For the record, Morris Chestnut is not a real doctor. He just plays one on TV.
To be precise, Chestnut has played multiple physicians in the last several years, scrubbing in as a trauma specialist in “Nurse Jackie” before moving on to pathology in Fox’s “Rosewood.”
The last doctor he played, Barrett Cain in Fox’s “The Resident,” is a standout. Viewers loathed him. Chestnut loved it.
“Cain was more concerned about the money a patient would make for the hospital than the patient’s health,” he said with a mischievous laugh. “Fans loved to hate me. They would approach me and say, ‘You’re so mean.’ I really liked that.”
Chestnut is putting his “bad doctor” days behind him, taking on a new specialty as a compassionate geneticist and internist in CBS’ medical drama “Watson,” a modern reboot of the Sherlock Holmes mythology. He plays Dr. John Watson, Holmes’ partner, who becomes the head of an elite rare disorders clinic at a Pittsburgh hospital after Holmes is murdered.
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“I’ve never made Hollywood my life,” Chestnut said. “It’s a tough place — physically and emotionally.”
(Christina House / Los Angeles Times)
Reworking the Watson character means more to Chestnut than just expanding his medical resume. While he has enjoyed a fairly consistent career since his acclaimed debut in 1991’s “Boyz N the Hood,” Chestnut has mostly been featured in ensemble or supporting roles, many of them romantic vehicles showcasing his good looks and athletic build.
“Watson” represents his hoped-for ascension into the ranks of leading man.
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“This is a significant milestone for me in a number of ways,” he said. “I’ve had lead roles before, but as an actor, I feel I’m hitting my stride in terms of how I approach the work. The opportunity to play this character, and on CBS, is huge. And to play with the Sherlock Holmes mythology is something I never would have imagined.”
CBS is putting heavy promotional muscle behind “Watson.” Before its official premiere Feb. 16, the network is launching the drama on Jan. 26 following the NFL playoffs.
“Given our strong belief in the show, it’s only fitting to give ‘Watson’ a high-profile launch with a powerful lead-in immediately following the AFC Championship football game, which is always one of the most viewed television events of the year, and a proven platform for launching some of our most successful series,” Amy Reisenbach, president of CBS Entertainment, said in an email. She called Chestnut “a classic, charming lead star, and his singular take on the iconic doctor is bold, wise and heroic.”
The actor maintained that “Watson” is distinctive from other medical dramas. “We are not just doctors, we are detectives,” he said. “When patients come into our clinic, we don’t solve the medical mystery right there. We go into their homes, we go into the streets. It’s combining the medical aspect of Watson with the influence of Sherlock.”
Making his way through a healthy breakfast at a Beverly Hills hotel, Chestnut was enthusiastic as he discussed the series. He looked much the same as he did in the first “The Best Man” feature in 1999 in which his portrayal of a muscular football star solidified his heartthrob status.
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He credited his appearance to his aggressively healthy lifestyle: “It’s a blessing from God. I’ve never made Hollywood my life. It’s just a part of my life. It’s a tough place — physically and emotionally. I’ve seen it eat people and spit them out. I go home and chill after work. I don’t go to parties. That stuff can take a toll on your soul, body and mind.”
Chestnut as John Watson in “Watson,” which premieres Sunday in the prime post-NFL time slot.
(Colin Bentley / CBS)
Chestnut, who is also an executive producer of “Watson,” was immediately excited when first presented with the pilot script from showrunner Craig Sweeny. “It was so strong. Had everything — action, emotion, wit. It left you with a cliffhanger to see where things were going to go. After I met with Craig and learned where he wanted to take the show, I knew I had to sign on.”
Yet he also is uncomfortably aware that not everyone is pleased with a Black actor taking on a role that has historically been portrayed by white men. The list of past Watsons include Nigel Bruce, Robert Duvall, Jude Law, John C. Reilly and Martin Freeman.
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The move has been already met with gripes on social media, mirroring the criticism that greeted the casting of Halle Bailey in the live-action remake of “The Little Mermaid,” the “Star Wars” franchise and other beloved properties that have embraced more cultural diversity.
“I’m reluctant to discuss it, particularly in the times we’re living in,” said Chestnut, his deep voice registering his disappointment. “I’ve seen some negative comments about me playing this character. And I really don’t want to focus on that — I just hope people see the character in the mythology for who he is. I don’t want to call attention to that.”
Still, he acknowledged that his casting would have attracted less attention several years ago, when the Black Lives Matter movement sparked calls for more equity and inclusion in Hollywood.
Said Chestnut, “It would have been much more seamless, 100%. In these times, people like to point to certain things and bring a negative political spin to it. I’m glad that ‘The Little Mermaid’ and ‘Wicked’ are wildly successful. In my whole career, I’ve never made it about things outside of my work. It is frustrating to have to deal with that. Hopefully we are all successful.”
“Watson” is just one of several new doctor dramas checking into prime time this season. NBC’s “Brilliant Minds,” Fox’s “Doc,” Max’s “The Pitt” and ABC’s “Doctor Odyssey” have joined veterans “Grey’s Anatomy” and “Chicago Med.”
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Assisting Watson in the clinic is a squad of young, accomplished doctors who are also investigating the rare disorders. Complicating his personal life is his lingering affection for his ex-wife, Dr. Mary Morstan (Rochelle Aytes), who is also the hospital’s medical director. And Watson is still being targeted by Holmes’ nemesis, Moriarty.
“I’m most energized not only by the evolution of my character, but of the other characters,” Chestnut said. “The audience is really going to feel for them. The show is exciting and emotional.”
Chestnut first rose to prominence in the 1990s with films such as “Boyz N the Hood” and “The Best Man.”
(Christina House / Los Angeles Times)
The series marks the network’s second Holmes reboot. “Elementary,” which starred Jonny Lee Miller and Lucy Liu as the investigative duo, premiered in 2012 and had a solid seven-season run.
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Sweeny, who was an executive producer on “Elementary,” said Chestnut was one of the actors he was thinking about when he was writing the pilot for “Watson”: “It was because of his empathy and intelligence. Everybody in the industry has nothing but glowing words for Morris as a person. He is one of the kindest and most respectful people I’ve ever worked with, as well as a great leader.”
He was also impressed by a few of the actor’s previous portrayals of physicians.
Said Sweeny: “In writing a medical show, I’m going to task the actor with swimming in an ocean of medical jargon. It takes a commitment. With this show, we’re committed to getting the science right with every medical twist and turn. Correct science has a lot of syllables. Morris is as committed to getting it right on his end as we are in the writing.”
“Playing a doctor is very challenging, and playing a doctor in a one-hour series is even more challenging,” Chestnut said. “The medical terminology is almost a different language. I have to know what I’m talking about. I can’t change the words around like I could in a regular role. The terms and diagnosis have to be accurate and on point. It puts a whole different layer to the performance.”
It’s a challenge he is grateful to take on, particularly at this point in his creative growth. In “Boyz N the Hood,” late director John Singleton‘s landmark debut about young people living amid the dangers of gang life in South Los Angeles, Chestnut played Ricky Baker, a star high school football star who hopes to go to college with a scholarship. Ricky meets a tragic end when he is gunned down by gang members.
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“Aside from that film launching my career, it has helped me sustain my career,” he said. “It’s not only a great film, but people were rooting for me. People were emotionally connected to the character, but the staying power while I was doing other projects connected people to me. I can’t tell you how many people I talk to today who were not alive when the movie was released.”
The other key highlight is “The Best Man,” Malcolm D. Lee’s romantic comedy about a group of college friends who have a joyous but rocky reunion when two of them decide to marry. That film bucked the trend of Black films at the time that focused on turmoil in Black areas, focusing on sophisticated, upscale Black characters.
Chestnut was among the cast members who would move on to major stardom, including Taye Diggs, Terrence Howard, Nia Long, Regina Hall and Melissa De Sousa. The cast reunited for a sequel, 2013’s “The Best Man Holiday,” and the 2022 Peacock limited series “The Best Man: The Final Chapters.”
In the franchise, Chestnut played another star football player, Lance Sullivan, who is emotionally distraught in “The Best Man Holiday” after learning that his wife, Mia (Monica Calhoun), is dying of cancer. Once again, Chestnut said, “People were on an emotional journey with me. That also helped me sustain a career.”
Those films and subsequent projects have positioned him for the spotlight in “Watson,” he said.
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“I am so honored they thought of me for this,” he said. “I just wanted the industry to recognize me, to see me and say, ‘I want that guy.’ ”
At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.
When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.
After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.
Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.
The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”
“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”
The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.
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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.
(Refik Anadol Studio for Dataland)
Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”
“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”
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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.
Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.
“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”
“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”
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