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![]() But that’s nothing compared to the milestone the shingle marks this month with the 20th anniversary of landmark makeover show “Queer Eye for the Straight Guy” - now just “Queer Eye, ” which was revived (and refined) by Netflix in 2018 and recently premiered its New Orleans-set seventh season. It was a highly productive spring for unscripted powerhouse Scout Productions, with “The Gentle Art of Swedish Death Cleaning” (Peacock), “The Secrets of Hillsong” (FX, Hulu) and “MerPeople” (Netflix) all premiering within weeks of each other in April and May. Matt Brennan Guest spotĪ weekly chat with actors, writers, directors and more about what they’re working on - and what they’re watching Because in life as in “The Bear,” it always does. After all, it’s the season’s sanguine images - of an old flame, an eating tour, a karaoke classic - I’m pinning to my mental cork board for when the next shoe drops. Reserving its softest touch for supporting characters just coming into bloom, like aspiring sous Tina (Liza Colón-Zayas), seizing her opportunity with the satisfying whir of a sharp knife, or pastry whiz Marcus (Lionel Boyce), building confidence through the hushed instruction of a Copenhagen stage, the series turns out to be even more successful when it evinces a taste for texture instead of showing off its outright force ( sorry, “Fishes”). Still, for all of the tension built into the conceit of a mercurial chef (Jeremy Allen White) and his ambitious protégé (Ayo Edebiri) attempting to turn Chicago’s Original Beef into the Bear in three months’ time with the very premises as collateral, Part II soars highest when the anxiety melts fleetingly away. In that, the second season of “The Bear” (Hulu) doesn’t disappoint, punctuated as it is by permitting requirements, mold scares, Christmastime feasts and existential crises, all on the tightest timeline for opening a Michelin-starred restaurant in culinary history. I spent my recent summer vacation blissfully unaware of most entertainment news, but I did fixate on one to-do list item I left behind: Watching the most stressful show on television. ![]() But of the good things the new season brings, nothing is better than the casting of the great and wonderful Carol Kane, as chief engineer Pelia, playing a fresh, literal variation on the delightful alien otherness that has long characterized her career. La’an Noonien-Singh (Christina Chong) in a time-travel story that pairs her with an alternate-reality James T. The new season has so far spotlighted on Spock, taking command on a rogue mission Number One, in an episode that, in the best series tradition, shines a light on faults not in the stars but our contemporary selves (they’re looking at you, difference-fearing humans) and security chief Lt. ![]() Christopher Pike at the helm of the pre-Shatner Enterprise, more than assisted by younger Spock (Ethan Peck) and Uhura ( Celia Rose Gooding) and fleshed-out versions of Number One (Rebecca Romijn) and Nurse Christine Chapel (Jess Bush). The “Star Trek”-iest of “Star Trek” spinoffs, “Star Trek: Strange New Worlds” has returned for a second season on Paramount+, with Anson Mount as Capt. ![]()
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