- Season 2 of “Your Friends & Neighbors” Serves Another Course of Hamm-Flavored Suburban Malaise (April 3, 2026)
Jon Hamm’s impressively varied and prolific career outside of “Mad Men” has leaned heavily into roles where he’s enforcing the law, breaking it, or doing both at once. Whether Hamm is playing FBI agents in “The Town,” “Bad Times at the El Royale” and “Richard Jewell,” a police chief in “Maggie Moore(s),” criminals in “Baby Driver” and “Unbreakable Kimmy Schmidt,” or corrupt lawmen in “No Sudden Move” and Season 5 of “Fargo,” he’s never less than compelling—delivering layered and authentic character actor work in a leading man’s visage.
In the slick, sudsy, and entertaining Apple TV series “Your Friends & Neighbors,” Hamm has one of his best roles yet as the hedge fund manager turned high-end cat burglar Andrew “Coop” Cooper. If you start digging into the plot machinations and the decisions made by the wealthy, status-consumed, and often terrible characters in this series, you’ll be rolling your eyes at the glossy absurdity of it all. From the get-go, I decided to just go with it—and I’ve gobbled up every episode of a series that plays like a spiritual sequel of sorts to the 1968 Burt Lancaster vehicle “The Swimmer”—which was based on a short story by John Cheever, and the works of Cheever and John Updike often come to mind as influences on this material.
Dark humor and painful melancholy permeate the lives of these affluent, privileged people who almost never appreciate their good fortune, as they’re too busy wallowing in existential crises of their own making. And yes, we feel a sense of schadenfreude watching them turn on one another as if they’re in an upper-class suburban enclave version of “Lord of the Flies.”
Your Friends & Neighbors (Apple TV)
Season 2 of “Your Friends & Neighbors” finds Coop exonerated on murder charges and welcomed back into the (fictional) Westmont Village world of country clubs, charity balls, lavish brunches, gossiping by the pool, pulling strings to get your kid into Princeton, and fancy cocktail parties. Still, instead of re-entering the legitimate (at least on the surface) world of investment strategy and risk management, Coop is doubling down on the B&E game, partnering with Aimee Carrero’s savvy and resourceful housekeeper Elena.
With Elena parked nearby, posing as a ride-share driver and serving as lookout, Coop sneaks into his neighbors’ homes, pockets obscenely pricey items, and fences them to the hilariously acerbic Lu Varga, played by the great Randy Danson. (Starting in Season 1, we’ve often heard Hamm’s smooth pitchman delivery in voice-over as he describes an item he’s purloining, using descriptive phrasing that sounds like collectible or jewelry-porn, e.g., “The Richard Mille Felipe Massa automatic chronograph with a signature rose gold and titanium skeleton and flyback function goes for upwards of $225,000…”)
Coop’s relationship with ex-wife Mel (Amanda Peet, deftly handling one giant emotional arc after another) remains…complicated. Lena Hall is a standout as Coop’s sister, Ali, a talented singer/guitarist who lives with bipolar disorder. The subplots involving Coop’s children, particularly daughter Tori (a very good Isabel Gravitt), feel like unnecessary diversions – especially when there’s so much juicy stuff going on with the adult characters. Notable returnees include Olivia Munn as Sam, who is now a pariah in the community after trying to frame Coop for murder, and Hoon Lee as Coop’s best pal, Barney Choi, who can’t seem to catch a break.
Your Friends & Neighbors (Apple TV)
Just as a pennant-contending ball club strengthens its position in the off-season by acquiring a slugger, “Your Friends…” ups its game with the addition of James Marsden as the brash and manic Owen Ashe, who has more money than even the richest of the rich denizens of Westmont Village. (Marsden seems to be everywhere these days, and isn’t that fantastic?) Ashe introduces himself to the town by throwing a party that Jay Gatsby might have deemed over-the-top, and soon becomes enmeshed in the lives of Coop, Barney, NBA star-turned-TV analyst and gym owner Nick (Mark Tallman), and Sam, among others.
Getting into bed with Ashe, literally or figuratively, is instantly tempting—but there’s something unnerving about this guy. He’s either going to become the best friend you ever had, or your worst nightmare, or a little of both. Marsden is a force in portraying a dashing, charismatic, powerful, and possibly dangerous man.
One of the things I love about this series is Coop being something of a cinephile. He has framed posters in his home, “Psycho” and “Vertigo”—two Hitchcock films about people who aren’t what they seem to be. (To put it mildly.) Coop goes to revival houses to see the likes of “Night of the Hunter” and “Kiss Me Deadly,” and sinks into his sofa late at night to sip Scotch and watch old films. In Season 2, he opens a boxed edition of a 1970s horror classic, complete with a toy prop; there’s also a nod to a certain Michael Mann film that feels almost too spot-on. This man is the star of the movie of his own life, which veers from thriller to sexy romance to dark comedy.
The unsubtle yet effective symbolism extends to the visuals; we get a LOT of scenes, some of them dreams, with characters literally under water, and boy does Coop always seem to be under water, in hot water. “Your Friends & Neighbors” works as an upper-class crime story, a biting and insightful satire of the rich and infamous, and a portrait of a man who sometimes narrates his own story, always starting with, “This is what happens…” It’s as if Coop is constantly surprised by how his life has turned out, even though he’s the one at the steering wheel.
- Join Us for the Inaugural FECK Awards Gala This Saturday, April 4th (April 2, 2026)
In this world seemingly full of turmoil, do you wish you could meet people who are unusually Forgiving, Empathetic, Empathetic, Compassionate and Kind? Then join us for The Inaugural FECK Awards this Saturday, April 4th, at the Ritz Carlton Water Tower Place, Chicago. We are celebrating individuals and/or organizations who embody those transformative values. Chosen from hundreds of nominations by a philanthropic Panel of Judges after a national search, I am thrilled to be hosting the evening alongside veteran news anchor Robin Robinson.
Joining me as presenters are actors Nicholas and Pamela Guest, Fulbright scholar Douglas Arnell Williams, and Josibiah Smith, my compassionate son. Live musical performances will be delivered throughout the evening by award-winning international vocalists Tammy McCann and Calvin Bridges. You’ll also hear the FECK Theme, by Tosha Marie, included below.
The FECK Awards were inspired by the principles outlined in my book It’s Time to Give a FECK: Elevating Humanity Through Forgiveness, Empathy, Compassion, and Kindness. These accolades are more than a typical award; they are a call to action, honoring everyday heroes and leaders whose actions help build a more humane, understanding, and compassionate world.
Congratulations to our 2026 winners, starting with Azim Khamisa and the Tariq Khamisa Foundation from San Diego, California, who embody the transformative value of FORGIVENESS. After his son Tariq was tragically killed in 1995 during a gang initiation robbery, Azim made the extraordinary choice to forgive the teenage offender responsible. Instead of allowing grief to turn into hatred, Azim partnered with the young man’s grandfather, Ples Felix, to found the Tariq Khamisa Foundation, dedicated to stopping youth violence. For more than three decades, the organization has reached more than two million young people through programs that promote accountability, forgiveness, and nonviolence.
Our recipient whose story exudes the value of EMPATHY, is Melvin Parson from Ypsilanti, Michigan. He founded the We the People Growers Association and We the People Opportunity Farm, which have transformed lives through urban agriculture and second-chance employment. After experiencing incarceration, homelessness, and addiction earlier in life, Parson built a program that created dignified jobs and workforce training through soil-changing opportunities, growing and selling fresh farm foods, and creating the Good Soil Café. This helped formerly incarcerated individuals to foster understanding, opportunity, and healing while reducing recidivism. Just as we were about to inform Mr. Parson of his award, we learned that he passed away earlier this month, on March 5th. His work lives on.
Jayera Griffin of Riverdale, Illinois, is this year’s award recipient best representing the principle of COMPASSION. She began serving her community at just 14 years old by organizing free laundry days so students could have clean clothes for school. Now 22 and graduating from Western Illinois University in 2026 with plans to become an elementary school teacher, Griffin continues to lead initiatives that support and uplift her community, including organizing CPR and AED training for young people, collecting clothing for seniors, and organizing school supply drives and holiday programs for neighborhood families.
Last but certainly not least is our winner who embodies KINDNESS, David Ludlow Jr., of South Elgin, Illinois. He was born with Down Syndrome, and now at age 35, demonstrates the profound impact one person’s generosity can have. Each year, he saves his earnings to purchase toys for his local fire district’s Toys for Tots drive. In 2025 alone, he donated nearly 100 toys, inspiring an outpouring of additional donations from the community. At Rising Lights Project, a learning space for adults with developmental and intellectual disabilities, Luplow is known for his quiet acts of kindness that inspire a ripple effect in the community.
A huge thank you to our distinguished judges Jane Borton, David Hirsch, Jason Delanee Lee, Yvonne Huff Lee, Mary O’Donohue, Laura Podlesny, Josibiah Smith, Jacqueline Stewart, Christine Swanson, Michael Swanson, Lou Weisbach, and Joyce Winnecke.
I would also like to highlight our Honorable Mentions in each category, starting with Forgiveness: Judge Kathleen Coffey, founder of the Homeless Court at Boston’s Pine Street Inn, in Boston, Massachusetts. Each month for 15 years before retiring in late 2025, Judge Coffey transformed a room at the Pine Street Inn homeless shelter into a courtroom where people experiencing homelessness, facing misdemeanors, nonviolent felonies, or default warrants, could come before her to be heard and have their cases adjudicated, allowing individuals to rebuild self-respect through employment, housing, and other opportunities.
Our Honorable Mentions in the categories of Empathy, Compassion, and Kindness are:
–The Cancer Cartel in Enumclaw, Washington. Founded by three remarkable cancer survivors (Warriors), Kerry Solmonsen, Katy Tinney-Olson, and Shelly Tinney-Miller, this national non-profit was born from their firsthand experience of how wellness and financial considerations can be at odds. In its Mission Statement, it states: “Cancer Cartel provides financial resources to cancer Warriors.” We want anyone in the battle against cancer to be able to focus all of their energy on getting well and not on how much having cancer is costing them. From gas money to groceries, power bills to mortgage payments, we are fighting to tear down financial barriers to wellness. (They depend on grants, strategic partnerships, and donations, which are passed directly to cancer Warriors, and all operating costs are underwritten.)
–Michael Airhart, founder of Chicago’s Taste for the Homeless. Airhart’s nonprofit provides services to help homeless people and those living in shelters become contributing citizens by providing hot meals, clothing, hygiene items, and social services. He said it is a calling for him, as he could not just walk past people in need without helping. His organization has grown with the aid of many kind people who are attracted to his goodness.
–Hector and Diane Corona are the founders of City Kids Camp in Chicago. It is a free summer camp for children from economically disadvantaged communities, allowing them to experience a true outdoor adventure in a peaceful environment. They recognized the healing power of nature, just allowing kids to be kids, away from the cares of the city.
These descriptions are but a thumbnail introduction of what each of the Winners and Honorable Mentions bring to the world. On April 4th, when we celebrate these everyday heroes in person and introduce them to each other, our inaugural honorees will show what it truly means to “give a FECK.” Their stories remind us that each of us has the power to uplift others and help create a kinder and more compassionate world.
Join us for an inspiring evening of storytelling, celebration, and community, honoring these remarkable individuals and the values they represent. Reception begins at 6 pm CT, followed by dinner and the awards show at 6:30 pm CT.
For full event details and to order tickets, visit GiveAFECK.com.
- Full Schedule for Ebertfest 2026 Released and Individual Tickets Now On Sale (April 2, 2026)
Individual tickets for Roger Ebert’s Film Festival, widely known as Ebertfest, are now on sale. The festival’s 27th and final edition, “The Last Dance,” in Champaign, Illinois, will take place Friday, April 17th, and Saturday, April 18th. Presented by Century Law Firm, this milestone year marks a poignant farewell to one of the country’s most beloved film festivals, celebrating a legacy rooted in empathy, storytelling, and the communal power of cinema.
The festival will kick off at 9 am on April 17th with Libby Ewing’s Tribeca prize-winner, “Charliebird,” with its star and writer, Samantha Smart, in attendance. The film will be presented in partnership with the Alliance for Inclusion and Respect, and follows a music therapist who forms an unexpected bond with a young patient, unlocking the buried grief of her past in a journey of connection, loss, and healing.
The festival’s second scheduled screening at 11:25 am will be James Vanderbilt’s acclaimed, all-star ensemble piece, “Nuremberg.” One of Ebertfest’s cherished frequent guests, Sony Pictures Classics Co-Founder and Co-President Michael Barker, will participate in a post-screening Q&A afterward. The film stars Russell Crowe, Rami Malek, Leo Woodall, John Slattery, and Mark O’Brien, with Richard E. Grant and Michael Shannon. Set as the Nuremberg trials are about to begin, the film follows a U.S. Army psychiatrist who becomes locked in a gripping psychological confrontation with accused Nazi war criminal Hermann Göring, delivering a tense and timely examination of justice, power, and moral reckoning.
Following a break for lunch will be Luke Boyce and Michael Moreci’s new documentary on Roger Ebert, “The Last Movie Critic,” at 3:30 pm. Through the voices of filmmakers Ebert championed and the words he left behind, it explores how one man’s deep and abiding love for cinema became a gift to audiences everywhere, serving as a celebration of movies, empathy, and the belief that what we watch together can make us more human. Jennifer Shelby served as an Executive Producer on projects, while Chaz Ebert, Nate Kohn, and Brett Hays are among the producers.
One of 2025’s beloved crowd-pleasers, “Bob Trevino Likes It,” will screen at 5:10 pm with its writer/director Tracie Laymon and star French Stewart in attendance. Inspired by a true story, the film follows Lily Trevino (Barbie Ferreira), a young woman navigating abandonment and emotional isolation, who forms an unexpected and transformative friendship with a stranger (John Leguizamo) online.
After a dinner break, Friday will conclude with an 8:50 pm screening of Jordan Peele’s galvanizing modern classic, “Get Out.” Winner of the Best Original Screenplay Oscar, the 2017 film follows Chris (Daniel Kaluuya) as he accompanies his girlfriend Rose (Allison Williams) for a weekend visit to meet her parents (Bradley Whitford and Catherine Keener), only to uncover a series of increasingly disturbing revelations that lead to a shocking and horrifying truth. The film also features memorable turns by Lil Rel Howery, Betty Gabriel, and Caleb Landry Jones.
Moviegoers who catch the first show on April 18th are in for a serious treat: a 9 am screening of Buster Keaton’s 100-year-old uproarious masterpiece, “The General,” with its score performed live by The Anvil Orchestra. One of the most revered comedies of the silent era, the film follows Southern railroad engineer Johnny Gray, who must pursue Union soldiers after his train—and his beloved Annabelle Lee—are taken during the Civil War, leading to a series of inventive and daring comedic set pieces. Renowned organist Dr. Steven Ball will also be bringing his signature live musical interludes between screenings this year.
One of Roger’s favorite filmmakers, Gregory Nava, will return to Ebertfest for a 10:25 pm screening of his marvelous 1995 film, “My Family (Mi Familia).” Starring Jimmy Smits, Esai Morales, Jennifer Lopez, Edward James Olmos, and Constance Marie, the film tells the story of a second-generation Mexican immigrant who narrates his family history, beginning with his father, Jose, traveling from Mexico to Los Angeles, where he meets Maria and starts a family. Each subsequent generation contends with political and social hardships, ranging from illegal deportations in the 1940s to racial tensions and gang conflicts in the 1960s and 1970s. Yet through it all, the family remains strong, bound together by resilience, love, and shared history.
Following a lunch break that will offer festival goers the opportunity to sample Mexican dishes courtesy of Mo’s Burritos, a live theatrical production will take place at 2:30 pm on the Virginia stage. Under the direction of Katlin Schneider, Windy City actors Stephen Winchell and Zack Mast will channel the titular roles in Siskel/Ebert, a hilarious recreation of the critics’ infamous 1987 episode of their groundbreaking show, in which they debated the merits of such titles as “Full Metal Jacket,” “Benji the Hunted,” and “Spaceballs.”
Acting icons John Goodman and Judy Greer will then take the stage at 3:40 pm, along with co-directors Edd Benda and Stephen Helstad, as they present their dark comedy, “Chili Finger,” which earned raves following its recent premiere at SXSW. Shot in and around Ebert’s hometown, the film centers on Greer’s character as she discovers a severed finger in her chili, which prompts her to blackmail a fast-food chain, only to attract dangerous attention. Rounding out the impressive cast are Directed by Sean Astin, Bryan Cranston, and Madeline Wise.
The subsequent dinner break (which is guaranteed to include no severed limbs) will lead to the final film of Ebertfest, a 7:25 pm screening of 1995’s euphoric “The American President,” directed by the late Rob Reiner. Starring Michael Douglas and Annette Bening, and written by Aaron Sorkin, the film remains a defining work of modern American cinema, blending idealism, romance, and political discourse with uncommon warmth and intelligence. The screening will serve as a centerpiece of this year’s festival, celebrating Reiner’s enduring influence and his alignment with the thoughtful, audience-centered filmmaking championed by the festival’s late co-founder, Roger Ebert.
“We are especially honored to recognize Rob Reiner this year,” said Chaz Ebert. “I had the pleasure of inviting Rob to Ebertfest last year, and while he wasn’t able to attend at the time, he shared how much he was looking forward to joining us in the future. To now celebrate his extraordinary body of work and his deep commitment to storytelling feels incredibly meaningful. We are also proud to honor Robert Redford for his immeasurable contributions to independent filmmaking; his vision helped create a path for generations of filmmakers to tell bold, personal stories.”
See Scout Tafoya’s video tributes to Rob Reiner and Robert Redford here.
This last installment of Ebertfest is dedicated to the memory of both Reiner and Redford, two towering figures in the film industry whom Roger greatly admired. Of Redford, Roger wrote, “His Sundance Institute is a workshop where veterans work with young directors, writers, and actors, improving films that often get made and praised. No single person has done more for the independent film movement.” A decade prior to helming “Nuremberg,” James Vanderbilt cast Redford in his own 2015 filmmaking debut, “Truth,” in which the actor portrayed “60 Minutes” anchor Dan Rather.
Though Roger’s zero-star review of Reiner’s 1994 film, “North,” garnered bemused attention from the masses, including from the director himself, the critic loved a great number of his pictures, including “The American President.” He began his four-star review of that picture by noting, “It is hard to make a good love story, harder to make a good comedy, and harder still to make an intelligent film about politics. Rob Reiner’s ‘The American President’ cheerfully does all three, and is a great entertainment – one of those films, like ‘Forrest Gump’ or ‘Apollo 13,’ that however briefly unites the audience in a reprise of the American dream.”
The majority of individual seating tickets for Ebertfest 2026 are $20, plus a $3 processing fee. Select titles are $10 plus an additional $2 processing fee. A Reserved 1-Day Festival Pass is available for $75.00 plus a $6.00 processing fee. An Individual Reserved Seating Festival Pass, which includes admission to all films, is $150 plus a $9.00 processing fee per pass.
Ebertfest was founded in 1999 by Roger and Chaz Ebert, with Professor Nate Kohn as Festival Director. Roger Ebert was a Pulitzer Prize-winning film critic for the Chicago Sun-Times, a University of Illinois journalism alumnus, and an Urbana native. Chaz Ebert is also the author of the indie bestseller It’s Time to Give A FECK: Elevating Humanity through Forgiveness, Empathy, Compassion, and Kindness. Ebertfest is hosted by Chaz Ebert and Nate Kohn, the festival director since the very beginning.
To become a supporting Festival Sponsor, please contact Sonia Evans – sonia@ebertdigital.com.
For additional information, please visit https://ebertfest.com/ and follow us on social media:
Facebook: https://www.facebook.com/Ebertfest/
Instagram: https://www.instagram.com/ebertfest/
- Hulu’s “The Testaments” Returns to Gilead For Another Timely Tale About Privilege and Complicity (April 2, 2026)
They say that history doesn’t repeat itself, but it often rhymes. Hulu’s first Margaret Atwood adaptation, the award-winning “The Handmaid’s Tale,” became a cultural phenomenon when it premiered in 2017, its exploration of extreme misogyny, authoritarianism, and the battle over women’s reproductive rights an uncomfortably timely companion to the first Donald Trump administration. The show’s iconic red cloaks and white bonnets became mainstays at protests and demonstrations, and many of its most recognizable sayings (“Under His Eye,” “Blessed be the fruit”) crossed over into mainstream political commentary.
Sure, much of the hype around the show had fizzled by the time it concluded in 2025: six seasons of escalating torture porn with a global pandemic in the middle was a lot for even the most invested viewer to stomach. But it’s hard to overstate what a necessary piece of resistance entertainment its earliest seasons were.
Now, the streamer’s second Atwood series, based on the author’s long-awaited “Handmaid’s” follow-up, “The Testaments,” arrives at a political and cultural moment that bears some uncomfortably striking similarities to the one that greeted its predecessor. A year into a second Trump administration, the politics of both resistance and survival have changed drastically, so it’s only natural that the world of Gilead and its evils would have similarly evolved. But while “The Testaments” may approach its subject matter quite differently—its protagonists are teen girls, there’s a conspicuous lack of visible Handmaids, and much less grisly violence—its themes are no less complex and its story no less necessary.
Like “The Handmaid’s Tale” before it, “The Testaments” is not what anyone would call a particularly strict adaptation of Atwood’s novel. But, while it may play a bit fast and loose with multiple elements of the book’s story, the spirit of the piece is exactly right. Disturbingly relevant and brutal by turns, the series is as incisive and insightful as its predecessor. Here, the monstrousness of Gilead is dressed in the soft silks of privilege and the quiet comfort of ignorance, and resistance is grounded as much in solidarity and friendship as it is rage. The result is an unexpectedly powerful coming-of-age tale that offers a fresh, essential return to a universe many viewers likely thought had nothing new to say.
THE TESTAMENTS – “Daisy” – An incident on a school trip spurs Daisy’s memories of Toronto, revealing her past and a world shattered by violence. (Disney/Russ Martin)
THE TESTAMENTS
While Atwood’s novel picks up 15 years after the events of “The Handmaid’s Tale,” only about four years or so have passed in the world of the TV show. Purges have taken place in the wake of the War of Massachusetts, and much of the history of what happened has been shaped, if not outright rewritten, by those who survived. Aunt Lydia (Ann Dowd), a key player in much of “The Handmaid’s Tale,” who has, as the show puts it, “been worshipped, vilified, and is now worshipped again,” now runs a school for the daughters of Gilead’s elite. These young women, raised in luxury and advantage, have little real understanding of what life is really like for the female servants in their own households, let alone the women outside their country’s repressive borders.
Aunt Lydia’s school is a sort of authoritarian finishing academy, where young women are sent not to better themselves but to learn how to carry out the various wifely duties expected of them as the future spouses of Gilead’s most highly ranked Commanders. Here, reading isn’t as necessary as embroidery, concepts like sex education are basically nonexistent, and obedience is paramount. The students’ uniforms are color coordinated: Pinks are the youngest girls, Plums are older teens, and Greens are those who’ve become “eligible” and can marry that year. (This transition occurs if and only if a Plum gets her period, which is marked by a public confession and praise ceremony.)
The bulk of the story revolves around Agnes MacKenzie (Chase Infiniti), the pious daughter of a powerful Gilead leader. She’s never wanted for anything and has no experience or awareness of life before or outside of Gilead. On some level, it’s almost disturbing how typical she seems, chasing around after her friends on school field trips, crushing on the handsome young man assigned to serve as her personal security, worrying over the fit of a new skirt.
But things begin to change when she’s asked to mentor Daisy (Lucy Halliday), a recently arrived Pearl Girl—Aunt Lydia’s term for a foreigner who has come to Gilead seeking to convert and commit to its way of life—from Canada, who has a painful history and secrets of her own. As the two grow closer, Daisy’s forthrightness leads Agnes to begin to question the world around her in ways that threaten to change her life and future forever.
THE TESTAMENTS – “Perfect Teeth” – As Agnes begins the rituals that mark her coming of age, she struggles with the confusing stirrings of adolescence. Meanwhile, Daisy is subjected to Gilead’s system of discipline. (Disney/Russ Martin)
AMY SEIMETZ
One of the most remarkable things about “The Testaments” is that, for all its dystopian setting and authoritarian trappings, it’s actually a fairly relatable and compelling teen drama. Yes, it takes place in a nightmarish hellscape where most of the girls at its center don’t know enough about the world around them to recognize everything that they’re missing out on. (Like freedom and bodily autonomy.)
Yet, many of its plot beats are still deeply familiar: The girls get jealous of one another’s successes, have crushes they shouldn’t, and stress about meeting the expectations of others. In fact, they often seem so normal that it’s genuinely shocking when they suddenly parrot the familiar talking points of their government about things like gender traitors and fallen women. But over the course of the season’s ten episodes, they find increasing ways (both subtle and not so much) to finally claim their own power.
Infiniti makes for a capable lead, walking a fine line between Gilead golden girl and traditional teen, engaging in small acts of rebellion, resenting the adults in her life (particularly her unkind stepmother), and questioning the truth of the parentage she’s been kept from. (Like many in Gilead, she is technically the daughter of a Handmaid.) But it is Halliday who steals the show, her Daisy a mass of contradictions and rage, who finds herself much more attached to the girls at Aunt Lydia’s than she ever expected to be.
The show has a strong ensemble feel, and the friendships among the girls at its center feel lived-in and relatable, despite the horrific circumstances in which they unfold. Mattea Conforti is a particular standout as Agnes’s Gilead BFF Becka, and Rowan Blanchard offers some surprisingly satisfying comedic moments as group gossip Shunammite.
“The Testaments” is many things: A political cautionary tale, a warning against both complicity and complacency, a love letter to friendship, and a welcome reminder of the power of teenage girls to change the world. If the lessons of “The Handmaid’s Tale” revolved around a single woman’s ability to fight for change, here that work is transformed into a group effort—and a necessary reminder that even in the bleakest of times, we’re stronger than we are apart.
All ten episodes screened for review. Premieres April 8 on Hulu.
- “It Became a Dark Place”: Chief Geoffrey Standing Bear on “Killers of the Flower Moon” (April 2, 2026)
Cinematic depictions of Native tragedy have historically been fraught with questions over authenticity, realism, and empathy; this was doubly true of Martin Scorsese‘s most recent film to date, 2023’s “Killers of the Flower Moon,” which dramatized David Grann’s eponymous book chronicling the Reign of Terror against members of the Osage Nation in 1920s Oklahoma. To counteract the usual blinders white artists often exhibit when telling Native stories, Scorsese and the film’s producers took great care to collaborate with the Osage in all aspects of production, ensuring that Osage were heavily represented on both sides of the camera.
But one of the first people who needed convincing was Geoffrey Standing Bear, Principal Chief of the Osage Nation since 2014, who had worked with Grann while researching his book but was wary of a film adaptation. “The first and most important thing was [preserving] the Osage language,” says Chief Standing Bear, but they could not get a commitment from some of the movie’s initial producers. Soon after, the producers brought in Scorsese, and with less than 24 hours’ notice, he was in the front room at the Osage tribal headquarters talking with Chief Standing Bear. “We hit it off immediately.”
Scorsese and co-writer Eric Roth’s script recentered the narrative from Grann’s more clinical investigation into the murders, which led to the creation of the FBI, towards the personal tragedies and betrayals of duplicitous whites (in particular, Robert De Niro‘s William Hale and Leonardo DiCaprio‘s Ernest Burkhart) against the Osage they cozied up to, then murdered for their oil rights. The bizarre love story between Ernest and his Osage wife, Mollie, played by Lily Gladstone in an Oscar-nominated performance, became the film’s emotional center, a study in ambiguity between two people who love each other, even as one slowly tries to kill the other and eradicate her family.
“Killers of the Flower Moon” premiered at the Cannes Film Festival in 2023 and would go on to receive ten Oscar nominations. Despite its broad critical acclaim and the surfacing of discussions around Native representation on screen, it was a disappointment at the box office, and questions have abounded for years about whether a physical release was possible. Fortunately, thanks to the Criterion Collection, the film received a gorgeous 4K physical release earlier this month, with special features including new documentaries with Scorsese, Osage cultural consultants (including Chief Standing Bear), and others, as well as archival interviews and docs on the arresting final shot in the film and Noah Kemohah’s cover art for the disk.
Chief Standing Bear was kind enough to have a conversation with RogerEbert.com on the week of the physical disk release, at the moment he saw his own copy, to talk about the experience of consulting on the film, how Scorsese assuaged his fears of exploitation, and the frustrating lack of progress the Osage Nation has experienced in the wake of its release.
This interview has been edited for clarity and length.
It’s been a couple of years since the film came out; what memories do you have of the film’s reception, especially its Oscar attention?
CHIEF STANDING BEAR: I think it’s important that people understand that this is a true story. During the Academy Awards process, we met people who said they would not vote for “Killers of the Flower Moon” because it was just too outrageous. We had to convince them and say, “No, this really was a true story”; it’s a story that would be shocking to a casual observer, but for us, it’s been part of our history for 100 years. That was one issue we took seriously and tried to correct.
But we also learned that once the press and PR teams start going in a direction, that’s the direction they want to go, and that’s the way it’s going to be. So we kept ourselves generally within our culture, with our songs and our language. You saw that one of our drum groups was nominated for the Best Original Song Academy Award, with Scott George; that’s when we really started to come out again.
Speaking of which, that final shot is still so arresting, with the glib, clinical radio play giving way to the Osage dancing to the Oscar-nominated song “Wahzhazhe (A Song for My People).” Which, as I understand, was constructed originally rather than being a distinct Osage ceremony or tradition.
The filming was done on the streets of Pawhuska, where I live in Oklahoma, which were designed, built, or restored to resemble the streets of Fairfax, Oklahoma, during the 1920s, a town 25 miles from here. The excitement showed itself. When people wanted to have a big ceremonial dance at the end, we couldn’t have a real ceremony. But they asked, “What about a powwow?” Some said, “Well, those are fun and light; this is a serious story.” So they decided to do whatever they could and enjoy themselves.”
You’ll see at the end of the movie that the Osage are dancing and celebrating, and my initial response was, “Why are we celebrating this? The movie is not really a happy ending, because it’s a true, tragic story.” But the younger people pointed out to me and others, “Uncle Geoff, it’s not what you’re thinking. What Marty Scorsese is doing is showing that we are still here, and that itself is a cause for celebration.” As usual, the younger people understood what was going on better than my generation, and that moment was created by Marty Scorsese and the Osage people who were participating—the singers, dancers, and families who supported it. I remember that very well.
In your estimation, what impact have you seen in the Osage community or other Native communities in terms of visibility, or any of the social or political goals the Osage have in the years since the film came out?
None! I was at an event this morning, welcoming economic development directors from Oklahoma here in our hotel and casino. I brought that up, not knowing you were going to ask this question. I thanked everyone for the acknowledgments, but then said, “Let’s talk about the missed opportunities.” As I explained this morning, in March 2020, my directors and top staff told me there was no meat or food because COVID had shut down the meat-processing plants in our area, as well as in Colorado and Texas. Our casinos ended up closing. All the momentum we’d built and the creativity of working together were put on pause for months, and the movie packed up and moved away. We didn’t know if they were coming back.
We did not have the talent base you may have in New York or Los Angeles. Our actors, older and younger, go to New York City and elsewhere to join other artists. Once they leave, we have a hard time keeping them all here. So today, in this meeting, I chose that as the subject, zeroing in on the Fairfax and Grey Horse community leaders themselves to use “Flower Moon,” as some other communities have done, to drive tourism. That’s what we’re working on.
I’m sure that feels frustrating, that so much work and care went into your participation and the community’s participation in the picture, to not have it yield the rewards you hoped you’d have in terms of keeping Native talent in Oklahoma and generating revenue in the state.
We do have talent here, and there are folks who did stay. But some now live in the Northwest United States, and that’s the way it is. We have tribes that have developed relationships with producers and directors, but nothing like what Marty Scorsese and the team had with us. That was pretty special.
What made it special for you? I know there was a concerted effort to ensure the Osage participated in every aspect of the production process, and I’m sure the festival process was surreal.
It’s worth noting that none of this is sponsored by the Osage Nation; this is a private endeavor. But we had 100 extras, and Osage people were working behind the camera. We had people working with world-class cinematographers like Rodrigo Prieto and set designer Jack Fisk. Fisk, he would just sit around like a regular guy. I didn’t know who he was. I went up to him, and he goes, “Yeah, I’m a set designer.” “What movies have you worked on?” “Have you seen ‘The Revenant’?” Which I love. He goes, “That’s me.”
These people are just regular, nice, talented people, very special. I met a lot of the people who picked who would be in the movie and what they would do. I was so impressed by how professional they were, how hard they worked, and how wonderful they are as people. There was just an incredible energy. It’s an experience of a lifetime.
I’m sure the festival process was surreal as well.
I asked Chad Renfro, an Osage who is familiar with the artistic world [and Consulting Producer on “Killers of the Flower Moon”], “Where are we going with all this? They’re going to be coming here, but you keep talking about going out into the film community and openings in New York,” and he says we’re going to Cannes from here. That we’d start at the top and work our way back. We did, and it was the most amazing thing to see Osages going down that red carpet, stopping in front of the 300 cameras and posing this way and that.
Someone from Apple yelled at me, “Chief, go!” But my leg injury made it hard, so I just decided I was going to take a beeline down this giant red carpet and look straight ahead. I did it, and didn’t trip or fall. The cameras parted, and I walked right up those steps. And what an experience that was, in that theater, and all the stars and celebrities that were all there. I haven’t really sat down and decompressed that after all these years, but I hold a lot of nice memories here. It was something I’ve never seen.
It must have been interesting for you, especially as a politician who’s familiar with advocating for your community in local and national settings, to suddenly step foot in a global context, much less in a cultural or artistic space like that.
And remember, there was an actor’s and writer’s strike going on at the time. So without them, they asked us to step up to represent the film. I remember at the Academy Awards, seeing our nominated singers and their families pack into 13 limousines and drive off to the Dolby Theater to practice for that evening’s on-stage presentation. To see all of our traditional singers, the women wearing their traditional blankets, in West Hollywood, doing that isn’t something you see every day.
What was your collaboration with Scorsese and the producers like? What was the overall feeling you had in how to incorporate Osage elements, and make sure depictions didn’t just shoot for “authenticity,” but to have an active voice in the shaping of it?
I’ll sum it up in one moment at the Cannes premiere, where they sat me next to my new friend, Robert De Niro. We were watching the movie, and he came on, speaking Osage very loudly and addressing the Osage characters. I remember he was sitting to my right, and I remember putting my hand on his left forearm, like “well done.” And he put his right hand over my hand. It was a nice acknowledgment. I think we all hit it just right; the language and the dress, the film, the actors, the audience, everybody there. That was a significant moment for me. It was pretty awesome.
While the initial release may not have had the effect you hoped for in achieving the Osage’s political goals, how does it feel to have the film finally in a physical format? For a while there, we didn’t think we’d ever get this anywhere but streaming. And you’re featured in a couple of the special features.
My daughter told me that. I can tell you, Marty and I really got to like each other as people, and during these interviews, they just had me talk, whether I knew the cameras were recording or not. I was looking at a young man around your age, and I started asking him, “You talking to me? You talking to me?” because he was trying to talk to Marty and me. And Marty told me that Bob De Niro ad-libbed that line in “Taxi Driver.” Which I thought was amazing, and the kind of fun you have to have when talking about such a serious subject.
Yeah, as I understand it, the murders were a subject the Osage had been reticent to talk about until now.
Absolutely. But I can tell you, everything about Marty Scorsese’s aura of artistic talent and kindness is just beautiful. And we have to mention David Grann, who is the author of the book. He started his research work with Catherine Redcorn, now deceased, and then went into the Grey Horse community with other Osage elders and really put the subject, which we don’t talk about, to the forefront. So now we’re talking about it. Thirty years ago, you and I would be having this conversation out of concern that we’re going to offend families whose elders, their ancestors, were murdered. That’s one thing the movie’s done: through David, then Marty, it became a subject we could talk about, to a limited extent. We still avoid making speeches about it, especially regarding certain families. That’s not proper protocol.
Really, this is all about that one gang over in the Grey Horse/Fairfax area. The whole reservation was rampant with crime, money, alcohol, and death. It became a dark place.
I’m glad there’s an opportunity to air these injustices and have the story told, especially by the Osage. It’s also heartening to see Noah Kemohah’s artwork from the theatrical posters transferred to the Criterion disk.
This is the first I’ve seen of the disk, and the art is great. We’re all artistic; all Native tribes are artistic. Except for me, I can’t draw a circle. But I’m surrounded by people who make great art.
