I recently caught up with Relentless Pro Wrestling (PRW) Live Event Manager “The Orange County Hammer” Ben Raymond about the promotion’s upcoming charity event, “The Fight in the Dog.” Centered around helping dogs find forever homes, the event was inspired by AfterGLOW Wrestling’s successful “Wrestling is 4 the Dogs” charity show and will feature members of AfterGLOW Wrestling in attendance as the two promotions continue supporting a great cause.

Relentless Pro Wrestling is also partnering with Wahoo’s Fish Tacos and The Good Pawject to help make the event a community effort that shines a spotlight on dog adoption while delivering an exciting night of professional wrestling.

The card will be headlined by RPW So-Cal Cruiserweight Champion E.J. Sparks defending his championship against El Mexica. Fans will also see G.T. Maestro take on Alex Tomas, Angie Savage face Xochi Fatale, Angel Purehart battle Eli Emerson with Christian Rosenberg, Onyx Amagi square off against Raymond Bright and Lucas Lair meet “The Wretched One” Kasey.

During our conversation, Hammer also broke the news that Relentless Pro Wrestling has signed a pair of WOW – Women of Wrestling Superheroes. Fans attending “The Fight in the Dog” will have the opportunity to meet Goldie Collins, one half of the tag team Animal Instinct.

“The Fight in the Dog” takes place on Saturday, August 15, 2026 at the Elks Lodge in Garden Grove, CA.

To purchase tickets for, “The Fight in the Dog,” visit: https://www.eventbrite.com/e/the-fight-in-the-dog-tickets-1992118848101.

Follow Relentless Pro Wrestling in Instagram @relentless_pro_wrestling and on Facebook at Relentless Pro Wrestling. Catch previous matches on YouTube at Relentless Pro Wrestling.

Admittedly, I did not expect to enjoy, “Coconut Valley,” as much as I did. Making its world premiere on Saturday, July 25, 2026, at the San Antonio Film Festival (SAFilm), this mockumentary dark comedy initially appears to be another quirky treasure-hunting adventure. Instead, it reveals itself as something far more thoughtful and oddly hopeful.

Raymond Martel (Sean Rey) was once the celebrated creator of the fictional hit video game “Corsair,” but after the failure of his latest release he is desperate for a comeback. Believing that documenting his trip to Thailand for his late father’s funeral could provide the perfect redemption story, Raymond hires a documentary crew to follow him and his every move. Once reunited with his free-spirited and hedonistic brother Eddy (Drew Tyce), the pair uncover a series of cryptic clues their father left behind, all pointing toward a legendary cache of Japanese gold supposedly buried during World War II. Whether the treasure actually exists hardly matters to Raymond. He sees a compelling narrative and that is enough to justify dragging everyone into the adventure.

What makes “Coconut Valley,” refreshing is its conversations are real. One moment the brothers are casually discussing the Assyrio-Babylonian, “The Epic of Gilgamesh.” The next, Eddy is bringing their father’s ashes to a house of ill repute as a final, unconventional bon voyage. These moments are bizarre, funny and strangely believable, creating the impression that the camera has become invisible like Reality TV in capturing the family dynamics over scripted dialogue.

Although the film presents itself as a buddy-comedy treasure hunt, it quietly subverts the genre. The search for gold gradually fades into the background as the emotional journey between two estranged brothers takes center stage. Grief, resentment and the complicated legacy of their father become the real story. “Coconut Valley,” shifts from comedy to vulnerability, from absurdity to genuine brotherly intimacy, keeping the audience off balance without ever being manipulative.

Rey and Tyce make for an intriguing duo. Raymond’s relentless pursuit of one final professional triumph contrasts with Eddy’s search for something resembling inner peace. Neither character is particularly admirable, yet both are uniquely charming in spite of their flaws. As the journey unfolds, each brother unexpectedly finds in the other exactly what he has been seeking all along. Their growing bond gives the film its pulse, reminding us that family can provide the peace we spend our lives searching for elsewhere.

Directed by Romanian-Canadian filmmaker Florian Potra, co-written by Potra and Rey and edited by Peter Hatch, “Coconut Valley,” makes excellent use of its mockumentary format. Shot entirely on location in Thailand and performed in English, the film captures both the bustling energy of Bangkok and the lush beauty of Koh Phangan, becoming its own character. Porta stated, “We were four guys and a camera. No crew, no sets, nothing recreated on a soundstage, and nothing is artificially, ‘dressed.’”

“Coconut Valley,” isn’t about finding buried gold. It’s about rediscovering family, confronting the stories we tell ourselves and learning that sometimes the greatest prize is the connection waiting at the end of the journey. It’s funny, eccentric and surprisingly moving, making it a must see at this year’s San Antonio Film Festival.

To purchase tickets for the 3:00 p.m. showing for “Coconut Valley,” at SAFilm visit: www.safilm.com.

Carlos Alvarez Theater is located at the:

Tobin Center

100 Auditorium Cir.

San Antonio, TX 78205

4 out of 5 ⭐️⭐️⭐️⭐️

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Based on the cult classic film by Stephan Elliott, “Priscilla, Queen of the Desert” at No Square Theatre in Laguna Beach, CA, is an uplifting, toe-tapping adventure of three friends, drag queens Tick (Christopher Voumas) and Felicia (Sawyer Reece Maier) along with transwoman, Bernadette (Jason Pascual) are members of a glamorous Sydney-based drag show, looking for a change of scenery.

After a call from Tick's estranged wife and in desperate need of a change of scenery, the trio take their act across the Australian Outback aboard a battered old bus affectionately named "Priscilla." Along the way they encounter friendship, bigotry, acceptance and several surprises. The show is all set to an irresistible pop anthems including, “It’s Raining Men”, “I Will Survive”, “Hot Stuff”, “Go West”, “Girls Just Want to Have Fun” and “I Love the Nightlife.”

I hadn’t seen Elliott’s film, “The Adventures of Priscilla, Queen of the Desert” since it was in heavy rotation on HBO or Showtime in the mid-’90s. The only thing I remembered was the line, Where Bernadette is shocked by Felicia’s disco memorabilia stating in utter confusion, "What are you telling me? This is an ABBA turd?” Thankfully, that little “nugget” was flushed out.

Directed by Joe Lauderdale with choreography by Ellen Prince, they created no easy task for Pascaul, Maier and Vournas are filling the stilettos of Terence Stamp, Guy Pearce and Hugo Weaving. Fortunately, they don’t just wear them, they strut in them.

The three leads and the hardworking ensemble survive what feels like an Olympic decathlon of costume changes, dance numbers, lip-sync performances and live vocals without missing a beat. Brigitte Harper’s costumes are worth the price of admission alone, each somehow more outrageous than the last in the best possible way. Music director and pianist Joseph Mulroy leads a terrific six-piece band featuring Alan Kelly-Crawley on synthesizer, Mark Sproull on guitar, Nic Gonzalez on bass, Keith Ranson on trumpet and Daniel Mulroy on drums, keeping every disco anthem spinning under the shimmer of a preverbal disco ball.

The Divas, Jordyn Brady, Meg Rocha and Martina Y. Sanchez, deliver powerhouse vocals while at times perched on scaffolding, fearing at any moment, someone would be knocked out by a low hanging speaker if they moved their head millimeters in the wrong direction. Sanchez is hilarious as the unforgettable ping-pong girl while Brady steals laughs as a local barfly. Both dive headfirst into every character. Brady and Michael Marmont, who plays Bob, also deliver the evening’s most convincing Australian accents.

Among the ensemble, Michelle Eiffert stood out for her hyper-focused commitment. While a few performers subtly acknowledged familiar faces in the audience, Eiffert stayed locked into every dance number from start to finish. Duke Newcomb was infectious enthusiasm and looked especially at home in drag as Miss Understanding, even more comfortable than in masculine attire. If I were a woman, I’d be livid as to how good his calves looked in heels.

Finn Miles Reid continues to impress with every production. Kenneth Phuong and Michael Cervantes looked more confident than their previous performances at No Square, while Geo Herrera, Allyson Blackstone, Benna Spots and Patrick Castillo made every energetic moment of stage time count. Katie Hamilton’s Marion is far more understanding than any estranged wife should be, while Cohen Moss surprised us all with his melodic vocals.

Lighting designer Sophia Lombardo and Stage Manager and lighting operator Jordyn Tagle add visual flair that makes the intimate stage feel much bigger. Emily Hood’s wigs deserve their own curtain call.

Considering the cozy performance space, the sheer number of costume changes, dance numbers and musical performances makes this production even more impressive. It showcases the dedication, talent and controlled chaos that have become No Square Theatre’s signature.

My only criticism is that the opening gets the bus out of the depot a little too quickly. Tick’s introduction and the reason for the trio’s road trip happen so fast that anyone unfamiliar with the film or musical may spend the first few scenes playing catch-up. That rush leaves first timers wondering, “Which one is ‘Priscilla’?”

“Priscilla, Queen of the Desert” is joyful, energetic and just the right amount of over-the-top camp. No Square Theatre doesn’t put on a musical. It throws one hell-of-a-party and everyone is invited.

“Priscilla, Queen of the Desert” at No Square Theatre runs from now through August, 2, 2026.

To purchase tickets for “Priscilla, Queen of the Desert” at No Square Theatre visit: nosquare.org or call the box office at: +1-949-715-9438.

No Square Theatre is located at:
384 Legion St.
Laguna Beach, CA 92651

4.5 out of 5 ⭐️⭐️⭐️⭐️½

Apple TV released the trailer for “The Dynasty: UConn Huskies,” a three-part documentary series chronicling the 40-year rise of the University of Connecticut women’s basketball program under Hall of Fame coach Geno Auriemma.

Directed and executive produced by Emmy Award winner Matthew Hamachek and Emmy Award nominee Erica Sashin, the Skydance Sports production premieres globally on Apple TV on August 21, 2026.

The series explores the sustained success of what it calls the most dominant program in college basketball history through exclusive interviews with members of UConn’s 2025 national championship team and players, coaches and figures who helped shape the program across four decades. Featuring archival footage and behind-the-scenes access, the documentary examines the expectations, sacrifices and culture behind UConn’s run of championships.

The series also includes interviews with KK Arnold, Geno Auriemma, Sue Bird, Paige Bueckers, Jim Calhoun, Swin Cash, Chris Dailey, Mickie DeMoss, Jana El Alfy, Jamelle Elliott, Azzi Fudd, Jeff Goldberg, Sally Jenkins, Steve Kerr, Rebecca Lobo, Jackie MacMullan, Maya Moore, Alexa Philippou, Shea Ralph, Semeka Randall, Jennifer Rizzotti, Breanna Stewart, Sarah Strong, Diana Taurasi and Tamika Williams-Jeter.

“The Dynasty: UConn Huskies,” is produced by Skydance Sports with Learfield Studios and Revue Studios serving as executive producers. Executive producers are Jesse Sisgold, Jason T. Reed, Jon Weinbach, Lauren Gaffney, Erica Sashin, Matthew Hamachek, Lindsay Kagawa Colas, Grant Jones, Jon Liebman and Zoe Rogovin.

The documentary joins Apple’s growing slate of sports documentaries, including “Fight for Glory: 2024 World Series,” “Onside: Major League Soccer,” “Messi’s World Cup: The Rise of a Legend” and “Stephen Curry: Underrated.”

The 32nd Annual San Antonio Film Festival (SAFilm) is about to hit the ground running with ‘80s cross cultural nostalgia flick, “The Legend of Juan Jose Mundo.”

Set in Suburban 1984, New York, Julie Gornick (Anna Mirodin) welcomes Spanish exchange student Juan Jose Mundo into her home, only to watch him charm nearly every girl in her class. Making an impressive feature debut, Alexandro Byrd gives Juan Jose an irresistible aw-shucks innocence that perfectly disguises his womanizing ways. Julie mistakes that magnetic personality for love, setting up a coming-of-age story that’s as bittersweet as it is humorous. “Cobra Kai”s Hannah Kepple is perfect as Suzanne Weiss while Chase Vacnin plays it cool as Andy Kaplan. Lisa Birnbaum and David Lowenstein are the Boomer parents Gen X and Millennials will be familiar with.

Directed by Michael Walker and co-written with his wife Susan Gomes, “The Legend of Juan Jose Mundo,” is based on Gomes’ own teenage years at White Plains High School. An actual Spanish exchange student inspired Juan Jose where Walker and Gomes gathered stories from Gomes’ classmates to recreate what life was like in 1984. The result is part true story, part high school comedy and totally convincing. It embraces the awkwardness, romance, cross-culturalism, race issues and political incorrectness of the era without turning the decade into a joke.

The world itself becomes part of the story. The malls, the faded denim jackets, mixed tapes, VHS bootlegs and the music aren’t set dressing, they’re characters. They remind you of weekends spent wandering record stores, hours under fluorescent mall lights and the excitement of hearing your favorite song on the radio, while trying to be the 16th caller, scoring concert tickets. Best of all, the soundtrack stays true to 1984 featuring hits like Alphaville’s “Big in Japan”, Herbie Hancock’s “Rockit” and Rome Void’s “Never Say Never”, unlike so many period films that can’t resist slipping in songs from 1987 because audiences recognize them, every musical choice belongs exactly where it should.

That same attention to detail extends throughout the production. Cinematographer Kristy Tully shot digitally but lit every frame with traditional lighting techniques from the era, giving the film the warm glow of an authentic 1980s movie. Production designer Annie Simeone performs minor miracles on a modest budget, building a Fotomat and filling every frame with details like endless phone cords, wood-paneled basements and lovingly crafted mixtapes.

Even the dialogue sounds like it belongs in 1984. The slang, the conversations and the teenage concerns are all lived experiences rather than written through a modern lens, avoiding the mistake many bigger-budget films still make.

More “Valley Girl” than “Pretty in Pink” with a touch of “The Last American Virgin” on a “Better Off Dead” budget, “The Legend of Juan Jose Mundo,” captures first crushes, heartbreak and the strange social gravity of high school, where if everyone wants Juan Jose then of course Julie believes she should too. Funny, heartfelt and refreshing, it’s a reminder that the smallest stories often become the ones we remember forever.

“The Legend of Juan Jose Mundo,” screens at SAFilm on Tuesday, July 21, 2026 at 7:00 p.m. at the Radius Center.

To purchase tickets for “The Legend of Juan Jose Mundo,” for the 32nd Annual San Antonio Film Festival visit: https://relaytix.com/event/the-legend-of-juan-jose-mundo.

Radius Center (2nd floor)
106 Auditorium Cir #120
San Antonio, TX 78205

5 out of 5 ⭐️⭐️⭐️⭐️⭐️

This year’s opening night horror feature at the 32nd annual San Antonio Film Festival (SAFilm) is the world premiere, “Valley of the Horntak,” a haunting folk horror film that blends psychological terror with an emotionally resonating family drama. Directed, co-written and produced by Maxwell Morro with co-writer and executive producer Erik Weed, the film establishes an unsettling atmosphere that endures well beyond its final moments.

Rather than depending on conventional jump scares, “Valley of the Horntak,” generates suspense through disciplined, powerful storytelling, examining themes of family, generational trauma and the enduring weight of the past. The narrative unfolds, drawing audiences into its mysterious world while maintaining both dramatic tension and emotional depth.

The cast is solid across the board. Vernon Wells is excellent as Gordon, the mysterious patriarch whose calm confidence makes him a powerful presence. Kathleen Kinmont gives Natalie genuine emotional depth in her protective nature, while Michael G. Kehoe brings both regret and determination to Julian. William Mann is likable as protagonist Thomas who reluctantly joins his father Julian on his quest in searching for a missing boy and Nicole Gellman is genuinely unsettling as Edith, adding to the film’s growing sense of tension, never fully knowing where her loyalties lie.

Lucas D. Miller’s cinematography is one of the film’s biggest strengths. His use of natural light gives the forests and surrounding landscape an eerie, believable feel, making the setting just as important as the characters. Combined with some haunting imagery, the visuals create a constant sense of unease that lingers throughout the film.

The atmosphere is where, “Valley of the Horntak,” really shines. Every location feels rich with history and mystery of this community, and the slow, deliberate pacing rewards viewers who enjoy immersive, psychological horror. The mythology behind the isolated community is where the story unfolds, without taking attention away from the characters.

“Valley of the Horntak,” is a strong addition to modern folk horror, choosing atmosphere, memorable visuals, and character-driven storytelling over excessive gore. With its striking cinematography, effective use of natural light, it’s an easy recommendation for anyone who enjoys stress on the nervous system horror flicks.

“Valley of the Horntak,” at the 32nd annual San Antonio Film Festival on Tuesday, July 21, 2026, at 9:00 p.m. at the Radius Center.

To purchase tickets for the World Premiere of “Valley of the Horntak,” at SAFilm visit: https://relaytix.com/event/valley-of-the-horntak.

The Radius Center is located at:
106 Auditorium Cir #120
San Antonio, TX 78205

4.5 out of 5 ⭐️⭐️⭐️⭐️½

You might have noticed I’m not exactly the target demographic for, “Menopause The Musical.” Still, with the show celebrating its silver anniversary and playing through July 26, 2026, at the Laguna Playhouse in Laguna Beach, CA, curiosity had me settled in for a matinee.

While I have no firsthand experience of, “the change,” it was imminently clear that much of the audience did. Judging by the laughter this milestone production continues to strike a chord with generations of women who have survived second puberty with their sense of humor intact.

The sadist in me was mildly disappointed the playhouse did not adhere to my suggestion of shutting off the air conditioning every 15 minutes, turning it into an immersive experience. The capitalist in me was extremely baffled to discover they were selling, “Hot Flash Fans” for charity while refusing to “adjust” the thermostat to help boost sales…talk about a missed opportunity.

Set entirely in a big name department store beginning in the lingerie section, the musical follows four strangers brought together while hunting for accessors and unmentionables as they quickly discover they share far more than shopping frustrations in common. This quartet swap stories about hot flashes, mood swings, wrinkles, weight gain, medication and everything else menopause throws their way. Before long they’re bonded by shared experiences via song parodies.

The cast I saw for the first half of the run (July 14-19, 2026) features Anise Ritchie as the Professional Woman, Adrianne Hick as the fading Soap Star, Ingrid Cole as the free-spirited Earth Mother and Teri Adams as the lovable Iowa Housewife, doing double duty serving as Choreography Supervisor as well. Together they create an energetic ensemble that keeps the comedy moving while embracing the show’s affectionate celebration of womanhood with repeated trips to the restroom.

Much of the fun comes from the clever parodies of classic hits from the 1960s, 70s and early 80s. Familiar melodies are given witty new lyrics about hormone swings, memory lapses, being babied by their elderly mothers and everything in between, making it nearly impossible not to smile as recognizable tunes take on what appeared to be hilariously relatable new meanings.

The production value are far stronger than anticipated for a multi-use, single set. Under the direction of Seth Greenleaf, the show moves at a brisk pace, allowing every gag and musical number to land. The colorful, versatile Art Deco-inspired department store set transforms an everyday shopping trip into the ideal backdrop for the action. Music Supervisor Alan J. Plado keeps the show's infectious score humming while Audio Supervisor Caleb Spivey delivers crystal-clear sound, ensuring every lyric and punchline is heard. Lighting Supervisor Aaron Gibson bathes the stage in warm, vibrant looks that add energy and polish throughout the performance.

Behind the scenes, Stage Managers Heather M. Brose and Kimberly L. Simari keep everything running seamlessly while Production Manager Lauren Schwartz and Production Coordinator Kevin Patterson help maintain the slick, professional presentation that makes this anniversary production shine.

Created by Jeanie Linders, “Menopause The Musical,” has entertained more than 17 million people worldwide over the past 25 years as well as collecting well over a $1 million for charity. It’s easy to understand why. The show isn’t trying to reinvent musical theater. Instead it offers 90 minutes of unapologetic, infectious nostalgia and plenty of laughs for 50 percent of the population while celebrating an experience millions of women continue to share.

I may not be the intended audience but judging by the standing ovation, the women who are wouldn’t have wanted to spend their afternoon anywhere else, especially in a perfectly air conditioned building during a Southern California heatwave.

“Menopause The Musical,” runs at the Laguna Playhouse from now through July 26, 2026. The second leg of the run (July 21-26, 2026) will will feature Mary Louise Lee as the Professional Woman, Stacey Harris as the fading Soap Star, Roberta B. Wall as the free-spirited Earth Mother and Lumza Ortiz as the lovable Iowa Housewife.

To purchase tickets for “Menopause The Musical,” at the Laguna Playhouse visit: http://lagunaplayhouse.com/events/menopause-the-musical/ or call the box office at: +1-949-497-2787.

Laguna Playhouse is located at:
606 Laguna Canyon Rd.
Laguna Beach, CA 92651

3.75 out of 5 ⭐⭐⭐¾

For a handful of years I have sat in darkened theatres thinking I’d seen just about every trick the stage had to offer. Then “Harry Potter and the Cursed Child,” arrived at the Segerstrom Center for the Arts and detonated that assumption, reminding everyone why they are about to celebrate their 40th anniversary as the premiere theatre in Orange County. This is a breathtaking feat of artistic vision and technical precision.

Written by Jack Thorne, from an original story by J.K. Rowling, Jack Thorne, and John Tiffany, “Harry Potter and the Cursed Child,” masterful in its theatrical storytelling. This production rivals anything put on the silver screen. The visual effect tied in with a live performance is astonishing.

Thate wonder begins with John Tiffany’s perfect direction. He balances intimate family drama with astonishing theatrical scale, guiding an immensely complex production with a remarkable vision.

The visual world created by Christine Jones is extraordinary, shifting effortlessly between locations. Steven Hoggett’s movement direction gives the production its soul, transforming transitions into storytelling. Katrina Lindsay’s costumes beautifully expand the Wizarding World while giving each main character a distinct identity. Neil Austin’s lighting does far more than illuminate the stage it shapes mood, reveals magic and is the backbone of this show.

The evening’s most outstanding achievement belongs to Illusions and Magic Specialist Jamie Harrison. The illusions are executed flawlessly, inspiring audible gasps throughout the audience. They never feel like tricks but rather genuine acts of magic.

Completing the production’s breathtaking visual language are Finn Ross and Ash J. Woodward, whose video design seamlessly integrates with the scenery, lighting, movement and illusions to create a world without limitations.

With a company of well over fifty performers, the ensemble is absolutely remarkable. Every performer contributes to a production that is impeccably disciplined and endlessly energetic.

The principal cast is exceptional throughout. The performers portraying Adam Grant Morrison as Albus Potter, Nick Dillenburg as Harry Potter, Abbi Hawk (which would be a great professional wrestler name) as Ginny Potter, Rachel Leslie as Hermione Granger-Weasley, Matt Harrington Ron Weasley and Ryan Hallahan as Draco Malfoy capture the beloved characters personas from the books while making each role distinctly their own. Along with Julia Nightingale as Delphi Diggory, birthing another new character to the franchise.

My standout performer of the evening was Mackenzie Lesser-Roy as Moaning Myrtle. She is an absolute scene-stealer, combining fearless physical comedy, impeccable timing and boundless energy into one unforgettable performance. Every entrance elevated the production.

Though his Scorpius Malfoy is often annoying shrill, Dave Fine’s performance shows the vulnerability, emotional growth and even comic charm, making you like a Malfoy, creating the production’s emotional anchors. While I occasionally found some of his shriller vocal choices distracting, there is no denying his exceptional talent or the heartfelt sincerity of his performance.

What makes “Harry Potter and the Cursed Child,” extraordinary is that every artistic discipline operates at the highest level. Direction, design, choreography, lighting, costumes, projections, illusions, performances, stage management and technical execution create a cohesive unit that has been unmatched on the stage, yet.

This is beyond great theatre. It is the finest demonstration of theatrical craftsmanship I have ever witnessed. There there are a couple of plot holes and the second act drags on a bit, the Segerstrom Center for the Arts has brought Orange County an exhilarated and genuinely awestruck production.

For a few unforgettable hours, the impossible became reality. Magic wasn’t an illusion, it was happening live, right in front of us.

“Harry Potter and the Cursed Child,” at the Segerstrom Center for the Arts runs from now through July 25, 2026.

To purchase tickets for “Harry Potter and the Cursed Child,” at the Segerstrom Center for the Arts visit: https://www.scfta.org/events/2026/harry-potter-and-the-cursed-child or call the box office at: +1-714-556-2787.

Segerstrom Center for the Arts is located at:
600 Town Center Dr.
Costa Mesa, CA 92626

4.75 out of 5 ⭐⭐⭐⭐¾

Brendan Wayne and I found common ground before the interview officially began. A shared appreciation for boxing, Star Wars and the Orange County coastline quickly broke the ice, setting the stage for a conversation that stretched far beyond the armor of one of television’s most recognizable heroes.

Wayne, the grandson of Hollywood icon John Wayne and the actor inside the beskar armor portraying Din Djarin in “The Mandalorian,” is entering a new phase of his career with the launch of, “Hats & Helmets with Brendan Wayne,” a podcast that reflects a lifelong passion for storytelling and the creative people behind it.

Having debuted July 8, 2026, the series shifts Wayne from in front of the camera to behind the microphone, where he explores the art and craft of storytelling with actors, writers, directors, producers and other creatives whose work shapes film, television, books and pop culture. The podcast is also a family affair, produced by his daughter, Celia, making it one of the most personal projects of his career.

For Wayne, storytelling has always been more than an occupation. It is part of a family legacy that began long before audiences knew him as the armored Mandalorian. While carrying one of Hollywood’s most recognizable last names comes with expectations, Wayne has steadily built a career that stands on its own, blending the classic traditions of Western filmmaking with modern action franchises.

That balance is perhaps most evident in “The Mandalorian,” where Wayne physically embodies the title character in many of the series’ action and performance sequences. Working alongside Pedro Pascal, who provides the character’s voice and dramatic performance, and stunt performer Lateef Crowder, the trio has created one of the most beloved heroes in the modern Star Wars universe. Their collaboration continues in Lucasfilm’s upcoming feature film, “The Mandalorian & Grogu,” bringing Din Djarin’s story from Disney+ to the big screen.

The podcast’s premiere episode reunites Wayne with Crowder, a two-time Emmy Award winner whose work has become synonymous with some of the franchise’s most memorable action sequences. Rather than focusing solely on finished productions, the conversation examines the collaboration, preparation and creative process that audiences rarely get to see.

Future episodes promise a similar approach, pulling back the curtain on how memorable stories are conceived, refined and ultimately brought to life. Wayne hopes to spotlight not only familiar faces but also the writers, filmmakers and craftspeople whose contributions often remain behind the scenes.

The podcast also represents a milestone for Wayne personally. Collaborating with his daughter has transformed the project into something that extends beyond entertainment, allowing two generations of the Wayne family to work together while continuing a storytelling tradition that spans decades.

Although, “Star Wars” has introduced Wayne to millions of fans around the world, his résumé reaches well beyond a galaxy far, far away. Throughout his career he has appeared in projects including, “Marvel’s Agents of S.H.I.E.L.D.”, “Sons of Anarchy” and “Cowboys & Aliens,” demonstrating a versatility that has allowed him to move comfortably between television, feature films, Westerns and action-driven storytelling.

As “Hats & Helmets” begins building its audience, Wayne finds himself in a unique position. He is preserving the legacy of one of Hollywood’s most famous families while establishing a voice that is distinctly his own, one that is centered around sharing stories of unsung heroes.

Follow Brendan Wayne on Instagram @therealbrendanwayne.

Listen to “Hats & Helmets with Brendan Wayne,” on YouTube and Audible.

I first saw “Dave Vs. Hollywood” prior to the world premiere at Dances With Films: Los Angeles (‘Dave Vs. Hollywood’ Makes its World Premiere at DWF:LA - Interview) and interviewed co-star Vincent Spano and executive producer, writer and director Brad Dickson to discuss the comedy. Now the film is making its Texas premiere at the San Antonio Film Festival (SAFilm) on Thursday, July 23, 2026.

“Dave Vs. Hollywood” feels like a mix of “Fear of a Black Hat” and “L.A. Story” with a healthy dose of Robert Townsend’s, “Hollywood Shuffle.” It’s a smart, self-aware mockumentary that skewers the entertainment industry while never losing sight of the people chasing their dreams.

Preston Tyler Ward stars as Dave, an aspiring actor who moves to Los Angeles with talent but no connections. After auditioning without success, he decides the traditional path isn’t working and embraces an “anything goes” approach to getting noticed. He joins AA to network, joins Scientology to make industry contacts, considers donating a kidney to an aging movie star for a role and even leaves his headshot on cars outside a studio executive’s funeral. Every bad idea somehow feels believable in a business where timing and luck often matter as much as talent.

Dickson’s inspiration came from wondering about the actors who were almost cast in iconic television roles but missed out because someone else got the break. That idea becomes the foundation for a hilarious satire about the randomness of Hollywood and the lengths people will go to for their shot.

Somehow, Ward makes Dave and easy to root for even when his plans spiral into ridiculous territory. Chloe Paige Flowers is terrific as Jennifer Z. Parker while Vincent Spano brings exactly the right tone as the interviewer. Gregory Standifer, Brianna Ripley, Josh Hooks, Eric Roberts as himself and Eric Himel round out a cast that keeps the laughs coming without ever feeling overplayed.

When I spoke with Dickson and Spano at Dances With Films: Los Angeles, we talked about bizarre audition stories, getting ghosted by casting directors and creating a mockumentary that reflects the reality of trying to break into the business. That authenticity is part of what makes the film work so well.

Whether you’ve worked in the entertainment industry or have simply wondered what aspiring actors go through, “Dave Vs. Hollywood” is an entertaining, sharply observed comedy that delivers plenty of laughs while reminding us that making it in Hollywood often comes down to equal parts talent, persistence and luck.

“Dave Vs. Hollywood” will screen on Thursday, July 23, 2026 at 7:30 p.m.

To purchase tickets for “Dave Vs. Hollywood” visit: https://relaytix.com/event/dave-vs-hollywood.

“Dave Vs. Hollywood” screens at:
Gunter Hotel (3nd floor - T.C. Baker Room)
205 E Houston St.
San Antonio, TX 78205

4.5 out of 5 ⭐️⭐️⭐️⭐️½

Wonder Project is bringing nearly five decades of Sight & Sound Theatre’s acclaimed biblical stage productions to streaming, launching a season-long rollout of exclusive premieres beginning July 30, 2026.

The faith-based entertainment company announced it will debut a new Sight & Sound title approximately every two weeks through the fall, giving subscribers access to one of the largest collections of the theater company’s productions ever made available on a third-party streaming platform.

The lineup includes filmed versions of, “Jesus”, “Ruth”, “Moses”, “Noah – 30th Anniversary”, “Queen Esther”, “David”, “Samson”, “Daniel” and “Miracle of Christmas.” Select titles will also feature behind-the-scenes content exploring how the productions were created. The collection also includes, “The Story of Sight & Sound,” a documentary chronicling the company’s history and origins.

The partnership expands Wonder Project’s growing library of biblical and family-focused programming as the company continues to position itself as a destination for faith-based entertainment.

Founded nearly 50 years ago, family-owned Sight & Sound is best known for its large-scale theatrical productions that bring stories from the Bible to life through original music, elaborate sets, live animals and immersive staging. The company operates theaters in Lancaster, Pennsylvania, and Branson, Missouri, where it entertains nearly 2 million guests each year.

“Few organizations have earned the level of trust and lasting connection with audiences that Sight & Sound has built over generations,” Ani Haftvani, Wonder Project’s senior vice president of programming and content acquisitions, said in a statement. “Their productions have become part of family traditions and a milestone experience for kids growing up across the country. We’re honored to celebrate that legacy with a season of exclusive SVOD premieres, giving Wonder audiences new opportunities to experience these stories together throughout the fall.”

Katie Miller, vice president of brand development at Sight & Sound, said the collaboration reflects a shared mission to create uplifting entertainment for families.

“There’s something special about getting to partner with like-minded organizations using their platforms to spread messages of hope to a hope-hungry world,” Miller said. “We’re grateful for this new partnership and cannot wait to begin bringing these powerful stories to life for Wonder audiences and their families across the country.”

The agreement builds on an existing relationship between the two companies. “A Great Awakening,” the historical drama from Sight & Sound Films, is already available to stream on Wonder Project.

The addition of Sight & Sound’s productions also strengthens Wonder Project’s catalog of biblical programming, which includes original series such as, “House of David” and “The Old Stories: Moses,” along with animated films including “The Prince of Egypt” and “Joseph: King of Dreams” and family favorites like, “VeggieTales.”

Sight & Sound productions will begin streaming on Wonder Project on Prime Video starting July 30, 2026, with new titles arriving approximately every two weeks through the fall.

The Wonder Project subscription on Prime Video is available in the U.S. for $8.99/month or $89.99/year after a 7-day free trial. For additional details, visit https://www.amazon.com/subscription/wonderproject.

The Curtis Theatre's annual, “An Evening of Latin Jazz,” returns Saturday, Aug. 8, 2026, as audiences can experience this unforgettable performance by Gabrielito y La Verdad.

Led by veteran musician Gabrielito Gonzalez, the Los Angeles–based ensemble La Verdad blends Afro-Caribbean rhythms, funk, soul and Latin jazz into an electrifying live performance. This dynamic, intergenerational group unites seasoned musicians with emerging talent, drawing on decades of community mentorship to create music that celebrates culture, connection and identity.

Known for its energetic live shows, Gabrielito y La Verdad delivers music that gets audiences moving while honoring the roots of Latin jazz. The performance is designed to deliver a vibrant concert experience that resonates with audiences of all ages.

Ticket holders are also invited to enjoy dinner and a cash bar on the Curtis Theatre Plaza beginning at 6:30 p.m. Dinner is included with every ticket, making it the perfect way to complete an unforgettable evening of live Latin jazz.

Event Details:

• What: An Evening of Latin Jazz featuring Gabrielito y La Verdad
• When: Saturday, August 8th, 2026
• Showtimes: 4:00 PM and 8:00 PM
• Where: The Curtis Theatre, 1 Civic Center Cir, Brea, CA 92821
• Tickets: www.CurtisTheatre.com

I recently had the chance to speak with former professional boxer and International Welterweight Champion Christopher “The Flash” Evangelou about his remarkable journey from the boxing ring to Hollywood. During our conversation, we talked about his career in boxing, how he made the transition from combat sports to acting, what it was like learning how to pull punches for the camera after spending years throwing real ones and his experiences working alongside Colin Farrell in Guy Ritchie’s “The Gentlemen” and Sir Anthony Hopkins in the Biblical drama, “Mary.”

Evangelou’s path has been anything but conventional. Raised in a close-knit family in North London by his minister father, he grew up with humble beginnings, often wearing church hand-me-downs and discovering his love of performing through church plays and community productions. Although acting was his first passion, a life-changing altercation at 17 led him to boxing, where he became one of Britain’s top fighters, winning a 2006 national championship, multiple international gold medals and eventually the International Welterweight title.

His boxing career came to an abrupt end after he suffered a devastating hand injury during a championship fight—an injury he fought through to win the title. Forced to reinvent himself, Evangelou returned to the dream he had put on hold and committed to acting. Within six months, he had signed with an agent, and before long he landed his breakout role in Guy Ritchie’s The Gentlemen, sharing the screen with Matthew McConaughey, Charlie Hunnam, Hugh Grant and Colin Farrell.

During our interview, Evangelou reflected on the similarities and differences between boxing and acting, explaining how one of the biggest adjustments was learning to make fight scenes look authentic without actually hitting his scene partners. He also shared stories about working with Colin Farrell and what he learned from acting opposite Sir Anthony Hopkins, describing those experiences as invaluable in his development as an actor.

Since making the leap into entertainment, Evangelou has continued to build an impressive résumé with roles in “La Máquina” and the long-running UK series “EastEnders.” Outside of acting, he also co-owns the successful boutique fitness brand The Fit Factory with his brother and frequently speaks about resilience, reinvention and finding purpose after professional sports.

Our conversation offered a candid look at what it takes to reinvent yourself, from fighting for championships in the ring to earning roles alongside some of Hollywood’s biggest stars.

Follow The Fit Factory on Instagram @thefitfactoryuk.

Follow Chris Evangelou on Instagram @chrisevangelou.

I recently spoke with global wrestling icon Chris Jericho about his new documentary, “Vietslam: Squashing The Cultural Gap,” which begins streaming July 14, 2026.

The sports documentary produced by Jericho, tells the story of the birth of Vietnam’s independent professional wrestling scene, highlighting how wrestling can unite people across cultures and backgrounds. Blending action, humor and heartfelt moments, “Vietslam,” follows a group of passionate wrestlers as they work to build a community and earn acceptance for the sport in Vietnam.

From makeshift training gyms to a breakout public showcase, the film chronicles the determination and resilience required to establish an independent wrestling movement. More than a wrestling documentary, “Vietslam,” explores themes of perseverance, passion and believing in something larger than yourself.

Jericho, a global wrestling star with a career spanning more than 35 years, has competed for every major wrestling promotion and won more than 30 championships. In addition to his in-ring accomplishments, he has remained committed to expanding professional wrestling’s global reach. Through “Vietslam,” he hopes to shine a spotlight on Vietnam’s emerging wrestling scene and demonstrate the sport’s ability to bring people together.

“Vietslam: Squashing The Cultural Gap,” begins streaming July 14, 2026, on Prime Video, Fandango at Home, Hoopla and Local Now.

There are when you go to the theatre to solely be entertained and then there are performances that quietly worm their way into your heart. “The Spitfire Grill,” at Cabrillo Playhouse in San Clemente, CA, is the latter. Directed by Ella Wyatt, this intimate production based on Lee David Zlotoff’s 1996 film of the same name, with music by James Valcq and lyrics by Fred Alley, and the duo responsible for writing the book together. Unlike the recent production mounted by American Coast Theater Company (‘The Spitfire Grill’ Simmers at ACTC - Review), this interpretation leans into the show’s more edgier themes.

The story follows Percy Talbott, a young woman recently released from prison, who arrives in the small town of Gilead, WI, seeking a fresh start after discovering the town’s name in an old travel book. She finds work at the struggling Spitfire Grill and, through unexpected friendships and acts of kindness, helps a community heal from old wounds while searching for redemption herself.

One of the evening’s greatest accomplishments is the minimalist, yet somehow immersive scenic design. Alberto Hernandez’s beautifully constructed set, along with Jeremy Plant’s lighting design, Andrew Cervero’s costuming enhanced by the thoughtful decorating of Michael Lopez and Wendy Harris, gave the illusion that we too were patrons sitting inside the Spitfire Grill itself. Rather than simply watching the story unfold, we became a tiny part of the restaurant’s daily life as these deeply human characters navigated grief, hope, identity, forgiveness and redemption.

I had not realized what an accomplished tenor Ramy Alhawari is, delivering a wonderful performance as Sheriff Joe Sutter. In previous musicals where I had seen Alhawari, his characters’ vocal stylings were primarily recitative [(sing-speaking) a new term I learned this morning]. Here he is finally given the opportunity to fully display the richness and power of his voice, making his musical moments especially memorable.

Sam Murie’s Caleb gives a deeply affecting performance. Murie pours every ounce of that pain into Caleb’s journey and imminent downfall. His portrayal of this tragically insecure man living in the shadows of a ghost who never was, reminded me of my last teaching position. A former colleague with the same character defects brought up memories of his poor conduct where I pondered, “How much prison time will I get for kicking this ginger midget through that window?” Instead, I made the wiser chose and resigned. Murie’s Caleb, at least early on, has you wanting to kick him through that preverbal window.

English actress, Mimi Franks is tremendous as Percy. She portrays her as hopeful yet distrusting, not someone exactly running from her past but someone searching for redemption while unsure whether she deserves it. Franks balances vulnerability with resolve, making Percy’s transformation believable.

Kathy Villanueva’s Effy is the kind of town gossip you actually kind of like. Rather than making her merely nosy, Villanueva finds the humor beneath the character’s over curiosity. She is entertaining and possesses a terrific voice. If this performance is any indication, one should expect to see her taking on larger roles in the future.

My own bias will show here, but seeing my friend Mary Grant as Hannah was one of the evening’s pleasant surprises. I knew Grant could act, but I had never seen just how accomplished she was onstage. Watching someone you know disappear into the role of a cranky, stubborn woman with such conviction was an absolute joy. She made Hannah far more than comic relief, revealing the loneliness and vulnerability hidden beneath her rough exterior.

Having previously seen Je LaRosa at Cabrillo Playhouse in “A Midsummer Night’s Dream,” (Cabrillo Playhouse’s Contemporary Rendition of a Shakespeare Classic is Joyous – Review), I appreciated the different approach taken with The Visitor. The role is often portrayed as a weathered drifter carrying the scars of war. LaRosa instead humanizes the character with a quiet compassion and just enough humor to make his presence feel comforting rather than mysterious. It is a refreshing interpretation that serves the story beautifully, making him this productions scene stealer.

Now comes our showstopper; MiKayla Thomas-Turner as Shelby. Entering her senior year at the University of California, Irvine (UC) to complete her Bachelor of Fine Arts, she delivered such an incredible performance they might as well hand her a Master of Fine Arts as well. Thomas-Turner is an extraordinary soprano whose vocal control is absolutely astonishing. Even while soaring through demanding high notes, she never sacrificed Shelby’s physicality or facial expressions. Too often performers unconsciously break character during technically difficult passages. Thomas-Turner never does. Even from behind the counter when Joe and Percy are having a bit of a spat, Thomas-Turner shares true facial expressions implying her intrusive thoughts of, “Huh, what was that all about?” There are a couple of other nuanced moments, in her performance, like removing a couple of accessories, representing the characters growth.

Every twitch, every facial expression, every instance of her body tensing, every quivering lip and every furrowed brow convinced me Thomas-Turner herself was living in a genuinely abusive relationship. After the performance I joked with her, “You made me want to beat up your real-life husband.” She laughed, thanked me and reminded me she isn’t married. That’s how convincing her performance Thomas-Turner delivers.

The three-piece band is another entity altogether. Music Director Marc Marger demonstrates an excellent understanding of both the theater’s intimate space and its acoustics. Conducted by Arthur Abadi, who also performs on keyboard, alongside Christopher Drake on guitar and mandolin and Hannah Glass on violin, the ensemble never overwhelms the actors. Instead, the music is its own character, underscoring emotions without ever competing with the dialogue. It is exactly the balance this score requires.

Equally deserving of recognition is Lisa Garcia’s masterful stage management. In a production where pacing and atmosphere are essential, Garcia ensures every transition is seamless. The audience never has an opportunity to step outside the world of Gilead because each scene flows effortlessly into the next.

Wyatt has assembled a company that understands the quiet power of “The Spitfire Grill.” This production succeeds through heartfelt performances, honest storytelling and an atmosphere that invites the audience into the lives of its characters.

“The Spitfire Grill,” reminds us that healing often begins with simple acts of compassion and that redemption is possible for those willing to accept it.

“The Spitfire Grill,” at Cabrillo Playhouse running now through August 2, 2026.

To purchase tickets for “The Spitfire Grill,” at Cabrillo Playhouse visit: https://cabrilloplayhouse.org/ or call the box office at: +1-949-492-0465.

Cabrillo Playhouse is located at:
202 Avenida Cabrillo
San Clemente, CA 92672

4.5 out of 5 ⭐️⭐️⭐️⭐️½

Tickets for this year’s Knott’s Scary Farm will go on sale at 10 a.m. Friday, July 10, 2026, ahead of the return of Southern California’s longest-running Halloween theme park event.

Knott’s Scary Farm will return Thursday, September 17, 2026, and run on select nights through Saturday, October 31, 2026, at Knott’s Berry Farm in Buena Park, CA.

Now in its more than 50-year history, the annual Halloween event transforms the theme park with haunted mazes, scare zones, live entertainment and more than 1,000 costumed monsters roaming throughout the park.

Organizers said additional details about this year’s event, including new haunted mazes, scare zones and entertainment, will be announced in August during the sold-out “Nightmares Revealed” preview event.

Tickets will be available beginning at 10 a.m. July 10, 2026, at knottsscaryfarm.com.

Knott’s Berry Farm is located at

8039 Beach Blvd.

Buena Park, CA 90620

Lionsgate has released the final trailer for “Mutiny,” a new action thriller starring Jason Statham, ahead of its Aug. 21 theatrical debut.

Directed by Jean-François Richet, the film follows Cole Reed (Statham), who witnesses the murder of his billionaire boss and is framed for the crime. Forced to go on the run, Reed boards in charge ship on a one-man mission to uncover the truth and avenge his boss’s death, only to discover an international conspiracy.

The film’s first trailer featured KRS-One’s “Step Into a World,” while the latest trailer includes the voice of a famous icon, adding to the anticipation surrounding the film’s release.

“ Mutiny ,” is presented by Lionsgate and produced by MadRiver Pictures and Punch Palace. The film was written by Lindsay Michel and JP Davis and produced by Marc Butan and Statham.

The cast includes Annabelle Wallis, Roland Møller and Adrian Lester alongside Statham.

Rated R for strong, bloody violence and language, Mutiny has a runtime of 95 minutes.

Spanish Translation:

Lionsgate released the final trailer for “Mutiny ,” a new action thriller starring Jason Statham, ahead of its theatrical release on August 21.

Directed by Jean-François Richet, the film follows Cole Reed (Statham), who witnesses the murder of his billionaire boss and is framed for the crime. Forced to flee, Reed boards a cargo ship on a personal mission to uncover the truth and avenge his boss’s death, only to uncover an international conspiracy.

The first trailer for the film featured the song “ Step Into a World ” by KRS-One, while the new trailer features the voice of a famous icon, increasing anticipation for the premiere.

“Mutiny ” is presented by Lionsgate and produced by MadRiver Pictures and Punch Palace. The screenplay was written by Lindsay Michel and JP Davis, and the film was produced by Marc Butan and Statham.

The cast also includes Annabelle Wallis, Roland Møller and Adrian Lester alongside Statham.

Rated R for intense and bloody violence, as well as language, Mutiny has a runtime of 95 minutes.

Writer-director Lilian T. Mehrel’s feature debut, “Honeyjoon,” is a heartfelt comedy that finds humor, hope and healing in the midst of grief. Now in limited release after a celebrated festival run, the film invites audiences on an emotional journey that is as funny as it is deeply moving.

I spoke with Mehrel about the inspiration behind “Honeyjoon.” The conversation quickly found common ground through the shared experience of losing fathers of Iranian ancestry, adding another layer of understanding to a film that speaks so honestly about love and loss. It also served as a full-circle moment after this writer first experienced “Honeyjoon,” at the Round Top Film Festival in Round Top, TX.

The story follows June (Ayden Mayeri) and her Persian-British mother, Lela (Amira Casar), who travel to Portugal’s breathtaking Azores Islands to commemorate the anniversary of a profound loss. While each woman grieves in her own way, an easygoing surfer named João (José Condessa) helps lead them on an unforgettable adventure filled with laughter, self-discovery, unexpected romance and the gentle reminder that life, like the ocean, is always in motion.

For Mehrel, filmmaking is about guiding audiences through the full spectrum of human emotion. She embraces the delicate balance between dark humor and heartfelt drama, creating stories that surprise viewers with moments of laughter just as they’re opening themselves to something more profound. At its heart, “Honeyjoon,” celebrates the beautifully imperfect experience of being human.

Mehrel hopes the film resonates with anyone who has experienced loss, searched for a sense of freedom within themselves or navigated the awkward vulnerability of trying to connect with another person. Rather than simply telling a story about grief, “Honeyjoon,” invites audiences to feel it alongside its characters, discovering that healing often arrives in unexpected ways.

Since premiering on the festival circuit, “Honeyjoon,” has connected with audiences of all ages and backgrounds. Viewers have responded to its honesty, emotional depth and breathtaking visuals, embracing its gentle reminder that life is made up of changing waves and that feeling fully alive means welcoming every one of them.

To find upcoming screenings of “Honeyjoon,” visit: https://honeyjoon.utopia.film/buy-tickets.

Follow “Honeyjoon,” on Instagram @honeyjoonfilm.

After speaking with director Eran Riklis about his latest film, “Reading Lolita in Tehran,” it became clear the adaptation is extremely timely, especially with the ceasefire falling apart between the United States of America and Islamic Republic of Iran this morning. This film in particular, follows ordinary people navigating extraordinary political and social upheaval.

Set in revolutionary Iran, the film follows a professor who secretly gathers seven of her most dedicated female students to read and discuss banned works of Western literature, including Lolita and Pride and Prejudice, as fundamentalists tighten their grip on society. Based on the bestselling memoir by Azar Nafisi of the same name, the film stars Golshifteh Farahani, Zar Amir and Mina Kavani.

Riklis said he has long been drawn to stories that examine the emotional lives of people under intense pressure, often against the backdrop of major political and social change. Throughout his career, he has explored those themes in films including “The Syrian Bride”, “Lemon Tree”, “Dancing Arabs”, “The Human Resources Manager”, “Shelter” and “Spider in the Web.”

He said Nafisi’s memoir resonated because it combines deeply personal relationships with broader political realities. While he understood the challenges of telling such an intimate story about women in Iran, he viewed the project as an opportunity to tell a universal story about resilience, identity and the struggle to preserve hope in the face of oppression.

Riklis described the film as an emotional journey through fear, anxiety, hope and love. At its center are women confronting isolation while making life-altering decisions that test their friendships, loyalty and sense of self. Their experiences, he said, reflect larger questions about politics, betrayal and the search for certainty in an uncertain world.

“Reading Lolita in Tehran,” opens in New York on Friday, July 10, 2026 and nationwide on July 17, 2026.

I spoke with host and creator Sean King O’Grady about Season Two of “Suspicious Minds,” the critically acclaimed podcast series exploring artificial intelligence as a psychological and cultural turning point.

Produced by Agoric Media in partnership with Wondermind, the mental health media company founded by Mandy Teefey and Selena Gomez, “Suspicious Minds,” was selected for the 2026 Tribeca Creators Market in early June, coinciding with the launch of Season Two, “AI and the Apocalypse,” on Apple Podcasts, Spotify, YouTube and other major platforms.

Over two years, O’Grady interviewed leading philosophers, scientists, psychologists, historians and theologians to examine whether AI poses an existential threat and what the question reveals about the human psyche. As in Season One, the series is anchored by Dr. Joel Gold and Ian Gold, Ph.D., the brothers who coined the term “The Truman Show Delusion” and co-authored “Suspicious Minds: How Culture Shapes Madness.”

Season Two features thinkers including Timothy Morton, David Benatar, Judith Wolfe, Sheldon Solomon, Dr. Michael Ferguson, Dr. Samuel Justin Sinclair, Nolen Gertz, Johann Hari, Malo Bourgon, Emily Ray, Robert Kirsch, Kelly Bulkeley, James Cussen and Dorian Lynskey.

O’Grady, whose filmmaking credits include Sundance, Tribeca and SXSW, produces the narrative documentary series with Wondermind. Mandy Teefey, Selena Gomez, Jonathon Glucksman, David Tuohy, Feras M. Shammami, Jesse Ford and Molly Borman serve as executive producers. Jesse Ford is the producer.

The podcast recently broke into the Top 25 of all series on Apple Podcasts, reached No. 1 in its category in the United Kingdom and Ireland and is charting in 20 markets across five continents. The season draws from more than 50 interviews with experts and people who have experienced AI-related delusions and psychosis.

“Suspicious Minds,” streams Thursdays on YouTube at https://www.youtube.com/@agoricmedia.