vignettes from Carol’s recent past, starting with her being fromerly ostracized from the group by Rick for her draconian problem-solving style. (It’s not quite the same as being cast out of paradise but, in their world, likely the closest thing to it.) This is supposed to remind us, I think, of Carol’s character arc over the course of the last five seasons, from cowed, battered wife to lone-wolf badass.

Carol and Daryl are a captivating pair. Both are outsiders, at times morally righteous and at others nihilistically resigned. Both have lost the most important person to them, Daryl his brother and Carol her daughter. Both are damaged goods, in other words, and as such have formed a particularly strong bond to each other. The question is, is it romantic?

By the normal rules of television, it shouldn’t be. In the book, Andrea and Dale have a completely believable romantic liaison, despite their age difference. In the television series, partly because of casting, that idea is laughable. “Consumed” is particularly compelling for teasing out the “what’s up with us?” quality of the friendship. This teasing includes a moderately awkward scene about who’s going to sleep on the top bunk and a dialogue in which Carol says to Daryl, “You were a kid, now you’re…a man.”

Otherwise, the episode consists mainly of the duo making their way through a ruined Atlanta—a family shelter familiar to Carol from her past, abandoned and luxurious legal offices, sky-bridges full of walkers squirming in sealed sleeping bags like fussy mummies—looking for the hospital tribe holding Beth. Throughout, they carry on a philosophical discussion of the weight of the past, the meaning of survival, and the epistemology of identity. You know, the usge. It’s a little like the School of Athens—with zombies—or Before Sunrise—with zombies. (Or, maybe even better, a level in the Last of Us.)

Along the way, they scavenge for supplies in a van teetering on the edge of a freeway overpass. When the vehicle gets over run by walkers and, ultimately, pushed off the edge, the two just barely survive the fall. The undead following off the ledge like lemmings and splattering all around gives new definition to purple rain.

Eventually, they run into Noah, the orderly Beth helped escape two episodes ago. At first, he steals their weapons, but later, Carol and Daryl catch up to him and they join forces, trading information about where Beth is being held. Having resolved to go save Beth, Carol is unexpectedly hit by a car and taken to the hospital in question. Daryl and Noah steal a truck and presumably head back to the church to get reinforcements.

All of this, it seems, sets us up for The Walking Dead’s familiar dynamic, it’s cruising speed of warring tribes girding for conflict. But this time, the battlefield—a megalopolis teeming with walkers—promises much more danger.

Zombie Kill Report
1 run over by car by Daryl; 1 knife to skull by Carol; 1 arrow to the head by Daryl; 4 sharp object to the head by Carol and Daryl; 1 knife to the face by Daryl; 3 gunshots to the head by Carol; 1 knife to the head by Daryl; 3 machete chops to the head by Daryl; 1 arrow to the head by Carol.
Estimated total: 16

The Window Metaphor
When Daryl and Carol are holed up in the shelter, they come upon a mother and child who have turned, clearly an echo of Carol and Sophia. The walkers claw at a door made of frosted glass. This is a recurring metaphor this season: the lines, whether opaque or completely clear, that separate the living from the undead. Progressively louder, the show’s writers seem to be asserting, “Walkers, they’re just like us.”

TIME Television

Hunger Games Cast Parodies Taylor Swift’s ‘Blank Space’ on SNL

Three highlights from Saturday's episode, hosted by Woody Harrelson with special appearances by Jennifer Lawrence, Josh Hutcherson and Liam Hemsworth

Woody Harrelson volunteered as tribute to host Saturday Night Live a few days before the The Hunger Games: Mockingjay — Part 1 movie hits theaters, and he got by with a little help from his friends. Costars Jennifer Lawrence, Josh Hutcherson and Liam Hemsworth stopped by Harrelson’s opening monologue to help joke about the actor’s hazy memory and the first time he hosted the late-night sketch show — in the year 1989, which prompted a parody sing-along to 1989 singer (and TIME cover star) Taylor Swift’s “Blank Space.”

Watch his opening monologue, above, and catch two other highlights from the episode, which featured musical guest Kendrick Lamar, below.

“The Dudleys”: A sketch about a sitcom family that’s constantly recast to quell Internet outrage poked fun at television’s diversity problem and featured a cameo from Orange Is the New Black‘s “Crazy Eyes” (Uzo Aduba).

“Young Tarts & Old Farts”: Inspired by Lady Gaga and Tony Bennett’s recent duets album, Cheek to Cheek, the writers of Saturday Night Love dreamed up some other odd musical collaborations, including Ariana Grande and Lionel Richie; Macklemore and Diana Ross; Meghan Trainor and B.B. King; Aretha Franklin and Robyn; and Elton John and Blue Ivy Carter. Of course, mismatched, generation-spanning collaborations have become a classic SNL trope, most memorably in a 1982 parody of the song “Ebony and Ivory,” in which Joe Piscopo’s Frank Sinatra sings to Eddie Murphy: “You are black, and I am white. Life’s an Eskimo Pie, let’s take a bite.”

TIME Television

Alexandra Shipp on Making Lifetime’s Aaliyah Biopic: The Backlash Is “Ridiculous”

Christos Kalohoridis

The star of Lifetime's Aaliyah: The Princess of R&B shut out the haters for her role in the controversial film

Lifetime will air their much-maligned Aaliyah biopic, Aaliyah: The Princess of R&B, on Nov. 15, starring Alexandra Shipp as the singer. Shipp joined the film late, taking on the role after Zendaya exited following a deluge of criticisms about her casting.

The film follows Aaliyah over the course of her three-album career, ending right before her death in a plane crash at age 22 in 2001, and chronicles her work with R. Kelly, Timbaland and Missy Elliott. Shipp, who sings all of the songs in the film herself, took on the role confidently, ignoring the pushback from fans and the singer’s family.

TIME spoke with Shipp about her portrayal, her recent work in VH1’s Drumline: A New Beat and upcoming N.W.A. biopic Straight Outta Compton, and her response to all the critics.

TIME: How did you end up in the cast after Zendaya dropped out?

Alexandra Shipp: I actually auditioned for it earlier in the year and it was between three girls, including Zendaya. When they went with Zendaya, I was cast in Drumline and started working on that. When we wrapped, I got a phone call asking if I was still interested. At first, I was like “Yes yes yes.” And then I was like, “Wait, hold on, is this kind of crazy?” I went through a range of emotions.

Did you have concerns about the pushback to the movie?

Yeah, totally. After it was released that Zendaya was cast in the role, I remember reading all the backlash. It was kind of ridiculous. I was like, “This girl is a great actress. She’s going to do a great job, and it’s a great production.” Once I got offered it, I wondered if that was going to happen to me. But then I read the script and talked with the producers and talked about how they wanted to make this movie great. I had to put all that stuff aside. I deleted Twitter off my phone. I deleted Instagram. And I just did my job.

It must be a lot of pressure to have everyone commenting on something you haven’t actually done yet.

The expectations are always so low. Everyone is always like, “It’s going to be bad.” And actually I love that because then they’re going to see it and they’re going to have to admit that they were wrong.

Once you knew you had the role, what sort of preparation did you do?

It was a crazy process. I wanted to get my mannerisms down. I wanted to get the way she held herself down. I wanted to get her singing down. I tried my hardest – no one can sound like her, honestly, but I tried really hard and I think it comes through that I was trying to showcase this woman in the greatest light. And I didn’t really have time to prepare physically because Aaliyah was all kinds of fit. She had that perfect cut petite body. We’d be in between scenes and I’d be in my trailer listening to her songs from the year we were about to film and I’d be doing a million crunches.

Your abs are noticeably good in the movie.

Thank you! I was always doing something, whether it was listening to her music or doing squats.

Were you watching a lot of old footage of her?

That’s the greatest thing about this day and age. I can go online and I find every video of this woman. I sat in my apartment and closed all the windows and turned off all the lights and watched video after video after video. What I was looking for was how much she gave the camera and how much she gave behind the scenes. Those little moments. I wanted to capture those little moments because that’s what this movie is truly about. It’s not necessarily about her biggest hits or all her music videos. It’s about how she was able to handle these moments in her life and her relationships with her core group of people. I tried to get her dance moves down too. Just get all of her stuff down – how she laughed, how she moved her shoulders, how she carried herself. How that progressed from 14 to 22.

Was there a moment of her life you were scared of portraying?

It was the R. Kelly stuff. That’s the most intense stuff. For any girl, the first guy we have a crush on is our first love. We love intensely and have all these hormones happening. It was really nerve-wracking having to portray that and have it be with an older man. Luckily Cle Bennett, who played R. Kelly, was brilliant and made me feel really comfortable and we had such fun, great chemistry. He’s very meticulous. I only had ten days to prepare for the role whereas all of the other actors had a few months. Cle was so much like Robert. You can hear it in the way he speaks. But that was definitely the scariest thing, the love they had together.

It’s obviously a known story of how Aaliyah and R. Kelly married in secret when she was 15 and he was 28, but it’s creepy to see it play out onscreen.

Yeah, it is. You look at the situation and you think when you put your child in a room with a producer everything’s going to be cool and okay. And they end up falling in love. You just don’t expect that, especially with such an age gap.

How have you dealt with playing a real person with a family who is invested in seeing her story told right?

It’s a portrayal. I don’t think anyone will know 100 percent what was going through her mind in these situations and how she was able to handle it so beautifully. I have my interpretation of it and I have to be confident in that. That’s all you can do – give your interpretation of someone. Especially when they’ve passed on. When I was shooting [my new movie] Straight Outta Compton I was able to meet [Ice Cube’s wife] Kim and I was able to talk to her and see how she interacted with her husband and her children and get a sense for who she is. I wasn’t able to do that on Aaliyah, which is hard because you want to get it right.

Did you get to talk with anyone who knew Aaliyah?

I got to talk to people who worked with her and people who were old friends. I wasn’t going into it blind. At the end of day, I’ll take anything. And I got to learn some fun, quirky things that we were able to work into the movie.

Will the songs you sing the film be released on a soundtrack?

No, they’re not. And I’m actually really happy about that. I think it’s really great for the movie. Everyone’s going to see that. We want people to buy Aaliyah’s songs. They’re her songs.

What’s your favorite Aaliyah song?

It changes, you know? When you listen to the same albums over and over again, your favorites change. For me, One In A Million is my album so “Try Again.” When it comes to her other stuff I love “Back and Forth.” I find little moments in all of her stuff. You can hear how she’s influenced people in music nowadays. She was such an innovator before anyone was doing it. I grew up listening to her music. She’s just amazing.

You also have Drumline out on VH1. Did you learn how to drum for that?

Yeah, it was a really fun, intense process. We drummed for about two weeks. On the first movie they had three or four months to really learn how to drum. Ours was a little more fast-tracked. We learned a lot. The hardest part was the marching. The whole hand-eye coordination, especially when it comes to beating out rhythms, is nerve-wracking. You’re with everyone on the field in these cotton suits and you’ve got this 35-pound metal drum. Those instruments are not light. I was stumbling. I got so bruised up. And we filmed in Atlanta in July when it was 90 degrees with 50 percent humidity. It was so much fun though.

How did you like working with Nick Cannon?

I was a total Nick fan. I was all about that. I’ve watched all his stuff and I was a huge fan of the first Drumline. So when I got to work with him he was cool, he was personable, he was funny. But he’s also a really hard-working businessman. He’s very goal-oriented. I was able to have a chat with him and he was the coolest guy.

When will Straight Outta Compton come out?

We’re all finished shooting it. That comes out next year. I’m not sure when, but I think mid-to-late next year.

Are you purposefully focused on movies with a musical component?

Oddly enough, I never had a focus. But the movies that are being presented in my path are and I’m really lucky to be a part of them. I’ve always loved music and I think it’s really great I get to do both. But it was serendipitous, to be honest. You’re just looking for that next job and it’s really cool when they all have a similar feel.

Inevitably when Aaliyah: The Princess of R&B airs this weekend, it’s going to get some criticism. Do you have a response to the potential haters?

I don’t, really. I worked really hard on this film and I’m confident in a product that everyone worked so hard to put out. And there’s always going to be a critic. All I can say to that is, “Thank you for watching.”

TIME Television

Battlestar Galactica, Knight Rider Creator Glen A. Larson Dies at 77

Glen A. Larson
Glen A. Larson Albert L. Ortega—WireImage/Getty Images

Larson suffered from esophageal cancer

Glen A. Larson, the television writer-producer behind TV hits Quincy M.E., Magnum, P.I., Battlestar Galactica, and Knight Rider, has died at age 77.

A singer in the 1950s straightedge pop group The Four Preps, Larson went on to produce a series of sci-fi influenced dramas following the early success of his The Six Million Dollar Man. His influence was most recently seen after his 1970s Battlestar Galactica, which starred Lorne Greene and Richard Hatch as leaders of a homeless fleet wandering through space, was re-imagined and rebooted as a series in 2004. That particular iteration of Galactica made TIME’s 100 top television shows of all-time.

Larson died of esophageal cancer, his son James told the Hollywood Reporter.

Read more at the Hollywood Reporter.

TIME celebrity

Anna Kendrick Makes Getting Locked Out Look Like Fun

The actress, who will play Cinderella in the movie Into The Woods, uses her Kate Spade shopping haul to kill time while she waits

Anna Kendrick, star of Pitch Perfect and Up in the Air, knows how to have fun, even when she’s locked out of her apartment. In a new ad for Kate Spade, the actress checks out her purchases while she waits to get back in. She tries on new clothes from the designer, chats on the phone and sips champagne with a straw. Finally, when she’s had enough, she uses the Kate Spade clothes to build a rope to access the fire escape.

TIME Television

The Mindy Project Scores 6 More Episodes This Season

Dr. Lahiri has a dedicated following despite lackluster ratings for the TV comedy overall

Season Three of the Mindy Project is about to get even better, now that Fox has ordered six additional episodes of the half-hour comedy starring Mindy Kaling as the romantically-challenged New York City doctor Mindy Lahiri.

The Tuesday night comedy earned an average of a 1.6 rating in its current season, though Fox noted that ratings improve markedly when measured across 30 days and all devices. As a point of comparison, the hit show The Big Bang Theory scored a rating of 4.5 Thursday night.

The order for more from the the Mindy Kaling-led cast will bring the show to 21 episodes for this season, reports Entertainment Weekly.

This season fans are also due for a surprise. As E! Online reports, this season the show will introduce Alex, Mindy’s first sexual partner, played by Halt and Catch Fire star Lee Pace.

[Entertainment Weekly]

TIME Television

Suffer the Children: Saying “No Thanks” to TV’s Child-in-Peril Stories

The Missing 2014
James Nesbitt, Oliver Hunt, and Frances O'Connor in The Missing. Liam Daniel

There's nothing wrong with a good story portraying terrible things. But there's no obligation to watch it over and over, either.

Early in the first episode of the Starz miniseries The Missing (premieres Nov. 15), the worst happens, as it does so often on TV these days.

Tony and Emily Hughes (James Nesbitt and Frances O’Connor) are on holiday in a rural French town in 2006 when their five-year-old son, Oliver (Oliver Hunt), disappears in a crowd. He is, apparently, abducted; as the story flashes forward to 2014, they have never seen him again.

In between, they’ve lived eight years of agony. After the investigation goes cold, they’re left to torment themselves, wondering if Oliver is dead, and if so how, and if not–what might their baby have gone through for eight years, what might he be going through now? It’s hard to say which would be the mercy, but in their present, mercy is a remote concept.

I’ve watched the five episodes that Starz sent me of The Missing (there will be eight in total), and it’s very good, a swift-moving crime thriller that also takes the time to measure the effects of the crime on Tony and Emily’s marriage, their state of mind, and the lives of the French townspeople who were drawn into the investigation and may be again. Tony, who’s become a walking open wound, aching and refusing comfort, has returned to France, chasing another in a series of leads he’s been obsessively pursuing for eight years–only this one seems to pan out.

As he joins with Julien, the now-retired investigator on the original case (Tchéky Karyo), they begin to unravel a timeline and a chain of secrets, drawing closer, but to what, exactly? As the revelations mount, you itch for an answer, and dread it. We’ve trod this grim ground in a lot of British and European crime series lately, but The Missing is adept at showing the wear on the Hugheses and the disorienting nightmare of searching for a lost child in a foreign country. The Missing isn’t great, entirely original, or indispensible, but–I want to be clear and fair here–it’s very good.

And yet. Would I have watched it if it weren’t my job? Hell no.

This is not The Missing‘s fault so much as it is mine. We all have our not-for-me markers with fiction: mine is kids in peril. It’s not that I can’t appreciate, even enjoy a series based on it; Broadchurch, about the aftermath of a child’s murder, was one of the best things I saw on TV last year. But when I’m off the TV-critic clock, these shows need to clear a much higher bar for me. (Which is why I didn’t continue with Broadchurch‘s perfectly decent adaption Gracepoint; once was enough.)

It’s easy to say this and sound sanctimonious. But this isn’t a moral judgment. My squeamishness doesn’t make me a more sensitive soul or a kinder person or a better parent than anyone else. And though I hate shows that use the child-in-peril for easy dramatic stakes, this isn’t a moral judgment on The Missing. This show isn’t cheaply exploitative; just the opposite, it’s highly conscious of what losing a child does to a parent, how it never stops doing damage, even after years. The Missing is well aware of the consequences of its central crime, which is the right thing for the story but all the tougher to take.

In the grand scheme, TV is more authentic, not to mention compelling, when you know that there’s no artificial safety net around topics like endangering children. But Jesus–lately, TV has practically replaced the safety net with a trap door. For a bad crime show, killing or harming a kid can be a lazy way to show that you’re willing to “go there.” But even very good series are now going there, over and over and over.

Kids were collateral damage in Breaking Bad. True Detective led to a ghastly story of ritual child abuse, and it was haunted by the long-ago death of Rust Cohle’s toddler daughter. In Netflix’s excellent British import Happy Valley, the protagonist, who has never recovered from the rape and suicide of her daughter, investigates a grim case that puts other people’s children in mortal danger. In Showtime’s The Affair, not only is Ruth Wilson’s Alison mourning her child, who drowned as a toddler, but in the pilot Dominic West’s Noah witnesses his son’s (simulated) suicide and his daughter’s near-death by choking (which we see twice). Game of Thrones chucked a child out a window in its first episode. The Walking Dead–if you don’t know, don’t ask.

Harming children in a story is never a gentle nudge. It pushes an audience to extreme reactions. The death of a child upends a sense of natural order, it makes the world feel broken. The rage and helplessness it causes makes you want to find someone to blame–the creators who protray the violence, the audiences who enjoy the show. I could probably get more attention for this essay, and plenty of likes, if I gave it one of those finger-wagging headlines that social media loves: “Hey TV, Stop Killing Kids!” or “Sorry, Fans, the Death of a Child is Not Entertainment.”

TV doesn’t owe me that, though. It’s one of fiction’s jobs to face the worst of experience, not to leave an unexplained hole in place of terrible crimes, illnesses and accidents that–would that it were otherwise–do happen. Stories that handle the material with respect and awareness of its lasting consequence do a service; beyond the general role of art to reflect human experience, they provide a kind of emotional disaster preparedness.

But it’s also not anyone’s job as a viewer, or as a human, to face the worst in fiction, much less repeatedly. Again, I get why someone might make this argument. Like real-life violence–see the debate over watching terrorist beheading videos–the outrage that a fictional atrocity provokes makes people want to react morally one way or another. Either it must be a violation to portray this thing, and to watch it; or it must be an obligation, a mark of bravery, to bear witness. The counter-moralizing response to the one I talked about above is: you owe it to others–to real people who suffer and die–to confront this stuff. If you avoid certain kinds of dark material, you’re avoiding life, you’re in denial, you’re a wimp.

I have to side with the wimps here. Earlier this year, after watching a run of particularly unsettling stuff–maybe murders, maybe rapes, who can keep track now–I tweeted, “I watch a lot of disturbing TV. But I totally get ‘I’m tired of [unpleasant thing TK]. TV’s not a chili-pepper-eating contest.” There is no shame in saying: you know what, tonight I think I’ll just have the ice cream.

As for The Missing: if you’re up for an emotionally raw crime story that never lets its thrills hide its emotional repercussions, I can recommend it. And I hope you’re satisfied with the ending, which I will probably not stick around for. Every once in a while, I have to decide that my own nightmares are enough without borrowing someone else’s.

TIME Television

Watch Seth Meyers Go Full Sorkin in Four Minutes Flat

Aaron Sorkin couldn't have done it better himself

Aaron Sorkin may be done with television, but television isn’t done with him yet. Last night on Late Night, host Seth Meyers managed to pull off the perfect Sorkin parody in just four minutes flat. Filled with the famed writer’s trademark ping-pong dialogue, walk-and-talk conversations, dramatic camera close-ups, impassioned speeches and random paper hand-offs that were perfected on the sets of The West Wing and The Newsroom.

Meyers, who honed his own sketch-making craft during his time on Saturday Night Live, not only managed to nail the Sorkin lexicon, but was also able to work in the fact that comedian Amy Schumer set a very high bar for Sorkin parodies with her own sketch, “The Foodroom,” starring Josh Charles as a patriotic restaurant manager.

The only thing that gave Meyers the edge on Schumer? Getting Sorkin himself to appear in the sketch.

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