Entertainment
Review: 'A Man on the Inside,' starring Ted Danson, is sweet, serious but always funny
My first memory of Ted Danson is of him dancing solo to Frank Sinatra in a pool of light on a pier in the movie “Body Heat,” which is all I remember of “Body Heat.”
It set a tone of gracefulness that continues to inform his performances to this day, in a wide range of soft-spoken modes, from “Cheers” to “Bored to Death” to “CSI: Crime Scene Investigation” to “Curb Your Enthusiasm,” where he appears as a version of himself. He mostly plays comedy, because that’s what a likable actor is liable to be asked to do, but he can work against type with the best of them, as he did as a corrupt billionaire in “Damages.”
That Danson, assumed to be an angel, turned out to be a devil in the first season finale of “The Good Place,” was a massive fake-out that depended on subverting our expectations, not only of his character but also of the actor himself. (That the character became a force for good felt almost inevitably on brand.) He works all the time, and yet one greets every new appearance with a sort of grateful excitement, as if he had been away somewhere for years.
The latest Danson series is “A Man on the Inside,” premiering Thursday on Netflix, but it is in most every other respect a classic NBC Thursday night comedy. It comes from Michael Schur, who created “The Good Place” (a classic NBC Thursday night comedy), with which it shares a philosophical bent, playing with questions of mortality and morality and the meaning of life, explicitly but not pedantically. It’s sweet and serious, and as the series goes on, knockabout comedy makes room for poignancy. But it never stops being funny.
Danson plays Charles, a well-to-do retired professor of engineering, who after a year is still mourning his late wife. Without work or friends — a dramatic convenience that will allow him to find both — he has settled into a comfortable rut, amplifying what we’re to understand is a reserved, cerebral nature; he’s fascinated by facts and figures, but less good with people. He has a daughter, Emily (a marvelous Mary Elizabeth Ellis), who lives a couple hours away with husband Joel (“Good Place” vet Eugene Cordero) and three comically unresponsive kids — Wyatt Yang, Deuce Basco, Lincoln Lambert, oddly brilliant doing essentially nothing. Charles and Emily love one another without being exactly close. She’d like her father to get back into the swing of life, to un-retire or find a hobby, instead of merely mailing her articles he’s clipped from a newspaper. The paper newspaper!
In “A Man on the Inside,” Charles (Ted Danson) has a daughter named Emily (Mary Elizabeth Ellis) and three comically unresponsive grandchildren, Nico (Lincoln Lambert, left), Wyatt (Wyatt Yang) and Jace (Deuce Basco).
(Colleen E. Hayes / Netflix)
It’s in the newspaper that he comes across a classified ad, reading: “Wanted, Investigative Assistant, Male 75-85, Must have phone.” This brings him to the office of Julie (Lilah Richcreek Estrada), a private investigator whose client (Marc Evan Jackson, also from “The Good Place”) has hired her to look into the theft of his mother’s ruby necklace from her room in a posh San Francisco retirement home. Julie needs a senior citizen to go undercover in that “closed ecosystem” — that is, closed to her — to collect information, identify suspects and report back.
The premise seems improbable, yet the series is based on a 2020 Chilean documentary feature titled “The Mole Agent,” which tells just such a tale. That Charles is, at least to begin with, what Julie calls “the best option in a sea of not very good options,” is of course the point, and the starting point. The bumbling spy is a reliable comic figure, and Charles, masking ill-conceived lies with more ridiculous ones, would seem weird to anyone taking him at face value — if it were any other face than Danson’s.
At the Pacific View retirement community, Julie poses as Charles’ daughter, and when Emily arrives unexpectedly, he introduces her to the director, Didi (Stephanie Beatriz), as “my niece … Julie,” adding an extra layer to the farce. (“My brother, um, had a child, and it grew into her,” he’ll say, making a later awkward introduction.) Emily is skeptical of the whole arrangement — “You know, reading a bunch of Sue Grafton novels doesn’t make you a detective,” she tells her father — but it will also, as it bumps along, bring them closer together. It’s that kind of show.
As a person in his late 70s — Danson is 76 — one would say that Charles is a fish only half out of water in this environment; in his erect bearing and chiseled-profile, lead-actor handsomeness, he remains subtly distinct from his peers. Which is not to say that they’re a sedentary crew: Charles finishes his first night drunk — happy hour begins at 3 p.m. — and stoned, and he wakes up in the morning with two slices of pizza stuck to his back. (“Thank God,” he says to Julie, who has roused him from hungover sleep. “I’m starving.”)
The series also stars Margaret Avery as Florence, left, and Sally Struthers as Virginia.
(Netflix)
Sally Struthers, who doesn’t get as many meaty roles as she deserves, is Virginia, flirty and forward. (“You are tall” are her first words to Charles.) Elliott (John Getz) regards Charles as competition. An affecting Susan Ruttan plays Gladys, a gentle, former costume designer, forgetting things. Solitary Calbert (Stephen McKinley Henderson) proves a temperamental match for Charles. Florence (Margaret Avery) tempts him into reading Shakespeare, which goes over his head. (Significantly, he’s assigned the “Seven Ages of Man” speech from “As You Like It,” in which life’s last age is described as “second childishness and mere oblivion, sans teeth, sans eyes, sans taste, sans everything.”) And I was glad to see Veronica Cartwright among the crowd, as well — a minor role, but, still, it’s Veronica Cartwright.
From the beginning of his learning curve, Charles charges ahead with a mixture of professional determination, childlike glee and scientific precision — finding the atmosphere “rife with secrets, grudges, interpersonal issues.” He compiles thick dossiers on everyone — when not questioning his fitness for the job. But even as he gets the hang of the work, he becomes more interested in the people than the case. He forges bonds and makes friends, which Julie warns him against. “Being a spy means being lonely,” she says, missing the point of the series she’s in.
While it isn’t as rich and strange as “The Good Place,” “A Man on the Inside” is nevertheless a pleasure on most every level, and, as before, Schur wants more than just to make you laugh. To the extent that it’s sentimental, it’s also clear-eyed, genuine and conceptually rigorous.
Many of us will have had the experience of managing older parents, or trying to. Many of us are old ourselves. Death waits offstage here, in plain sight. All these septuagenarian actors are still working, with years of experience and shelves of awards among them, at the top of their game — even if the people they play are not. In a sense, they’re just pretending to be old.
Entertainment
Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman
Choosin’ to stay home instead of trekking out to Indio for this weekend’s Stagecoach festival? Don’t worry, you’ll be able to listen to all the country music your heart desires. You can get your country heartbreak on with Ella Langley, Bailey Zimmerman and Cody Johnson, and then rock out with Counting Crows. If you prefer EDM, you can catch Diplo and Dillstradamus (Dillon Francis and Flosstradamus) as Friday’s closing acts.
The festival will be livestreamed on Amazon Music, Amazon Prime Video and Twitch beginning at 3 p.m. On Sirius XM’s The Highway (channel 56), you can listen to exclusive interviews and live performances along with a special edition of the Music Row Happy Hour. The station Y’Allternative will also be covering the festival on Friday evening.
Here are updated set times for the Stagecoach livestream Friday performances (times presented are PDT):
Channel 1
3:05 p.m. Noah Rinker; 3:25 p.m.; Adrien Nunez; 4 p.m. Ole 60; 4:25 p.m. Avery Anna; 5 p.m. Chase Rice; 5:55 p.m. Nate Smith; 6:50 p.m. Ella Langeley; 7:50 p.m. Bailey Zimmerman; 8:55 p.m. the Red Clay Strays; 10 p.m. Cody Johnson; 11:30 p.m. Diplo
Channel 2
3:05 p.m. Neon Union; 3:25 p.m. Larkin Poe; 4 p.m. Marcus King Band; 4:50 p.m. Lyle Lovett; 5:35 p.m. BigXthaPlug; 6:30 p.m. Noah Cyrus; 7 p.m. Wynonna Judd; 8 p.m. Counting Crows; 8:50 p.m. Sam Barber; 10 p.m. Dan + Shay; 10:45 p.m. Diplo featuring Juicy J; 11:05 p.m. Rebecca Black; 11:45 p.m. Dillstradamus
Sirius XM Music Row Happy Hour
1 p.m. Avery Anna; 2 p.m. Nate Smith; 2:30 p.m. Josh Ross; 3 p.m. Cody Johnson; 3:30 p.m. Gabriella Rose; 5:15 p.m. Nate Smith; 7:50 p.m. Bailey Zimmerman; 9:30 p.m. Cody Johnson; 11 p.m. Diplo
Sirius XM Y’Allternative
5 p.m. Ole 60; 6 p.m. Larkin Poe; 7 p.m. Marcus King Band; 8 p.m. Sam Barber
Movie Reviews
Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows
Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.
What Makes It Work
The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.
Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.
The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.
Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.
Nailed It
This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.
The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!
The Verdict
This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.
Entertainment
Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns
A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.
Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.
In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.
As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.
“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.
He is seeking $35 million in damages.
Representatives for Live Nation were not immediately available for comment.
The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.
Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”
Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.
Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.
Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”
In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.
Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”
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