Entertainment
'NCIS' franchise learns to time travel with prequel series 'Origins'
As humans in a changing world we crave continuity, reliability. Before we walk into a room, we like to be fairly certain of what we’ll find — walls, floor, furniture, not hot coals or clouds of poison gas. Thus the popularity of the franchise. It may not lead to great, revolutionary art, but at the end of a long day, when you kick off your shoes and sink down into the sofa, you may not be in the mood for “Les Demoiselles d’Avignon” or a stuffed goat with a tire around its middle.
“NCIS,” for Naval Criminal Investigative Service, is a theoretically inexhaustible series about an elevated team of military police investigating cases involving military personnel; you might think that is too shallow a drawer to fill several series over many years, but you would be wrong, especially given how thin the writers are willing to stretch that connection.
The series offers a full-course meal of mainstream theatrical possibilities. It’s a police procedural, a metaphorical family comedy, a workplace comedy, a soap opera, a melodrama, a low-budget action adventure. You get good-looking heroes, a smattering of goofballs, a quirky medical examiner or two, a little romance — the amino acids of many such procedurals, to be sure, but “NCIS” is especially deft at combining kick-back entertainment with lean-forward tension. The military association adds a patriotic element, which I imagine some viewers prize, though the very premise of the series implies that the military is not squeaky clean. These aren’t shows I customarily watch, but it’s easy to see why people do.
The franchise has included iterations set in Los Angeles, New Orleans, Hawaii and Sydney, each applying local color and flavor to a tried-and-true formula; some have come and gone, some have not been around long enough to go, but none is likely to display the staying power or global penetration of the original, about to embark Monday on its 22nd season.
Following that premiere on CBS, home to all “NCIS” series, is the newest addition to the family, “NCIS: Origins.” Instead of setting up in a new city, however, we are being sent through time, back to 1991, when “newly minted special agent” Leroy Jethro Gibbs (Austin Stowell), played by Mark Harmon in the original and narrating here, has just joined the team he will one day lead. (A team that has not yet added the C to its acronym, which looks odd on the windbreakers but is quicker to bark at suspects.)
We are in Oceanside — a new city, after all — on the grounds of Camp Pendleton. That it’s the least obviously sexy setting in the “NCIS” collection — no offense, Oceanside, not to say the ocean itself — is echoed in the team’s drab Quonset-hut headquarters, a stark contrast to the bright, modern, high-tech lairs of the contemporary shows. Here, we’re in a world of phone booths, pagers and bulky computers no one knows how to work, of Walkmans and videotape, which both simplifies and complicates the action. It is, in its way, a kind of relief, a vacation from Now.
Kyle Schmid as Mike Franks and Tyla Abercrumbie as Mary Jo Hayes in a scene from “NCIS: Origins.”
(Sonja Flemming/CBS)
Harmon, who left the series after the 19th season to be replaced by Gary Cole, established the model of the “NCIS” team leader — the stern yet supportive surrogate parent, time-worn, time-tested, ever ready to buck hidebound authority when necessary. Young Gibbs, a Marine sniper just recalled from Iraq after the murder of his wife and child, is not (yet) that person, though we get some hints he might be: his numbered “rules,” his “gut feelings.” At the moment, he’s neck-deep in trauma, getting in bar fights, failing his “psych eval.” There is some concern that he’s unstable, not quite Mel-Gibson-in-“Lethal Weapon” crazy, but potentially a danger to himself and others.
That the main character is a member of the team rather than its leader, as in other “NCIS” series, can feel a little awkward, given that it’s necessary for Gibbs, fresh behind the ears though he may be, to stand out from the group — that he see what others miss, and can handle a situation in an original way. When he says of a suspect, “He’s not our guy,” it won’t be that guy. It throws the ensemble off balance.
The team leader is Mike Franks (Kyle Schmid), Gibbs’ cowboy predecessor and mentor; with his horseshoe mustache, dark glasses and cigarettes, he’s like a ’90s cop dressed as a ’70s cop. (Older Franks, played by Muse Watson, appeared in some dramatic episodes of “NCIS.”) Hot-shot agent Lala Dominguez (Mariel Molino) is competitive and wary of Gibbs. (“You’re on my squad,” says Gibbs upon meeting her. “No, you’re on mine,” she replies, reasonably enough.) Agent Vera Strickland (Diany Rodriguez), who briefly appeared in the original series, is so far underused. (Only four episodes were available for review.)
Dark feelings and internal conflicts characterize these first episodes, which are full of raised voices, clenched jaws and steely stares. Necessary mood lightening is supplied by agent Randy Randolf (Caleb Martin Foote), friendly, chatty and the only one who wears a suit to work; “head secretary in charge” Mary Jo Hayes (Tyla Abercrumbie); and Granville “Granny” Dawson (Daniel Bellomy), promoted after a couple of episodes to the K-9 squad and the care of a dog named Special Agent Gary Callahan. (“It’s just the one dog, but he’s all the dog you need.”) Bobby Moynihan (major comic relief), Lori Petty and Julian Black Antelope provide forensic backup.
As to Stowell, he is square-jawed and broad-shouldered and though his casting was obviously the end of many discussions, he does not strike me as someone who will grow up to become Mark Harmon. (Harmon’s son Sean, who had the original idea for “Origins,” developed by franchise vets David J. North and Gina Lucita Monreal, played the younger Gibbs in “NCIS” flashbacks.) He could stand to relax a little. But perhaps that’s the point.
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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