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The End of the Tour

The End of the Tour (2015)

The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace's gr... Read all The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace's groundbreaking epic novel, 'Infinite Jest.' The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace's groundbreaking epic novel, 'Infinite Jest.'

  • James Ponsoldt
  • Donald Margulies
  • David Lipsky
  • Jason Segel
  • Jesse Eisenberg
  • Anna Chlumsky
  • 109 User reviews
  • 192 Critic reviews
  • 82 Metascore
  • 4 wins & 18 nominations

The End of the Tour

  • David Foster Wallace

Jesse Eisenberg

  • Bookstore Patron 1
  • Bookstore Patron 2
  • (as Jennifer Holman)
  • Bookstore Patron 3
  • Bookstore Patron 4

Javon Anderson

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  • Trivia The song heard on the soundtrack when the film ends is "The Big Ship" by Brian Eno , one of David Foster Wallace 's favorite songs. It was also used for the climax of Me and Earl and the Dying Girl (2015) , another film that premiered at the 2015 Sundance Film Festival.
  • Goofs In regards to the scene where Mrs. Gunderson gives Mr. Wallace and Mr. Lipsky a car tour of Minneapolis sites: The Mary Tyler Moore statue on Nicollet Mall in Minneapolis, was not given to the City by TV Land until 2002. Also, it is not legal for cars to drive down Nicollet Mall.

David Foster Wallace : It may be in the old days what was known as a spiritual crisis: feeling as though every axiom in your life turned out to be false... and there was actually nothing. And that you were nothing. And that it's all a delusion and you're so much better than everybody 'cause you can see how this is just a delusion, and you're so much worse because you can't fucking function.

  • Crazy credits Halfway through the closing credits, there is an extra scene told from the perspective of David Foster Wallace as Lipsky goes to the bathroom to wash out the chewing tobacco. It shows what Wallace did while he was in the bathroom: he speaks privately into the tape recorder.
  • Connections Featured in The Tonight Show Starring Jimmy Fallon: Jason Segel/Amy Sedaris/Alessia Cara (2015)
  • Soundtracks Sunlight Bathed The Golden Glow Written by Lawrence and Maurice Deebank Performed by Felt Courtesy of Cherry Red Records

Technical specs

  • Runtime 1 hour 46 minutes
  • Dolby Digital

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Review: ‘The End of the Tour’ Offers a Tale of Two Davids

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is the end of the tour on netflix

By A.O. Scott

  • July 30, 2015

“There’s an unhappy paradox about literary biographies,” David Foster Wallace observed in The New York Times Book Review in 2004, in reference to “Borges: A Life.” Readers who pick up such books, drawn by their admiration for a writer’s work, are likely to find themselves distracted and disappointed by a welter of iffy theories and picayune data. In the case of Borges, Wallace argued, “the stories so completely transcend their motive cause that the biographical facts become, in the deepest and most literal way, irrelevant.”

The same can be said of Wallace himself, and, for that matter, of just about any author worth reading. The work is everything; the life is trivia. And since I’m about to praise a movie about David Foster Wallace that claims fidelity to at least some of the facts of his life, I should perhaps identify myself as a devoted nonconsumer of literary biographies, an avowed biopic skeptic and, unless someone offers me a lot of money to write one, a habitual avoider of celebrity profiles. So by all rights I should hate “ The End of the Tour ,” James Ponsoldt’s new film, a portrait of the writer that has its origins in a (never-published) magazine profile. In fact, I love it.

Some of the people closest to Wallace, who committed suicide in 2008, have condemned the movie sight unseen, and friends of his who did see it ( one of them also a friend of mine) have found fault with both its details and its overall design. As an ardent , ambivalent reader of Wallace’s prose and a complete stranger to him personally, I can only respect such objections. But the movie, in my view, disarms them — not because it offers an especially loving or lifelike picture of its subject but rather because David Foster Wallace is not really its subject at all. “The End of the Tour” is at once an exercise in post-postmodern literary mythmaking and an unsparing demolition of the contemporary mythology of the writer. It’s ultimately a movie — one of the most rigorous and thoughtful I’ve seen — about the ethical and existential traps our fame-crazed culture sets for the talented and the mediocre alike.

Anatomy of a Scene | ‘End of the Tour’

The director james ponsoldt discusses a sequence from his film “the end of the tour,” featuring jesse eisenberg and jason segel and opening july 31..

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There are two Davids in the movie, which takes place in 1996. Both of them are writers. One is Wallace (Jason Segel), whose third book of fiction, the 1,079-page dystopian tennis-rehab epic “Infinite Jest,” has just been published to hyperbolic acclaim . The other is David Lipsky (Jesse Eisenberg), whose own recently released novel, “The Art Fair,” has met with polite indifference. An early scene finds him on his couch reading “Infinite Jest” while his girlfriend, Sarah (Anna Chlumsky), is curled up with the season’s other fictional blockbuster, the anonymously published political roman à clef “Primary Colors.” (Oh, the ’90s. Sorry you missed all the fun, kids. Kind of sorry I didn’t.)

David L., a new, probationary hire at Rolling Stone magazine, convinces his skeptical editor (Ron Livingston) that David F.W. is worthy of a feature article, and so finds himself in Bloomington, Ill., in the middle of winter. (Wallace taught for many years at Illinois State University.) The plan is that the reporter will accompany the novelist to Minneapolis, the last stop on his book tour. He does, and that’s pretty much the plot of the movie.

Mr. Ponsoldt, whose earlier features include “The Spectacular Now” and “Smashed,” would much rather observe two people in aimless conversation than usher them through the tollbooths of narrative convention. And conversation, including the uncomfortable silences that punctuate it, is pretty much the entire substance of “The End of the Tour.” Yes, there’s a fair amount of smoking and junk-food eating, an excursion to the Mall of America and a multiplex showing of “ Broken Arrow ” (with John Travolta taking a missile to the gut), but Mr. Ponsoldt and the screenwriter, the playwright Donald Margulies, allow words to speak louder than actions.

Many of the words are Wallace’s own, uttered into Mr. Lipsky’s tape recorder in 1996 and transcribed, 14 years later, for publication in a book called “ Although of Course You End Up Becoming Yourself .” Funny, intriguing and revealing as this talk may be, it does not have anything like the status of Wallace’s writing. The film not only acknowledges this distinction, but it also insists on it. In his would-be profiler’s company, occasionally glancing at the menacing red light of the predigital tape recorder, Wallace is by turns cagey and candid, witty and earnest, but he is always aware, at times painfully, that he is playing the role of a writer in someone else’s fantasy. Actually writing is something he does when no one else is around.

Mr. Segel’s performance, whether it captures the true Wallace or not, is sharp and sensitive, in no small part because it’s modest and appropriately evasive. The essential David Wallace is precisely what the film reminds us we can’t see, even as David Lipsky wants desperately to track him down and display him to the readers of Rolling Stone. Wallace is caught in a familiar set of contradictions. He wants attention but craves solitude. He’s willing to collaborate with the machinery of publicity even as he worries about the phoniness of it all. He’s ambitious and eager to protect himself from the consequences of his ambition. In short, he’s a famous writer.

Movie Review: ‘The End of the Tour’

The times critic a.o. scott reviews “the end of tour.”.

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As such he is, for his short-term companion, both alpha dog and prey, an object of envy as well as admiration, a meal ticket and an imaginary friend. The film poses the question “Who is the real David Foster Wallace?” as a feint. He is its premise, its axiom, its great white whale. The more relevant question, the moral problem on which the movie turns, is “who is David Lipsky?”

In real life, David Lipsky might be a great guy, but on screen he is played by Mr. Eisenberg, which means that his genetic material is at least 25 percent weasel. Wallace at one point playfully describes himself as “pleasantly unpleasant.” Lipsky is unpleasantly pleasant, which is much worse. Twitchy and ingratiating, he wants to be a tough journalist and a pal. He desperately wants Wallace to regard him as a peer and can hardly contain his jealousy. He berates Sarah after she chats with Wallace on the phone and falls into a defensive snit after Wallace accuses him of flirting with Betsy (Mickey Sumner), a poet who had known Wallace in graduate school.

His awfulness is, to some degree, structural. A profile writer, especially in the company of another writer, is a false friend who dreams of being a secret sharer. Lipsky’s assignment is to pry, distort and betray, to use Wallace’s words and the details of his existence as material for his own dubious project. Wallace knows this and acquiesces to it — “you agreed to the interview” is Lipsky’s fallback when his subject gets prickly — and generally handles himself with grace and forbearance.

You may find yourself wishing that he didn’t have to, which is to say wishing that “The End of the Tour” didn’t exist even as you hang on its every word and revel in its rough, vernacular beauty. In an ideal world, we would all sit at home reading “Infinite Jest” and then go out to eat hamburgers, argue about philosophy and watch cheesy action blockbusters. There would be no pseudo-authoritative biographies or prying, preening magazine profiles to complicate our pleasures, and ambitious actors would not dare to impersonate beloved novelists. But the world we live in is plagued by all of those things. There will always be films about writers and writing, and this one is just about as good as it gets.

“The End of the Tour” is rated R (Under 17 requires accompanying parent or adult guardian). Language. So much language.

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The End of the Tour

By Peter Travers

Peter Travers

Where’s the drama and, hell, the laughs in the nonspectacle of two writers talking with and at each other? For a riveting answer, check out The End of the Tour. The film is based on the 2010 book Although of Course You End Up Becoming Yourself, by Rolling Stone writer David Lipsky . Over five days in 1996, Lipsky ( Jesse Eisenberg ) interviewed celebrated novelist and essayist David Foster Wallace ( Jason Segel , like you’ve never seen him before). It was the end of Wallace’s tour for his magnum opus, Infinite Jest . It wasn’t until after the depression-plagued Wallace hanged himself in 2008 that Lipsky used the material in a story that won a National Magazine Award and became the basis for his book. Suicide hangs over the movie as it did the book, scrambling our thoughts and perhaps helping us achieve a greater understanding.

Nothing and everything happen in the movie. Director James Ponsoldt ( The Spectacular Now ), working from a fluid script by playwright Donald Margulies, does justice to the book without compromising his film. This is no biopic. The story takes place when the bandanna-wearing Wallace was at the peak of his success and trying in his own shambling, humane way to deal with it.

From the moment Lipsky, played with seductive intelligence and a secret smile by Eisenberg, arrives at Wallace’s bachelor cave in snowbound Bloomington, Illinois, the scene is set for mesmerizing mind games. The more Lipsky pushes — his editor (Ron Livingston) wants details of the author’s alleged heroin addiction — the warier Wallace becomes.

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So we watch as Lipsky and Wallace travel by car, bus and jet trying to suss each other out, to touch a nerve, to form a bond. In Minneapolis, they eat junk food and argue pop culture. Then, at dinner with Wallace’s pal Julie (Mamie Gummer) and his former college love Betsy (Mickey Sumner), the low-key author accuses Lipsky of crass flirting. His words sting. Segel, giving the performance of his career, potently catches Wallace’s internal conflicts.

As the details accumulate, so does the power of the film, an illuminating meditation on art and life that hits you hard with its ferocity and feeling. What could have been a static record of a conversation becomes kinetic cinema of startling immediacy. Lipsky wrote, “Books are a social substitute; you read people who, at one level, you’d like to hang out with.” The End of the Tour lets us hang out with two different writers who strive rigorously to never completely let their guard down. Although of course they end up becoming themselves. Right in front of us. That’s what makes the movie, elevated by two extraordinary actors, an exhilarating gift. In the last image Ponsoldt gives us of Wallace, the former athlete is doing something that distills what his words do with such artful abandon: dancing.

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Directed by James Ponsoldt (" The Spectacular Now "), "The End of the Tour" might fit well on a double bill with " Amadeus ," another film about a genius and a lesser artist who basks in his aura. Of course, the setting is very different, and the stakes are much lower—"Tour" is a fictionalized account of the week-and-a-half that  Rolling Stone  writer David Lipsky spent following the late David Foster Wallace as he toured to promote his doorstop-sized masterpiece "Infinite Jest"—but it's still the story of a competent but unremarkable creative person observing brilliance up close, feeding on it, reveling in it and resenting it. 

It is also certainly one of cinema's finest explorations of an incredibly specific dynamic—that of the cultural giant and the reporter who fantasizes about one day being as great as his subject, and in the same field. What it definitely  isn't  is a biography of David Foster Wallace, much less a celebration of his work and worldview. Whether that proves a deal breaker, a bonus, or a non-factor for viewers will depend on what they want out of this movie. 

"The End of the Tour" is not really about Wallace ( Jason Segel ), although he's the other major character. It starts with Lipsky ( Jesse Eisenberg ) expressing amazement (but really jealousy) over a rave review of "Infinite Jest" in  New York  magazine, a moment that sparks his obsession with Wallace. It ultimately leaves us thinking about Lipsky's feelings and career trajectory, and whether he feels any guilt about using his brief association with Wallace to further his own career as a writer of books. At this point in his life, Lipsky has had just one volume published, a novel that few people bought and fewer read; after some hesitation, he foists it on Wallace while visiting him at the University of Illinois during a punishingly icy winter. 

The screenplay by Donald Margulies spends most of its time and energy observing a dance. One dancer is Lipsky. He only got  Rolling Stone  to pay for his rock-star style profile of a novelist by agreeing to ask Wallace about the rumors that he uses heroin, and his motivations for doing the story are, to put it mildly, less than noble. The other dancer is Wallace. His fiction and nonfiction were partly concerned with the meaning of the word "authenticity," and how the social rituals and technology and economic structure of modern life created false intimacies that Wallace was determined to reject. 

Theirs is a complex relationship, brief as it is. The most fascinating thing about it is how each side of it seems to be happening in a different storytelling genre. 

Wallace's side of the story is something along the lines of a light drama, perhaps even a romance, about somebody who's been burned over and over and has withdrawn from nearly all relationships save for a handful that he feels he can trust and believe in. Although the small part of the world that cares about writers' private lives thinks of Wallace as a bit of a recluse and perhaps a bit mysterious, it's immediately clear that he's just selective and self-protecting. It's the story of a man learning to trust again (in a love story, it would be "to love again") while worrying that he's going to get burned one more time. Lipsky isn't a Wallace-level intellect, he is very smart, and a good listener, and excellent at getting subjects to open up, even though his demeanor is presumptuous. He doesn't approach Wallace with the appropriate  humility. He instead comes at him from the point-of-view of a writer who believes that he is Wallace's potential equal—somebody as profound as Wallace but not as accomplished or famous, for now. Wallace seems to buy this. Why? Maybe because he's a teacher, and at least a few of his students have real talent, and he doesn't want his ego or insecurity to rule out the possibility that he might cross paths with an artist. Or maybe he's just a decent, optimistic guy.

Lipsky's side of the story often feels like the story of of a con man, or a regular person who uses other people without realizing that's what he's doing. If this were a romantic drama, Lipsky might be a drug user who swears he's gotten clean, or a recovering alcoholic who's not as far along in the process as he claims to be, or a serial cheater who wants everyone to think he's reformed and can be monogamous even though he's constitutionally incapable of that. We keep waiting for the other shoe to drop—for Wallace, who genuinely likes Lipsky even though he's observant enough to spot all the warning signs immediately, to realize that Lipsky cannot have a real friendship with him, and that in general it is a bad idea for a subject to think that he can have that kind of relationship with a reporter. 

Any journalist who's been profiling famous people for any length of time will recognize the dynamic depicted here by Ponsoldt, Eisenberg and Jason Segel, and the honest ones will be made uncomfortable by it. There is something vampiric about features like the one that Lipsky has been assigned to write. There are also elements of theatricality. As Wallace observes early on, the subject is expected to give a performance of sorts, imitating the person he'd like to be perceived as being. The reporter in turn playacts casual curiosity, and tries to push past the facade and find something real, maybe uncomfortable, best of all revelatory. 

Segel and Eisenberg, who as movie stars have been in Wallace's position many times, have an intuitive understanding of how this relationship works, and they illuminate it in the moment, with specificity and clarity. Segel doesn't really look or sound like Wallace (not that that matters; Anthony Hopkins didn't look or sound like Nixon in " Nixon " but was extraordinary) and I didn't necessarily buy him as somebody who could write like Wallace, but he's so smart and genuine and peculiar that we believe he is capable of Wallace's extreme sensitivity and delicate observations—a major accomplishment. Eisenberg is the true star of the movie—an actor of extraordinary originality and also bravery, insofar as he never seems to trouble himself with whether people will hate his characters. He's a great listener but also a rather scary one. His characters often seem to be scrutinizing other characters the way a snake might scrutinize a field mouse. There are many moments in "The End of the Tour" when we dislike Lipsky. There are a few moments where we might find him sickening. 

Is this a story that will fascinate an audience beyond editors, critics, reporters, novelists, and people who care about the problems of such people? I have no idea, though it seems unlikely; the film's incredible specificity would seem to mitigate against being discovered and championed by a wide audience, despite Segel and Eisenberg's presence in the cast. Did the film necessarily  need  to have David Foster Wallace as one of its two main characters? That's a thornier question. We rarely hear any of his prose read aloud (Lipsky reads a passage of "Jest" to his girlfriend, but that's about it) and there is nothing in the film besides some of Wallace's dialogue to indicate that the movie has any interest in illuminating Wallace's fiction, or the obsessions that he worked into them. 

It is very much an Amadeus and Salieri story, and if you are familiar with Amadeus, and the barest outlines of Wallace's life, and the fact that this is based on a nonfiction book by the writer David Lipsky, you know how the story must end: with Lipsky gaining a greater measure of fame via his brief association with Wallace and not being quite sure how to feel about it. The best thing you could say about "The End of the Tour" is that it could've been about any two creative people. That's also the worst thing you could say about it. 

Matt Zoller Seitz

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Film credits.

The End of the Tour movie poster

The End of the Tour (2015)

Rated R for language including some sexual references

106 minutes

Jason Segel as David Foster Wallace

Jesse Eisenberg as David Lipsky

Anna Chlumsky as Sarah

Mamie Gummer

Joan Cusack as Patty

Ron Livingston as David Lipsky's Editor

Mickey Sumner as Betsy

  • James Ponsoldt
  • Donald Margulies

Director of Photography

Original music composer.

  • Danny Elfman

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  • Cast & Crew

The End of the Tour

  • 82   Metascore
  • 1 hr 46 mins
  • Documentary, Drama

A reporter from Rolling Stone accompanies acclaimed author David Foster Wallace on a portion of his book tour for "Infinite Jest", resulting in an exhaustive, five-day interview that would leave both men altered by the experience.

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The End of the Tour (UK Trailer 1)

2:20 The End of the Tour (UK Trailer 1)

  • 2016 - Independent Spirit Awards - Best Screenplay - nominated
  • 2016 - Independent Spirit Awards - Best Male Lead - nominated

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is the end of the tour on netflix

Jesse Eisenberg

David lipsky.

is the end of the tour on netflix

Jason Segel

David foster wallace.

is the end of the tour on netflix

Anna Chlumsky

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The End of the Tour Reviews

is the end of the tour on netflix

The film is fascinatingly intellectual and brimming with humanity.

Full Review | Jul 26, 2021

is the end of the tour on netflix

Occasionally it feels like an excuse for introspective comments from the David Foster Wallace Book of Wisdom, but Segel finds the humanity in him, playing him as a man who lived inside his head even as his world expanded.

Full Review | Original Score: 4/5 | Feb 3, 2021

is the end of the tour on netflix

The End of the Tour movingly illustrates how deeply a human connection, no matter how momentary, can effect a person's life.

Full Review | Jan 14, 2021

is the end of the tour on netflix

The End of the Tour is a riveting film that celebrates a literary genius by exposing his flaws.

Full Review | Jul 17, 2020

is the end of the tour on netflix

James Ponsoldt shows a very moving study on friendship, idolatry and fear of sincerity seen through the eyes of two writers. [Full review in Spanish]

Full Review | Original Score: 7/10 | Jun 26, 2020

is the end of the tour on netflix

Both Segel and Eisenberg are fantastic, each offering up some of the their best work.

Full Review | Apr 8, 2020

is the end of the tour on netflix

Segal's performance as Wallace, I think, is going to end up earning him an Academy Award nomination.

Full Review | Feb 13, 2020

is the end of the tour on netflix

By removing the artifice and mystery surrounding the writer's life, by showing the gritty and semi-depressing details, The End Of The Tour actually ends up celebrating literature in a way that no cheesy Hemingway biopic can.

Full Review | Jan 30, 2020

is the end of the tour on netflix

If you're a fan of Wallace's work, or if you just like good writing, The End of the Tour is a must-see.

Full Review | Jan 10, 2020

is the end of the tour on netflix

A beautiful reflection of Wallace's work, specifically Wallace's signature novel, Infinite Jest.

Full Review | Jul 2, 2019

is the end of the tour on netflix

The performances are really what keep the film from falling apart and the character dynamic makes up for any sluggishness that befalls the film around the midway point before it picks up again.

Full Review | Original Score: 3.5/5 | May 2, 2019

Featuring some of the best dialogue scenes you'll see this year, The End of the Tour is a fascinating and utterly absorbing sparring of minds - Segel is a mini revelation.

Full Review | Original Score: 4/5 | Apr 18, 2019

is the end of the tour on netflix

Meditative and thought provoking, The End of the Tour captures the complexity of one man's life through a delicate lens.

Full Review | Nov 9, 2018

is the end of the tour on netflix

It takes a special kind of moviegoer to watch a film about two guys talking. While there is some brief relief from a marathon five day conversation including a trip to the Mall of America, this is for word lovers.

Full Review | Original Score: 4.5/5 | Aug 30, 2018

is the end of the tour on netflix

Works ...as something considerably less ambitious than [the] doorstopper novel Infinite Jest: a buddy movie about the difficulty to communicate.

Full Review | Aug 29, 2018

is the end of the tour on netflix

"The End of the Tour" is a rare and insightful look into depression and how it affected one brilliantly talented author.

Full Review | Original Score: 4/4 | Aug 21, 2018

... does not make for a compelling film, despite a pair of very good performances.

Full Review | Oct 17, 2017

If you're a fan, you'll recognize the man behind what you've read and likely feel that his memory has been well served in the small portion of his life recreated here.

Full Review | Oct 11, 2017

This is the kind of irony that Wallace himself could have spun into brilliant prose.

Full Review | Aug 21, 2017

is the end of the tour on netflix

Because [The End of the Tour] is a film about language and about two men in dialogue, it's greatness could not have been achieved without the performances.

Full Review | Aug 14, 2017

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What it's about.

A hot summer night, around 2 a.m. You're outside talking with a close friend about life, happiness, and the human condition. That quality and depth of conversation, which you reach at best a couple of times a year is present throughout the 106 minutes of The End of the Tour.

In the case of this movie, you become the witness of five days of conversation spent between two fine writers: the once-in-a-generation American author David Foster Wallace and best-selling Rolling Stone journalist David Lipsky, as they travel the US during the 1996 publicity tour for the former's magnum opus, Infinite Jest. Twelve years later Wallace will commit suicide.

Like a good podcast, the James-Ponsoldt-directed road movie makes you feel being part of a deeply personal conversation of the kind you would have with a long-time friend. At times, it can feel like eavesdropping on a genius at work. This effect is helped along by a flawless Jason Segal, who delivers an award-worthy performance as DFW. The fierce intelligence exuded by Jesse Eisenberg as David Lipsky is also nothing short of amazing. As they stuff their faces with junk food, their conversation is insightful, immediate, and unpretentiously relevant, making The End of the Tour a rare and important film.

I love Jesse Eisenberg in everything he does, but dislike Jason Segel and his character. It seems slow moving, and I wished I felt differently. I did watch it through though, but it becomes easily forgettable for me.

Absolutely loved this movie. A friend of mine had recommended infinite jest by DFW years ago and the book was a random placement in my life I couldn’t quite reconcile with the low vocabulary level I held. Seeing this sent me on a DFW binge of YouTube and I can’t wait to start the book finally that I’ve had sitting around. It gives perspective to the inner workings of his mind and intentions he has to write and lends a minimal method to his madness. Very thought provoking and gratifying.

The movie is very bland. It doesn’t have a very clear conflict and it seems to glide over parts I wish it focused more on. But I have to say that the ending was very enjoyable. I would recommend you watch the entire movie even just for the ending.

Just really well done… Thought it would be too boring for me, but each conversation kept me reflecting about some aspect of life that doesn’t garner enough thought in my days.

This really was like 106 minutes of those conversations you have at 2 AM in the morning with your close friends. Deep meaningful ones, about life and meaning.

Ana Japaridze

Amazing! One of the best movies I’ve seen lately. Each conversation is heartfelt and a masterpiece in itself. I feel like I will remember the scenes for a really long time, definitely due to how real it feels and how much sympathy and understanding I, as a viewer, feel towards the characters. AND the acting is superb!

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tells the story of the five-day interview between Rolling Stone reporter (and novelist) David Lipsky (Jesse Eisenberg) and acclaimed novelist David Foster Wallace (Jason Segel), which took place right after the 1996 publication of Wallace's groundbreaking epic novel, Infinite Jest. As the days go on, a tenuous yet intense relationship seems to develop between journalist and subject. The two men bob and weave around each other, sharing laughs and also possibly revealing hidden frailties - but it's never clear how truthful they are being with each other. Ironically, the interview was never published, and five days of audio tapes were packed away in Lipsky's closet. The two men did not meet again. The film is based on Lipsky's critically acclaimed memoir about this unforgettable encounter, Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace, written following Wallace's 2008 suicide. Both Segel and Eisenberg reveal great depths of emotion in their performances and the film is directed with humor and tenderness by Sundance vet James Ponsoldt from Pulitzer-Prize winner Donald Margulies' insightful and heartbreaking screenplay.

Why A24's The End of the Tour Is One of the Best Movies About Writers

While it was overshadowed by some of A24’s buzzier releases during its initial rollout in 2015, The End of the Tour is a masterwork.

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End of the Tour Trailer Starring Jason Segel & Jesse Eisenberg

Jason Segel stars as acclaimed novelist David Foster Wallace in The End of Tour, which gets its first trailer and poster.

The End of the Tour with Jason Segel and Jesse Eisenberg Goes to Sony

The Spectacular Now director James Ponsoldt will helm this biopic about Infinite Jest author David Foster Wallace.

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‘The End Of The Tour’ Perfectly Captures The Reality Of A Contemporary Author’s Life

‘The End Of The Tour’ Perfectly Captures The Reality Of A Contemporary Author’s Life

Where to Stream:

The end of the tour.

In olden movie times, writers were often seen ruminating by the fire while turning out endless pages of quilled genius. Occasionally you’d get an alcoholic flameout like Albert Finney in Under The Volcano , but failure is failure no matter the profession. Movies depict the flopped writer OK, a la Barton Fink , but they never get the successful writers correct. Most contemporary movies about writers depict them living in fabulous Manhattan apartments or upstate cottages while having aggressive sex and dealing with corporate intrigue. Well, The End Of The Tour starts streaming on Amazon Prime Video today. At last, people will get a chance to see how the top writers actually live. Avert your eyes.

The End Of The Tour perfectly captures the reality of a contemporary book writer’s life. David Foster Wallace was the most gifted and famous novelist of his time. The movie captures him at the moment of his rise, when it became clear that Infinite Jest was something close to an American Ulysses . In playwright Donald Margulies’ clever screenplay, gleaned from dozens of hours of actual interviews with Wallace, the greatest novelist of his generation lives like a burrowed animal in an old, drafty house, eating cheap cereal and drinking shitty canned beer. He drives an ugly sedan and teaches English in a decidedly unglamorous college. Gore Vidal at Ravello, this is not. This is a real writer, looking for approval, waiting for the check to arrive.

In the “tour” part of the movie, which comprises most of the dramatic arc, Wallace (portrayed with flop-sweat accuracy by Jason Segel) and a nerdy journalist played by Jesse Eisenberg drive through awful weather to go to a regional airport, and then they fly to Minneapolis. In January. A weird middle-aged lady picks them up to the airport and takes them to the Hilton. Then that night Wallace reads to 150 or so people in a cramped bookstore. They hang out with a couple of art chicks and watch old movies. But they don’t spend the night; this isn’t a cool enough experience to be fully bohemian. It’s a middle-class business trip.

With rare exceptions, the modern book tour is a farce, a lonely joke. It’s like the life of a traveling comedian, like the one brilliantly depicted on Louis C.K.’s show , with one important difference. Unless you’re giving some sort of honorarium talk at a private college—a distinctly occasional occurrence—there’s no paycheck at the end of the night. The movie misses no detail: The 6 AM middle seat, the freezing drive to nowhere, accommodations that veer somewhere between shoddy and mediocre. No matter how famous your book, if you’re a literary writer on tour, most nights you’re giving a free standup show to a roomful of sleepy NPR subscribers.

For Wallace, it was clearly agonizing. In the movie, he almost seems ashamed to be leaving the house that he shares with his dogs, his ideas, and his demons. The road offers nothing to him. And this movie takes place in 1996, when literary writers still occupied a distinct place in the culture. Try touring now, when the average 7th-grader’s Vine gets more views in two hours than most novels get read in their entire lifespan.

Still, by removing the artifice and mystery surrounding the writer’s life, by showing the gritty and semi-depressing details, The End Of The Tour actually ends up celebrating literature in a way that no cheesy Hemingway biopic can. Because while the literary world is small, almost cosseted, it’s still vital, like an underground network for people who still actually read.

Wallace’s shoddy garret is full of books. The first night, Eisenberg’s journalist sleeps on a blow-up bed in an office that’s literally piled with boxes of Infinite Jest , in multiple languages. It’s like he gets to sleep inside Wallace’s mind. For some, that’s a fantasy; for others, not so much. Regardless, there’s never been a more accurate filmic depiction of a writer’s lair. Every writer I know, myself included, has a room (or at least a shelf) like that, a personal reliquary, even if it’s in a dust-filled dump with plastic shutters.

Whether or not the movie is 100 percent accurate in its portrayal of Wallace, I can’t say. I never met him. But it is 1000 percent correct in the way it portrays a writer’s life. I’ve been both the writer on tour and the journalist interviewing the writer on tour (and sometimes both within the span of the same week). This movie gets that being a writer is always uncomfortable and frequently ridiculous, and when you’re a writer at Wallace’s level, it’s even more so.

A writer’s life is very different than a writer’s work, and The End Of The Tour understands the distinction. Writers eat Cheetos and go see crummy movies at The Mall Of America. They have weird interactions with strangers and often get jealous and insecure. In other words, they’re people. So even though the movie is a bit depressing, especially because we all know how the DFW story ended, it’s also celebratory of a life deeply felt, weirdly lived, and full of unwashed bandanas. It is a supposedly fun thing that I would gladly watch again.

[ Watch The End Of The Tour on Prime Video ]

Neal Pollack ( @nealpollack ) is the author of ten bestselling books of fiction and nonfiction. His latest novel is the sci-fi satire Keep Mars Weird . He lives in Austin, Texas.

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‘Taylor Swift Reputation Stadium Tour’ Leaving Netflix Globally in December 2023

The concert, which is labeled a Netflix Original, will depart at the end of December.

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Picture: Netflix

Swifties will be disappointed to hear that the Netflix Original labeled concert Taylor Swift Reputation Stadium Tour has been announced to be leaving Netflix at the end of December 2023. 

Directed by Paul Dugdale, the Taylor Swift concert recording was produced by Den of Thieves and Taylor Swift Productions and was first released on Netflix globally on December 31st, 2018. It’s a recording of a concert she performed in Dallas, Texas.

As of the time of initial publishing, the concert doesn’t yet have a removal notice within the app or on the page for the movie. Instead, Netflix confirmed its removal in its “New on Netflix” newsletter to various publishers and outlets online. A removal notice will begin to be displayed around a month before its departure. The removal applies to all Netflix regions.

Why is Taylor Swift Reputation Stadium Tour ?

You may be thinking, “why is a Netflix Original leaving Netflix?” and you’d be right to question it. However, as we’ve covered relentlessly over the past few years, Netflix has been removing dozens of its Original titles.

The reason why some Originals have been removed often comes down to ultimate ownership of a show or movie and that Netflix has licensed (albeit exclusively) for a fixed period.

That does appear to be the case here, with the concert licensed to Netflix for a five-year fixed window, and that window is now coming up.

Of course, other theories are floating around about why the Reputation tour could be leaving Netflix.

We spoke to Andrew Roth , a concert photographer and journalist for the likes of Detroit News and Flint Beat, who told us there are growing theories that Reputation could be the next album that Swift re-releases under her own banner. “It’s a whole thing,” Roth tells us, “but the leading theory is there is an announcement soon and [the rereleased album] will be released in February [2024].” Roth told us a bunch of other theories on why it was on the horizon, such as February aligns with when “they’re in Tokyo, which is where the Reputation Stadium Tour ended,” but that’s not the point of this article, so we’ll leave that rabbit hole for others to fall down.

Will Miss Americana leave Netflix?

No is the short answer.

Following news getting out of the concert leaving Netflix, some Taylor Swift fans posted online that they’re also seeing Miss Americana set to leave the service too. They’re managing to get that up in their search results after searching “leaving soon.”

MISS AMERICANA TOO?2?3!$:$:$:$3$2&$:$/);72):$2?:? https://t.co/tjX0PJdMkh pic.twitter.com/UgmEcGwXZ1 — dom ☆ (@ev3rhaze) November 22, 2023

Thankfully, we can clear this up: Miss Americana: Taylor Swift won’t be leaving Netflix anytime soon. In fact, our understanding is that Netflix owns the rights to that documentary in perpetuity, so it will be streaming for many more years to come.

Of course, we’ll keep you posted on our leaving Netflix soon hub page if that changes.

Many Taylor Swift fans recently headed to theaters to watch The Eras Tour concert, which has yet to find a streaming home. A report from Puck in September suggested Netflix did not engage with any of the bidding on the movie ahead of AMC distributing, and it’s unclear whether they’ll want Eras Tour when its streaming window comes up early next year. As of October, reports suggest the concert had yet to be sold to a streamer .

Will you miss Taylor Swift’s Reputation Stadium Tour when it leaves Netflix globally in December 2023? Let us know in the comments below.

Founder of What's on Netflix, Kasey has been tracking the comings and goings of the Netflix library for over a decade. Covering everything from new movies, series and games from around the world, Kasey is in charge of covering breaking news, covering all the new additions now available on Netflix and what's coming next.

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The End of the Tour Is More Than Just a David Foster Wallace Eulogy

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This Henry Fonda Western Comedy Doubles as a Daring Heist Masterpiece

'jfk' was wildly inaccurate, but kevin costner's performance was right on the mark, the shark b-movie that's part true story, part 'jaws' ripoff.

It is easy for a film to slip through the cracks in terms of appreciation when it is next to A24 ’s back catalog of productions, and one of the finest examples of this is James Ponsoldt ’s 2015 film, The End of the Tour . While released to critical acclaim, with the two lead performances from Jesse Eisenberg and Jason Segel garnering particular attention, the film remains lesser mentioned among the cultish A24 devotees and film-watchers alike, a phenomenon that can perhaps be, unfairly, attributed to its subject.

Based on David Lipsky 's book Although of Course You End Up Becoming Yourself , the film recounts what is essentially a five-day-long interview-come-bonding session that took place when Lipsky (then a Rolling Stone journalist) attempted to write a profile on David Foster Wallace shortly after the release of his massively acclaimed novel Infinite Jest . Despite this encounter actually resulting in something that is organically akin to a version of Before Sunrise without the romance - with its extended philosophical discussions and musings on life - the film may seem off-putting for those unfamiliar with Wallace's writing. However, while it may sound like a film that caters to a particular strand of those "in the know," it is rather a life-encompassing affair with broad appeal, proving again that the best marker for good non-fiction is whether it can appeal to both those with prior awareness of its subject and those without.

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With Infinite Jest and its fans having become something of a parody of "hip" literary culture, the film makes sure to abstain from any such cliquish sentiment, shunning literary namedropping and the like for discussions on the most universal themes such as success, ambition, depression, and loneliness. Testament to this is how, going in, the film seems to assume complete ignorance regarding its primary subjects. The opening scene immediately sets up the context of Lipsky's book, as we see Lipsky (Eisenberg) reacting to the news of David Foster Wallace's death, after which the film almost surreptitiously enters into flashback. Again, though, the viewer is guided along all the way, being placed into the same world as the younger Lipsky as he first discovers Infinite Jest after hearing about the hype from literary reviews and peers. This is, immediately, a perfect example of the way in which the film subtly provides the backdrop for what ensues without it ever leaving viewers behind or feeling like it is begrudgingly spoonfeeding them the backstory.

What follows from here as Lipsky convinces his editor to let him interview Wallace on the last legs of his book tour is not just one of film's finest examples of the interview process, but a highly thought-provoking discussion on the nature of life. Far from making unexplained connections to his work, the film instead often acts as something of a primer for Wallace's writing, cleverly interweaving and relaying issues from his essays, fiction writing, and personal life - of TV addiction, alcohol abuse, and rural isolation - within its dialogue. In one scene, for example, after struggling to explain his inner struggles with alcohol abuse and suicidal thoughts, Wallace even briefly recaps a section from Infinite Jest, making these connections transparent. He asks Lipsky if he remembers the moment in the book when a character describes depression and suicide in relation to jumping from a burning building, repeating her notion that it isn't that the jump suddenly doesn't appear frightening, but rather that the alternative of staying in the building seems impossible. Although very poignant, it may not be that this example is the film's discussion at its most universal, or at least one might hope not. However, it is the best example of why the film shouldn't appear fan-specific, in that it makes use of the novel's material in a way that doesn't ostracise those who haven't read it.

More broad though is the clever way in which the film uses the duality of its two characters. As another of the prevalent ways in which the film captures the variety of the viewership it deserves, Lipsky's and Wallace's characters seem to speak to those on both ends of the spectrum in terms of ambition, aspirations, and careers. One of Wallace's prior concerns in the film is his newfound fame and success, the fear he feels at potentially enjoying it, and his wariness of how it might negatively affect him. Lipsky, conversely, is constantly envious of the acclaim that he is notably not receiving for his own debut novel, about which no one seems to care. This duality of the characters despising both the unachieved status of their goals and the lack of fulfillment at their success ensures that the film remains infinitely relatable, not just pretentiously lauding its hero, but instead appealing to the ever-changing pride and disappointment that everyone has, at some point, felt in their own lives.

This duality of characters capturing the film's broad appeal is perhaps best seen in one of the final scenes of the film. As Lipsky is departing, he decides that he has built up the courage to give Wallace a copy of his book for him to read. Wallace's tender gratitude - played brilliantly by Segel - quickly subsides to mild frustration as Lipsky mentions how he chose his own cover art, a privilege that Wallace fails to mention he didn't have for Infinite Jest . Even without knowing this fact, in this moment lies a perfect summary of the amusing dynamic the film has built up, whereby the two are paradoxically jealous of each other, as well as being a nice parting in-joke for those aware of Wallace's enduring hatred of the cover art that his publishers chose for his book.

The moment is a perfect endpoint and an enduring example of the fun and dramatic structure present in a film that could so easily have been (and may appear to be to those who haven't seen it) a self-indulgent piece about two men talking pretentiously at each other. Instead, more than anything, this film is a terrific example of a road movie at its most enjoyable, ultimately producing a dialogue-heavy but fast-paced story about a blossoming friendship, and the heartbreaking way it concluded. If too, the topics still seem somewhat highbrow, it is worth noting that there are also countless easy-going discussions on how Wallace loves his dogs too much, or how he unabashedly enjoys fast food, trashy TV, and action films. Whether it is these everyday appreciations of such modest topics that Wallace so effectively articulates, or rather the deeper, soul-wrenching discussions on self-consciousness and loneliness that you choose to engage with most, The End of the Tour remains a deeply relatable character study that can be enjoyed by anyone, fan of its fairly niche literary subject or not.

A neat summary can be made through how, largely, it can be said that the film's universality speaks to Wallace's own desire to remain an everyman in the face of his talent, something which Lipsky rebuffs in the film by stating that people crack open a 1000-page book because the author is brilliant, not relatable. It seems fitting, then, that this film succeeds in proving that the two seemingly conflicting traits can be shown to coincide so nicely by presenting such a universally appealing, yet thoughtful, road movie.

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The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace's groundbreaking epic novel, 'Infinite Jest.'

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'Bridgerton' Star Nicola Coughlan Gets Emotional Talking About the End of the Press Tour | Video

W e've reached the end of the "Bridgerton" press tour, and star Nicola Coughlan is feeling all feelings about Season 3 coming to a close.

In a video shared by Netflix, Coughlan and Luke Newton, who led Season 3 as friends-to-lovers Penelope Featherington and Colin Bridgerton, take a nostalgic walk down memory lane as they visited Galway, Ireland. Chatting at a pub, the pair reminisce on the whirlwind of press events that took place between the Season 3 premiere in May and the Part 2 debut in June.

"How does it feel? Our time is nearly done," Coughlan asked Newton, who responded, "that's actually really sad."

"It is really sad," Coughlan said, adding that the end "started to hit [her]" before she started getting choked up with tears.

"This is a great moment to capture," Newton said, pulling in his costar for a hug.

"I know I say it all the time but you've been so great … and I wouldn't have wanted to do it with anyone else," Coughlan told Newton, joking that her emotions might also be heightened by her lack of sleep and jetlag.

With tears streaming down her face, Coughlan requested a tissue from production. "Full tears from both eyes, guys," Coughlan said.

While the spotlight on Penelope and Colin will shift to another Bridgerton sibling for Season 4, Coughlan and Newton confirmed to TheWrap they'll be back for at least another installment of the Netflix series, this time with a baby.

"I'm excited for next season -- how nice to pass it on," Newton said, with Coughlan adding "We'll be married -- we keep forgetting we have a child." Coughlan joked that even she and Newton don't know the name of their child, who was introduced in the Season 3 finale.

Coughlan will also be back to resume Penelope's role as the ton's gossip columnist, even with her identity out in the open following the end of Season 3.

"Now Pen will have to navigate what it's like to be a public gossip columnist, not only dealing with the people she writes about, but also taking steps to be more accountable in what she writes," showrunner Jess Brownell told TheWrap . "Accountability and authenticity are two things that she's had to really face this season, and we're gonna continue that thread going into Season 4."

"Bridgerton" Seasons 1-3 are now streaming on Netflix.

The post 'Bridgerton' Star Nicola Coughlan Gets Emotional Talking About the End of the Press Tour | Video appeared first on TheWrap .

'Bridgerton' Star Nicola Coughlan Gets Emotional Talking About the End of the Press Tour | Video

Taylor Swift's Eras Tour extended movie finally has a streaming home (but not on Netflix)

By reed gaudens | feb 8, 2024, 10:28 am est.

INGLEWOOD, CALIFORNIA - AUGUST 09: EDITORIAL USE ONLY. Taylor Swift performs onstage during "Taylor Swift | The Eras Tour" at SoFi Stadium on August 09, 2023 in Inglewood, California. (Photo by Kevin Winter/TAS23/Getty Images for TAS Rights Management)

It’s been a long time coming, but Taylor Swift’s blockbuster Eras Tour has now become a blockbuster in the traditional sense. As a treat to her fans around the world at the end of 2023, the Taylor Swift Eras Tour movie hit the big screen in November and headed to on-demand streaming in December. But now in March 2024, the Eras Tour movie will have an official streaming home.

Swift first began the sprawling record-breaking trek in March 2023 in Glendale, Arizona, and completed the first North American leg of the successful tour in August 27 in Mexico City. She finished the 2023 leg of the tour in South America in November before hopping across the pond in 2024 and concluding in Canada in November 2024. When it’s all said and done, she will have played almost 150 shows.

The three-hour runtime of the Eras Tour takes fans on a journey through Taylor Swift’s 10-album catalog of music and has been celebrated with two surprise songs each show, Taylor’s Version album release announcements, and all kinds of special moments to scream about. Now, we can relive it all again at the movies . But will the concert movie be on Netflix?

Where to watch the Taylor Swift Eras Tour movie

Unfortunately, Taylor Swift: The Eras Tour concert film won’t be making its premiere on Netflix. While the Grammy-winning superstar’s previous concert film, Taylor Swift’s Reputation Stadium Tour, was previously available on Netflix alongside her Miss Americana documentary, The Eras Tour won't be coming to Netflix. Rather, Swift announced the concert film will be on Disney+ beginning March 15, 2024 .

The new cut of the film, which is aptly dubbed Taylor Swift: The Eras Tour (Taylor's Version), will contain all of the songs featured in the previous cut released on-demand as well as five additional songs, including her No. 1 hit single "Cardigan" from her album Folklore . The other four songs to be added to the film are expected to be "Death By a Thousand Cuts" from Lover, "Maroon" from Midnights, "You Are In Love" from 1989, and "I Can See You" from Speak Now (Taylor's Version) . These were the other songs performed during the acoustic "surprise song" set at the two additional Los Angeles shows that were filmed for the movie.

On Nov. 27, 2023, Swift announced on her social media accounts that an extended version of The Eras Tour movie would be released for on-demand streaming on her birthday, Wednesday, Dec. 13 in the United States, Canada, and other territories. The extended version includes the songs “Wildest Dreams” from 1989, “The Archer" from Lover, and “Long Live" from Speak Now . The streaming release in December will be for rent , not purchase, on Apple TV, Vudu, Prime Video, Xfinity, Google Play, and YouTube.

The Taylor Swift Eras Tour movie previously released in AMC and Cinemark theaters beginning on Friday, Oct. 13, 2023. According to Deadline, the film first played on the following dates: Oct. 13-15, Oct. 19-22 , Oct. 26-29, Oct. 31 and Nov. 2-5. Fittingly the tickets were priced at $13.13 (child) and $19.89 (adult) — if you know, you know. The film later had a wider release around the world and has made over $250 million worldwide .

Watch the trailer for the Eras Tour concert movie below!

Will you be watching the Eras Tour on Disney+ in March 2024?

Purple Hearts 2, Enola Holmes 3, and 7 Netflix movie sequels that should happen. dark. Next

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Ricky Gervais’ Next Tour and Netflix Special Is ‘Mortality’: ‘We’re All Gonna Die, May As Well Have a Laugh About It’

By William Earl

William Earl

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Ricky Gervais Mortality Poster

Ricky Gervais has announced his next world tour and corresponding Netflix special.

“Ricky Gervais: Mortality ” is set to launch later this year and run until the end of 2025, “taking in all of Gervais’s favorite arenas around the world,” per a press release. The special will also be filmed for release on Netflix.

“We’re all gonna die. May as well have a laugh about it. Mortality looks at the absurdities of life. And death. Bring it on,” Gervais said in a statement.

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Although Gervais’ specials have drawn controversy in the past due to anti-trans rhetoric, Netflix co-CEO Ted Sarandos has defended the comedian as an essential member of the Netflix family.

“I think it’s very important to the American culture generally to have free expression,” Sarandos said in a New York Times interview in 2022. “We’re programming for a lot of diverse people who have different opinions and different tastes and different styles, and yet we’re not making everything for everybody. We want something for everybody but everything’s not going to be for everybody. Nobody would say that what he does isn’t thoughtful or smart. You just don’t agree with him.”

See the full tour poster below.

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  • Ricky Gervais Announces ‘Mortality’ Tour, Plans For New Netflix Special

By Matt Grobar

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Ricky Gervais

Comedian Ricky Gervais on Thursday announced “Ricky Gervais: Mortality “,” a tour he’ll head out on later this year, which will run through the end of 2025 and culminate in a new special for Netflix.

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In a statement on his new tour, Gervais said, “We’re all gonna die. May as well have a laugh about it. Mortality looks at the absurdities of life. And death. Bring it on.”

The winner of four Golden Globes, two Emmys and seven BAFTAs, Gervais is one of the most influential British comedians still working. Previously creating and starring in the acclaimed series After Life for Netflix, he’s also the creator and star of comedies Extras and Derek and the original UK version of The Office .

Known for his biting humor and sharp social commentary, Gervais has hosted the Golden Globes awards five times, most recently in 2020. Other past comedy specials from him include Ricky Gervais: Out of England 1 & 2 , Fame , Politics , and Animals . As an actor, he’s also been seen in multiple Night at the Museum films, as well as Muppets Most Wanted , Cemetery Junction , The Invention of Lying , Ghost Town and other titles.

Gervais is repped by United Agents, WME, MHA Management, and Nelson Davis.

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Netflix in 2024: the 9 most unmissable shows so far and what’s coming next

The finest shows so far – and the ones that are coming

A promotional image for Netflix's Bridgerton season 3, Baby Reindeer and Eric

When you're the biggest streaming company in the world and make as many new Netflix movies and shows as it does, there's bound to be a few misfires – and this year has seen its fair share already, including J-Lo-in-space AI thriller Atlas , which has been inexplicably popular despite terrible reviews, and Zach Snyder's Rebel Moon Part 2 , which was not the epic sci-fi sequel we were hoping for.

Suffice to say, there haven't been that many new entries in our best Netflix movies guide, but when it comes to TV shows, Netflix has been delivering winner after winner this year in pretty much every genre: we've had swooning rom-coms, terrifying tales of obsession, quirky fantasy and some brain-melting sci-fi too – all of which have earned a place on our best Netflix shows list.  

As we hit the mid-point of 2024, the good news is that there's plenty more where that came from. Later this year, we'll see the final seasons of some of our very favorite shows as well as the debuts of some series we think are worth getting excited about. And we'll also see the return of the biggest show Netflix has ever produced – although as yet we don't know exactly when.

These are the shows we think have been among Netflix's biggest and best this year, and the shows we think you'll be talking about for the rest of the year.

Netflix in 2024: what have been this year's biggest shows?

Still from Bridgerton season 3

If by "biggest" we mean "most talked about", then the biggest Netflix show of the year so far has been Baby Reindeer . It's a tale of a suffocating, life-wrecking obsession that begins by saying it's a true story – and that's turned out to be a problem, because Netflix is currently being sued for defamation to the tune of $170 million by Fiona Harvey, of whom the show's key character Martha appears to have been based.

For many viewers, the must-see shows this year have been romantic ones: season 3 of Bridgerton has been an absolute joy, while One Day very successfully turned David Nicholl's best-selling novel into 14 episodes of romantic comedy.

If you prefer darker shows, it doesn't get much darker than Ripley . The neo-noir crime thriller, which arrived in April, is a tale of a 1960s New Yorker pulled into a life of deceit and murder. It got some great reviews – The Guardian called it "spellbinding" – and was watched by millions, although its 2.5 million first-week views were low by Netflix standards. 

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The quirky, Benedict Cumberbatch-starring psychological thriller Eric did much better, rocketing to the top of Netflix's charts in its very first week.

Eric on Netflix

It's been a good year for fantasy fans, too. Neil Gaiman's Dead Boy Detectives has been a lot of fun with its tale of ghostly investigations, and 3 Body Problem is a largely effective adaptation of the brain-melting sci-fi books by Liu Cixin. 

But for many viewers the stand-out sci-fi show of the year so far is the animated Scavengers Reign , axed by Max and brought to Netflix last month. It's currently that rare thing, a show with a 100% rating on Rotten Tomatoes. 100% ratings might be rare, but Netflix has another one for Chicken Nugget , the truly bizarre show about a young woman who gets turned into – yes! – a chicken nugget. 

Of course, it wouldn't be Netflix without a few loved shows getting canned. And so far this year one of the saddest cancelations is The Brothers Sun , featuring Michelle Yeoh in an action comedy. Despite great reviews Netflix pulled the plug after just one season, so that particular Sun isn't going to shine again this year.

Netflix in 2024: what new Netflix shows are coming next?

Viktor, Five, and Diego inspect their rundown home in The Umbrella Academy season 4

One of the most talked-about shows of the coming months is likely to be the fourth and final season of The Umbrella Academy , which will stream from August 8 – just after Cobra Kai season six , another hit show coming to an end this year. That'll be streaming from 18 July. 

Emily In Paris is returning for a fourth season in August, but it will be split into two parts: the first five episodes will be available from August 15 but the second five won't be streaming until September 12. Another returning favorite is Heartstopper , the sensitive coming of age drama centering on teens Charlie and Nick. Heartstopper season three is due in October. 

Dramas won't be the only source of drama in the months to come. The UK version of reality dating show Love Is Blind will hit streaming in August with its very distinctive take on dating: contestants are placed into pods to isolate them from the outside world and they get to know their potential soulmates without knowing what they look like. 

If a match is made, the would-be couple have to get engaged before they actually get to meet in person and find out if love really is blind. The show will be presented by former Big Brother contestant Emma Willis and her husband Matt, formerly of the pop band Busted. 

An animated character fires a gun

Netflix is continuing to invest in animation, and one of the most anticipated new shows is Terminator: The Animated Series . Based on the world of the Schwarzenegger movies but telling a whole new story, the anime will be streaming from August 29. And Zack Snyder's Twilight of the Gods , an animated series based on Norse mythology, will arrive the following month in September.

Some shows have yet to get a streaming date other than 2024 such as the Kiera Knightley-starring spy drama Black Doves , which could be as much fun as Apple TV Plus' Slow Horses . Knightley is joined by Happy Valley's Sarah Lancashire, Bond actor Ben Whishaw and Peaky Blinders ' Andrew Koji in a tale of secrets, skullduggery and a vast global conspiracy. And that's all we know so far: there isn't even a trailer yet, just a blink-and-you'll-miss-it moment in Netflix's 2024 preview trailer.

And there's one more big show without a streaming date just yet: Squid Game 2 . We're going to go out on a limb here and suggest that a few people might watch that one.

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Writer, broadcaster, musician and kitchen gadget obsessive Carrie Marshall has been writing about tech since 1998, contributing sage advice and odd opinions to all kinds of magazines and websites as well as writing more than a dozen books. Her memoir, Carrie Kills A Man , is on sale now and her next book, about pop music, is out in 2025. She is the singer in Glaswegian rock band Unquiet Mind .

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Stop scrolling: travel with couple trapped in the tropics as they experience the ‘longest third date’.

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Khani Le and Matt Robertson chronicle their unusual trip to Costa Rica in "Longest Third Date."

Your time is limited. Deciding what to watch can be exhausting. “Stop Scrolling” offers suggestions of movies and television shows that might not be on your radar, but should be.

“When you’re stuck together there’s not much else to do but drink and f–k,” says Khani Le in the documentary Longest Third Date.

Le and Matt Robinson had no idea of the adventure they were in for, when, on a whim, they decided to jet off to Costa Rica together.

The couple, who matched on a dating app, barely knew each other when they decided to throw caution to the wind and take what was supposed to be a quick five day trip together.

But, COVID changed everything, turning their spur-of-the-moment jaunt into a months-long journey. One that was both physically and emotionally taxing.

What transpired between the two was all caught on camera, thanks to Le and Robertson, who documented all of the ups and downs as they navigated their unique situation.

On March 17, 2020, despite some concern from friends about moving too fast in their relationship, and warnings about the newly discovered coronavirus, the pair boarded a nearly empty flight out of New York and began their vacation.

After enjoying three days at an all-inclusive resort ziplining and consuming cocktails, they learned that their flights back to the U.S. had been canceled — indefinitely.

They ended up spending 79 days navigating not only their new relationship, but also their living situation as the resort closed down and Le and Robertson were forced to move reside in a series of Airbnb locations, including an open-air treehouse.

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But, as Le expressed, a combination of boredom and handling all the drama brought the two together in many ways, including physically.

Which led to another scare when Le suspected she might be pregnant, complicating their situation even further, as did a serious accident in with their rental car ran off the road and into a lagoon.

At that point, Le says in the documentary, “I was like, ‘we have to get back home. It’s not fun anymore.’”

At a scant 80 minutes, the film obviously doesn’t document every minute of the months Le and Robertson spent together, but it covers enough to understand how they communicated and takes an intimate look into a relationship that was unintentionally put on fast-forward.

Finally, the duo made it home later via a government-sponsored flight to Houston. From Texas, they were able to get a flight back to NYC and resume their lives.

The documentary is also a fine study in taking chances and realizing that many things, including if you fall in love, and if you don’t, are out of your hands.

Did their extremely extended third date lead to a continuing relationship? Well, no spoilers here. Just watch the film. There will most likely never, ever be another date like this one and it’s fun to go along on this journey.

‘Longest Third Date’

Genre: Documentary

Watch it on: Netflix

Run time: 1 hour and 20 minutes

Features: Khani Le and Matt Robertson

Directed by Brent Hodge

Anne Easton

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  25. Ricky Gervais' 'Mortality' Is His Next Tour and Netflix Special

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