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Filthy Rich Sneak Peek: Kim Cattrall’s (Mostly) Good Christian Character Faces an Ungodly Scandal in Fox Drama

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Cake isn’t the only thing being served in this shady first look at Kim Cattrall‘s new Fox drama Filthy Rich.

The woman formerly known as Samantha Jones is slipping into a very different role this time around, playing Margaret Monreaux, the grieving widow of a Christian mega mogul. And that grief understandably morphs into righteous anger upon discovering that her husband fathered three children out of wedlock, each with a different woman.

But don’t let Margaret’s Southern hospitality towards her dead husband’s secret kids fool you. Series creator Tate Taylor assures TVLine that the new head of the Monreaux family business has plenty of her own secrets hidden up those sleeves. (And probably a few more tucked under those shoulder pads.)

TVLine’s exclusive sneak peek of the series premiere (Monday, Sept. 21 at 9/8c) finds Margaret on her best behavior, even as tensions rise between her husband’s public and private families. First-born son Eric (Broadway’s Corey Cott) presents an especially salty front, casually judging his new half-sister (Salvation‘s Melia Kreiling) for working at a place called The Sin Wagon. But in her defense, she doesn’t just work there — she owns the joint. (What now, Eric?!)

Hit PLAY on the video above to experience one of fall TV’s most uncomfortable first meetings, then drop a comment with your thoughts below. Are you planning to check out Filthy Rich?


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Gwyneth Paltrow Says Co-Parenting With Chris Martin Is “Some Days Not as Good as It Looks”

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  • Gwyneth Paltrow said she and ex-husband Chris Martin have “good days and bad days” while co-parenting their kids Apple nad
  • The actress opened up about their relationship during a chat with Drew Barrymore on The Drew Barrymore Show.

    Gwyneth Paltrow and Chris Martin give off vibes of exes who get along super well and have nailed the whole co-parenting thing, but apparently things aren’t always easy. As a reminder: these two ~consciously uncoupled~ back in 2016 after 12 years of marriage, and have remained close while raising their kids Moses and Apple.

    “It’s like you’re ending a marriage but you’re still in a family. That’s how it will be forever,” Gwyneth explained on Tuesday’s episode of The Drew Barrymore Show, via People. “Some days it’s not as good as it looks. We also have good days and bad days, but I think it’s driving towards the same purpose of unity and love and what’s best for [our kids].”

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    “My divorce and my relationship with Chris now is better than our marriage was, so I think that it can be done,” she said, later adding “We have this idea that just because we break up we can’t love the things about the person anymore that we loved and that’s not true.”

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    Apparently, Gwyneth and Chris spoke to a doctor who gave them “a rubric” for successful co-parenting, and the key is accountability and knowing everything is 50/50.

    “You are also holding the other person in this sphere of humanity,” she explained. “We are all part good and part bad. It’s not binary—we are all gray area. We all are trying our best. I really wanted my kids to not be traumatized, if it were possible. Chris and I committed to putting them first and that’s harder than it looks because some days you really don’t want to be with the person that you are getting divorced from. But if you’re committed to having family dinner, then you do it. And you take a deep breath and you look the person in the eye and you remember your pact and you smile and you hug … and recommit to this new relationship that you are trying to foster.”

    Wow, I truly strive to be this emotionally mature one day.

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Is Lucia State Hospital From ‘Ratched’ a Real Place?

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Alright, Ratched fans. If you’ve watched even one episode of the new Netflix Ryan Murphy show, you’ve probably got questions. Like, why does Hollywood keep casting hot dudes to play serial killers? And why do I suddenly want a car from the 1940s even though I’m currently living in 2020? But the even more urgent question you probably have is about the location, Lucia, California. Is it a real place? And does the spooky and very-corrupt Lucia State Hospital actually exist? Here’s what we know.

Lucia, California is very real.

You read that correctly! It’s a super small town close to Big Sur, California. So small, in fact, that mail doesn’t even technically get addressed to Lucia. It gets addressed to Big Sur. So we’re not trying to commit Lucia, California erasure or anything, but it’s a super small community. Like, only about 1,000 people live there.

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There is no mental institution there.

And there never has been, apparently! Which means that while the overhead shots of the cliffs and scenery the show uses were actually shot in the Lucia area, the footage of the hospital was not. That was shot mostly in L.A. on a soundstage. Production designer Judy Becker was inspired for the look of the hospital by Arrowhead Springs Hotel in San Bernardino. The show couldn’t actually film at that location, so they recreated it.

That lovely seaside motel is real, though.

It’s called Lucia Lodge, and you can actually go stay there. “One of my favorite sets is the motel in Lucia, where Nurse Ratched stays,” Becker told Town & Country. “The exterior is a real place just south of Big Sur. It’s called the Lucia Lodge and it’s on a cliff over the ocean. It’s amazing looking and when we saw it, I thought about Psycho when she drives to the creepy motel in the middle of nowhere—I just knew we had to shoot there.”

I mean, can you blame her? Look at these views!

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BRB, booking my eventual post-COVID-19 vacation.

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An ingenious Bill Murray will make you miss NYC

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In the pantheon of perfect Bill Murray roles — “Caddyshack,” “Groundhog Day,” “Lost In Translation” — his smooth-talking character in the new comedy “On The Rocks” ranks as one of the best.

He plays Felix, a suave New York renaissance man and art dealer in Sofia Coppola’s wonderful movie — the pair’s first narrative feature collaboration since 2003’s “Lost In Translation” — which premiered Wednesday night in the New York Film Festival.

Murray, bless him, brought me back to the New York we all miss like hell; the city of late-night spontaneity we’re told we might not get back.

All of us, for example, have experienced some version of this scene: In the middle of the film, a cop pulls over Felix’s red sports car, which he’s been speeding like a NASCAR driver up and down Manhattan, and spots a bottle of Krug Champagne in the cupholder. The officer tells him to get out of the car.

“O’Callahan. Are you Tommy’s boy?,” he says to the shocked cop. Two minutes later, after regaling the guy who almost arrested him with stories about his grandfather and his family home in the Adirondacks, Felix is off the hook. Every waiter is “George!”, every party is, in some way, his own. What any of us wouldn’t give for a spontaneous night of rule breaking and lounge hopping with a genuine NY character, like Murray’s, again.

Coppola’s funny and slyly emotional film, which should be cherished, is the closest we’ll get to that for a while.

On the Rocks film review
Rashida Jones and Bill Murray with director Sofia Coppola on the NYC set of “On The Rocks.”Photo by James Devaney/GC Images

The rowdy evening is spent with Laura (Rashida Jones), Felix’s less flashy daughter who suspects her husband Dean (Marlon Wayans at his most tender) is cheating on her with a leggy new business partner. Days earlier, Felix had Dean followed, and spotted him having dinner at J. Sheekey in London and shopping at Cartier on Fifth Ave. Suspicious.

So, the duo hops Felix’s car and secretly trails the hubby around New York to try to catch him in the act. The movie is an expense account bar crawl dream: they visit 21, the Soho House and Bemelmans Bar at the Carlyle. Felix brings along a tin of caviar — “American,” he admits — while cooly rattling off his theses on masculinity.

“He’s male,” Felix, a notorious womanizer himself, says of Dean. “It’s his nature. Males are forced to fight to dominate and impregnate all females.” Murray, as only he can, makes a remark that would get most men slapped in the face totally adorable.

When Murray quietly discusses a de Kooning painting or bonobos or why the Plaza is the perfect hotel for infidelity, every one of Coppola’s lines sparks with pathos and raunchiness — like a TED Talk at Hooters. He also forges a delicate, sweet, believable father-daughter relationship with Jones, whose textured Laura is yet another reason to love this movie.

Laura lives in Soho with her two daughters and husband, while attempting to write a novel and enduring her own Groundhog Day loop of taking the girls to school and being forced to listen to another, single mom dish about her latest boy toy in the pick-up line.

Outside of Murray’s classic New York persona, Laura’s home life features some of Coppola’s finest writing. She isn’t sit-com harried or brusquely professional. Laura always carries a Strand tote bag and is reliant on a nearby baby sitter. Jones’ restrained frustration will strike a chord with many.

But it’s Murray who’s turned in a modern New York movie treasure. File Felix right next to J.J. Hunsecker, Arthur Bach and Addison Dewitt.

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