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Cate Blanchett and Kevin Kline really want viewers to watch 'Disclaimer' a second time

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Cate Blanchett and Kevin Kline really want viewers to watch 'Disclaimer' a second time

In adapting Renée Knight’s novel “Disclaimer” into the Apple TV+ limited series, writer-director Alfonso Cuarón enlisted fellow Academy Award winners Cate Blanchett and Kevin Kline to play its central arch-nemeses. Over seven “chapters,” the two share relatively little screen time. But their eventual pas de deux will send viewers scrambling to rewatch the smoke-and-mirrors mystery thriller to uncover everything that initially went unnoticed.

The Envelope sat down with Blanchett and Kline for a quick chat over Zoom at the end of a long London press day 48 hours before the series’ debut. This conversation has been edited for length and clarity.

I would be remiss in not asking you about working with your respective onscreen spouses, the great Lesley Manville and Sacha Baron Cohen.

Kevin Kline: [Lesley’s] a brilliant actress. It’s such a joy. It was a great, great experience working with her. She’s no-nonsense. Or else the character was no-nonsense. Anyway, just very stiff-upper-lip and very English about things. That was inspiring.

Cate Blanchett: I was working with Sacha, who is [an] absolute genius at what he does. But this is part of a departure he has been making in recent years. He was so open to the experience. It was really great. We talked a lot about the relationship. We had a lot of time to talk, because Alfonso works quite slowly. I really relished those conversations. … The one thing we should say is also our sons [Louis Partridge as Jonathan Brigstocke and Kodi Smit-McPhee as Nicholas Ravenscroft] — talk about phenomenal actors. I have always wanted to work with Kodi, back from his very first film, when we were producing theater in Australia. Desperate to work with him. To me, at the heart of this piece is the relationship of fathers and sons, and mothers and sons, and two parallel families. It was an absolute joy to work with Kodi.

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Kevin Kline and Cate Blanchett star in Alfonso Cuarón’s Apple TV+ series “Disclaimer.”

(Apple TV+)

Without divulging spoilers, please tell me about shooting your pivotal sequence.

Kline: Well, it’s on Cate. It’s mostly listening for me.

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Blanchett: That’s easier said than done. There are qualities of listening, Kevin.

Kline: Well, I was hoping you’d say that. [All laugh.] I was very attentive, and listening with quite a deeply ingrained bias about what I’m hearing and what I’m believing and doubting.

Blanchett: But your character’s been goading my character for such a long period. It’s a very unlikely setting for a very unlikely unburdening. And so, the strangeness of the setup, really, informed the way we shot it. Also, knowing — I talked to Alfonso a couple of days before we started to do it — there would be flashbacks in there, we decided to then shoot all 40 pages to camera rather than treating some as voice-over and flashback, so that we got the whole story, and then he could work out what he wanted.

Kline: Which was extraordinary to me. … [Cate] narrates the whole story to my character, and she just did it! It’s just a phenomenal leap of faith and talent.

Is this the first time you’ve worked together?

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Kline: Yeah.

Blanchett: Is it the last?

Kline: I believe so. [Both laugh.]

 Cate Blanchett and Kevin Kline in London

(Jennifer McCord/For The Times)

In general, what surprised you about each other?

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Blanchett: Alfonso’s quite exacting about what he wants. So, we had to sort of find a way of all working together in a similar way. I was so taken — [to Kline] I mean, I knew your invention, your wit, your humanity, all of that. And your craft. That was unsurprisingly brilliant. But I think your patience and your openness to the process, I was —

Kline: I was just gonna say all those things about myself. But also, I would add that —

Blanchett: More of a curmudgeon. [Both laugh.]

Kline: It’s always interesting to watch your fellow actors working with the same director you are, obviously. My first film experience was working with Meryl Streep on “Sophie’s Choice.”

Blanchett: It’s all been downhill since then, is that what you’re saying?

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Kline: Pretty much, yeah.

Blanchett: Look where he is now. [Laughs]

Kline: I know. … I just learn so much watching my fellow actor.

Blanchett: Watching you. You were exceptional. I mean, it was unbelievable.

Kline: The degree of confidence Meryl exuded. I go, “Wow! She just doesn’t question herself at all. How do you do that?” And then [indicates Blanchett], I got the same vibe from this one.

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Blanchett: Oh, I question myself plenty, don’t you worry.

Kline: Well, I suppose we all do. But when someone’s acting with authority, you forget. It doesn’t matter what past things of theirs you’ve seen them do. There’s just a presence you react to. I’m not making any comparisons, but [affected voice] I’ve worked with some of the best. [Both laugh.] No, it was just great to watch how Cate works.

Cate Blanchett and Kevin Kline,  in London.

(Jennifer McCord/For The Times)

What would you like audiences to leave with at the end of “Disclaimer”?

Blanchett: Well, the most satisfying thing I’ve heard is the fact that you watched it a second time. I can’t tell you the joy and relief that brings me. Because often with episodic storytelling, people either want to binge-watch it, or they’re time-poor, or watch it with two or three other things on board. And there’s so many almost imperceptible details that Alfonso has woven in — and encouraged us to weave into our performances — that hopefully it is rewarding to watch a second time.

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Kline: Alfonso is very, very detail-oriented. That’s what struck me the first day of working. I had never worked with a director who was that meticulous and that concerned with foreground, background, decor, costume, hair, makeup, accent, acting, mood, atmosphere.

Is there anything else you want to say in the last minute or two I have with you?

Kline: [Long pause] I’d just like to apologize.

Blanchett: [Laughs, reacts to offscreen voice] They’re saying Kevin has to go. [To Kline] Is that what they’re saying?

Kline: Oh, I have to go. Oh, good! No, no. My performance is indefensible. [Blanchett laughs.] I have nothing more to say. The defense rests. [Both laugh.]

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Movie Reviews

1986 Movie Reviews – Black Moon Rising | The Nerdy

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1986 Movie Reviews – Black Moon Rising | The Nerdy
by Sean P. Aune | January 10, 2026January 10, 2026 10:30 am EST

Welcome to an exciting year-long project here at The Nerdy. 1986 was an exciting year for films giving us a lot of films that would go on to be beloved favorites and cult classics. It was also the start to a major shift in cultural and societal norms, and some of those still reverberate to this day.

We’re going to pick and choose which movies we hit, but right now the list stands at nearly four dozen.

Yes, we’re insane, but 1986 was that great of a year for film.

The articles will come out – in most cases – on the same day the films hit theaters in 1986 so that it is their true 40th anniversary. All films are also watched again for the purposes of these reviews and are not being done from memory. In some cases, it truly will be the first time we’ve seen them.

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This time around, it’s Jan. 10, 1986, and we’re off to see Black Moon Rising.

Black Moon Rising

What was the obsession in the 1980s with super vehicles?

Sam Quint (Tommy Lee Jones) is hired to steal a computer tape with evidence against a company on it. While being pursued, he tucks it in the parachute of a prototype vehicle called the Black Moon. While trying to retrieve it, the car is stolen by Nina (Linda Hamilton), a car thief working for a car theft ring. Both of them want out of their lives, and it looks like the Black Moon could be their ticket out.

Blue Thunder in the movies, Airwolf and Knight Rider on TV, the 1980s loved an impractical ‘super’ vehicle. In this case, the car plays a very minor role up until the final action set piece, and the story is far more about the characters and their motivations.

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The movie is silly as you would expect it to be, but it is never a bad watch. It’s just not anything particularly memorable.

1986 Movie Reviews will continue on Jan. 17, 2026, with The Adventures of the American Rabbit, The Adventures of Mark Twain, The Clan of the Cave Bear, Iron Eagle, The Longshot, and Troll.


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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

California helped make them the rich. Now a small proposed tax is spooking them out of the state.

California helped make them among the richest people in the world. Now they’re fleeing because California wants a little something back.

The proposed California Billionaire Tax Act has plutocrats saying they are considering deserting the Golden State for fear they’ll have to pay a one-time, 5% tax, on top of the other taxes they barely pay in comparison to the rest of us. Think of it as the Dust Bowl migration in reverse, with The Monied headed East to grow their fortunes.

The measure would apply to billionaires residing in California as of Jan. 1, 2026, meaning that 2025 was a big moving year month among the 200 wealthiest California households subject to the tax.

The recently departed reportedly include In-n-Out Burger owner and heiress Lynsi Snyder, PayPal co-founder and conservative donor Peter Thiel, Venture Capitalist David Sacks, co-founder of Craft Ventures, and Google co-founder Larry Page, who recently purchased $173 million worth of waterfront property in Miami’s Coconut Grove. Thank goodness he landed on his feet in these tough times.

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The principal sponsor behind the Billionaire Tax Act is the Service Employees International Union-United Healthcare Workers West (SEIU-UHW), which contends that the tax could raise a $100 billion to offset severe federal cutbacks to California’s public education, food assistance and Medicaid programs.

The initiative is designed to offset some of the tax breaks that billionaires received from the One Big Beautiful Bill Act recently passed by the Republican-dominated Congress and signed by President Trump.

According to my colleague Michael Hiltzik, the bill “will funnel as much as $1 trillion in tax benefits to the wealthy over the next decade, while blowing a hole in state and local budgets for healthcare and other needs.”

The drafters of the Billionaire Tax Act still have to gather around 875,000 signatures from registered voters by June 24 for the measure to qualify on November’s ballot. But given the public ire toward the growing wealth of the 1%, and the affordability crisis engulfing much of the rest of the nation, it has a fair chance of making it onto the ballot.

If the tax should be voted into law, what would it mean for those poor tycoons who failed to pack up the Lamborghinis in time? For Thiel, whose net worth is around $27.5 billion, it would be around $1.2 billion, should he choose to stay, and he’d have up to five years to pay it.

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Yes, it’s a lot … if you’re not a billionaire. It’s doubtful any of the potentially affected affluents would feel the pinch, but it could make a world of difference for kids depending on free school lunches, or folks who need medical care but can’t afford it because they’ve been squeezed by a system that places much of the tax burden on them.

According to the California Budget & Policy Center, the bottom fifth of California’s non-elderly families, with an average annual income of $13,900, spend an estimated 10.5% of their incomes on state and local taxes. In comparison, the wealthiest 1% of families, with an average annual income of $2.0 million, spend an estimated 8.7% of their incomes on state and local taxes.

“It’s a matter of values,” Rep. Ro Khanna (D-Fremont) posted on X. “We believe billionaires can pay a modest wealth tax so working-class Californians have Medicaid.”

Many have argued losing all that wealth to other states will hurt California in the long run.

Even Gov. Gavin Newsom has argued against the measure, citing that the wealthy can relocate anywhere else to evade the tax. During the New York Times DealBook Summit last month, Newsom said, “You can’t isolate yourself from the 49 others. We’re in a competitive environment.”

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He has a point, as do others who contend that the proposed tax may hurt California rather then help.

Sacks signaled he was leaving California by posting an image of the Texas flag on Dec. 31 on X and writing: “God bless Texas.” He followed with a post that read, “As a response to socialism, Miami will replace NYC as the finance capital and Austin will replace SF as the tech capital.”

Arguments aside, it’s disturbing to think that some of the richest people in the nation would rather pick up and move than put a small fraction of their vast California-made — or in the case of the burger chain, inherited — fortunes toward helping others who need a financial boost.

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

A still from ‘Song Sung Blue’.
| Photo Credit: Focus Features/YouTube

There is something unputdownable about Mike Sardina (Hugh Jackman) from the first moment one sees him at an Alcoholics Anonymous meeting celebrating his 20th sober birthday. He encourages the group to sing the famous Neil Diamond number, ‘Song Sung Blue,’ with him, and we are carried along on a wave of his enthusiasm.

Song Sung Blue (English)

Director: Craig Brewer

Cast: Hugh Jackman, Kate Hudson, Michael Imperioli, Ella Anderson, Mustafa Shakir, Fisher Stevens, Jim Belushi

Runtime: 132 minutes

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Storyline: Mike and Claire find and rescue each other from the slings and arrows of mediocrity when they form a Neil Diamond tribute band

We learn that Mike is a music impersonator who refuses to come on stage as anyone but himself, Lightning, at the Wisconsin State Fair. At the fair, he meets Claire (Kate Hudson), who is performing as Patsy Cline. Sparks fly between the two, and Claire suggests Mike perform a Neil Diamond tribute.

Claire and Mike start a relationship and a Neil Diamond tribute band, called Lightning and Thunder. They marry and after some initial hesitation, Claire’s children from her first marriage, Rachel (Ella Anderson) and Dayna (Hudson Hensley), and Mike’s daughter from an earlier marriage, Angelina (King Princess), become friends. 

Members from Mike’s old band join the group, including Mark Shurilla (Michael Imperioli), a Buddy Holly impersonator and Sex Machine (Mustafa Shakir), who sings as James Brown. His dentist/manager, Dave Watson (Fisher Stevens), believes in him, even fixing his tooth with a little lightning bolt!

The tribute band meets with success, including opening for Pearl Jam, with the front man for the grunge band, Eddie Vedder (John Beckwith), joining Lightning and Thunder for a rendition of ‘Forever in Blue Jeans’ at the 1995 Pearl Jam concert in Milwaukee.

There is heartbreak, anger, addiction, and the rise again before the final tragedy. Song Sung Blue, based on Greg Kohs’ eponymous documentary, is a gentle look into a musician’s life. When Mike says, “I’m not a songwriter. I’m not a sex symbol. But I am an entertainer,” he shows that dreams do not have to die. Mike and Claire reveal that even if you do not conquer the world like a rock god, you can achieve success doing what makes you happy.

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ALSO READ: ‘Run Away’ series review: Perfect pulp to kick off the New Year

Song Sung Blue is a validation for all the regular folk with modest dreams, but dreams nevertheless. As the poet said, “there’s no success like failure, and failure’s no success at all.” Hudson and Jackman power through the songs and tears like champs, leaving us laughing, tapping our feet, and wiping away the errant tears all at once.

The period detail is spot on (never mind the distracting wigs). The chance to hear a generous catalogue of Diamond’s music in arena-quality sound is not to be missed, in a movie that offers a satisfying catharsis. Music is most definitely the food of love, so may we all please have a second and third helping?

Song Sung Blue is currently running in theatres 

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