Lifestyle
‘Disclaimer’ is a sprawling thriller built for the streaming age
Cate Blanchett as Catherine Ravenscroft in the new Apple TV+ series Disclaimer.
Apple TV+
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Apple TV+
Ever since streaming became a thing, I’ve wondered why more people who make TV don’t take advantage of its freedoms.
Sure, creatives talk often about how they’re making 10-hour movies. But that’s frequently just empty bluster to cover for projects which feel like skeletal ideas stretched over too many hours, or a jumble of plotpoints shoehorned uneasily into episodes aimed mostly at boosting engagement.
And then a project comes along like Apple TV+’s Disclaimer. This seven-episode series uses the breadth and sophistication of streaming to tell a tale which evolves steadily, appearing to be one thing before morphing into something else.
In the process, it subverts expectations to ask pointed questions of both the characters and its audience.
A woman who has it all faces her deepest secret
It all begins with Cate Blanchett’s character Catherine Ravenscroft. She’s a journalist and documentary filmmaker successful enough to earn a high-profile award presented by CNN star Christiane Amanpour one moment, and credibly fool a co-worker into thinking Jodie Foster will star in a movie adaptation the next.
She is the sort of high-achieving, work-focused alpha female that Blanchett plays so magnificently – see 2022’s Oscar-nominated Tar – flanked by a well-meaning but feckless husband and an emotionally floundering son.
Living a glamorously upper middle class life, Catherine is a character easy to envy and suspect – so when a novel shows up in her mail which presents a lightly fictionalized story of her extra-marital encounter with a young man decades ago, it’s tough to find sympathy for a woman who seems to have betrayed everyone in her life.
The book, titled The Perfect Stranger, comes prefaced with an ominous, um, disclaimer: “Any resemblance to persons living or dead is not a coincidence.”
The novel paints a picture of horrific self-absorption Catherine is desperate to keep hidden. It details how a woman had an affair with a young man who later drowned trying to save her son, leading the woman to tell police she didn’t know him to cover up their connection.
A journalist renowned for exposing others’ secrets seems to have a terrible one of her own.
Kodi Smit-McPhee plays Nicholas, Catherine’s son, while Sacha Baron Cohen plays her husband, Robert Ravenscroft.
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Apple TV+
A story that moves carefully
It is difficult to explain the many twists this narrative takes without dropping spoilers that will ruin the experience. And some may feel the plot – crafted with an auteur’s flair by writer/director Alfonso Cuarón, based on a 2015 novel by Renee Knight – is too predictable and outlandish to land with the power he so obviously intends.
But I found myself swept away by Cuarón’s patient, attentive style. (You’ll spend way too much time wondering about the inner life of a cat which constantly pops up in Catherine’s home at the oddest moments, framed artfully by the director’s lens.) This is a story that moves carefully in revealing its secrets, but never completes an episode without delivering forward momentum, leaving you with new clues, bigger questions and a desire to learn more.
Cuarón, a Mexican filmmaker whose name is associated with ambitious movies like Gravity and Roma, assembles an ace cast here. Sacha Baron Cohen is convincingly emasculated as Catherine’s entitled husband Robert and Oscar nominee Kodi Smit-McPhee brings maximum emo energy as their drug-addled son, Nicholas.
But it is Kevin Kline who is the revelation, even though he’s turned in Oscar, Emmy and Tony-winning work for decades. An American often cast as the prototypical yank, here Kline expertly plays a quietly caustic British widower – retired private school teacher Stephen Brigstocke, devastated after the loss of his wife.
Kevin Kline as Stephen Brigstocke.
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Apple TV+
With an immaculate accent and disheveled style, Kline plays Brigstocke as a man grieving over a family life atomized by loss, stumbling on an ambitious, merciless plan for revenge.
He blames Catherine for the death of his son, which happened after the two met years ago. Brigstocke vows to make her pay, in part, by circulating the book.
Shifting narrators bring different perspectives
Even the narration is complicated here. While Kline’s character often reveals his thoughts by speaking directly to the viewer, Catherine’s ideas are rendered by an omniscient female narrator speaking about her, sometimes sounding like the voice of the book itself. (And yes, it can be confusing, possibly on purpose). There are also flashbacks featuring Kline playing Brigstocke as a younger man and a different actress, Leila George, playing the younger version of Catherine.
It all services a tale exploring the power of storytelling and the danger of assumptions leveraged to make us believe.
Yes, the ending is dramatic while spotlighting those ideas in stark terms – some may even find it overly manipulative and a little too pat.
But I reveled in a well-told tale that truly earned every second of its seven-episode length, allowing a master filmmaker the time, talent and resources to weave a story perfectly suited for the streaming space.
Here’s hoping a few other folks working in this industry are paying close attention.

Lifestyle
‘How to Rule the World’ explores education and power at Stanford University
Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.
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Ben Margot/AP
When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.
Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.
Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.
He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.
In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.
We reached out to Stanford University for comment and have not heard back.
Listen to the interview by clicking play on the blue box above.
Lifestyle
OTB Takes Full Control of Viktor & Rolf
Lifestyle
How having zero points in tennis — or ‘love’ — came to sound so sweet
The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.
Kirsty Wigglesworth/AP
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Kirsty Wigglesworth/AP
Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.
As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.
“Love” comes from the heart — or an egg?
It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.

But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.
“By and large, the original system has held up almost entirely,” Flink said.
The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.
Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.
The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.
It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.
“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.
To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.

Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.
But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.
“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.
“Love” probably isn’t going anywhere
Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.
“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”
There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.

Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.
But “love” still prevails.
“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”
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