- “Jury Duty: Company Retreat”‘s Unsuspecting Hero On Life After Rockin’ Grandmas (April 14, 2026)
When he accepted a temp job for a modest California hot sauce company called Rockin’ Grandmas a year ago, 25-year-old Anthony Norman had no idea he’d suddenly become a TV star. And yet, after experiencing a weeklong company retreat in which the staff of Rockin’ Grandmas awkwardly proposed to each other, hooked up, drank out of Fleshlights, and ultimately staved off an acquisition by a cold megacorporation, Norman discovered the truth about his temp gig: Everything he’d just experienced, right down to the people, was a fabrication.
For fans of Prime Video’s hidden-camera sitcom experiment “Jury Duty,” these developments are old hat: the show just aired the final two episodes of its excellent sophomore season, “Company Retreat,” which saw Norman gamely navigate the over-the-top characters and situations at an expansive resort in upstate California with the (fake) employees of Rockin’ Grandma’s Hot Sauce. There, we got to marvel as Norman not only ran with every quirk and idiosyncrasy he came across—from failson Dougie’s (Alex Bonifer) furtive attempts to prove himself as the company’s new CEO to receptionist PJ’s (Marc-Sully Saint-Fleur) snackfluencing hobby—but engaged with his castmates and the situation in ways that, looking back, are heartwarming, and frankly inspiring.
It’s been a similarly uplifting journey for Norman, who in the months since has still been temping while doing press tours for “Company Retreat” in the leadup to its reunion episode (in which Norman gets to meet Season 1 hero Ronald Gladden and reunite with his cast in an episode co-hosted by Season 1’s James Marsden). “Even the hotel they got me in now is freaking amazing,” Norman tells RogerEbert.com.
In the months since, he’s had time to process both his experience and the overwhelmingly positive reception to the show, and to him specifically. “I feel amazing, man,” says Norman. “There were a few nerves at the beginning of it, but seeing everybody’s reaction to it, it’s just been so much love. I’ve been able to experience things that I never even dreamed of.”
RogerEbert.com sat down with Norman (from said hotel room) over Zoom last week to talk about the ins and outs of his surreal experience, whether he ever suspected anything was up, and how he responds to people calling his everyman integrity heroic.
This interview has been edited for length and clarity.
Let’s go back to the very first interaction you had with this: How were you “hired,” so to speak?
ANTHONY NORMAN: So I applied to a temp company and had to go through their application process. After a month, I almost forgot about it, but they contacted me and said they wanted to move on with me. And that’s when we get on Zoom with Kevin (or Ryan).
So it was pretty quick for you, gotcha. Now you’ve said in interviews, and even in the reunion episodes, that there were a lot of moments during that whole two-week period where you thought something might be up. And you would talk to your mom on the phone every day, and she was telling you things were hinky. What were some of the biggest red flag moments you look back on and think, “Oh, maybe that was too crazy to be true”?
I’ll say the stuff that [evil company] Truikus did: Them bringing in Sia, setting up this big brunch, that was so over-the-top. And some little things; there was a moment where I got Warren [who played salesman Steve] for his birthday, and I don’t know if it really was his birthday or not, but I was told that. I did the morning runs and got him a singular chocolate cupcake. That same day, I was talking to Doug/Jerry, and he was like, “Oh yeah, I got one of those chocolate cupcakes.” When there was only one. In the moment, I’m like “okay, maybe I said something wrong.” I don’t know. I dismissed it at the time. But looking back, he almost messed it up, right?
The biggest was the first day, it was almost ruined them. For the first three days, I stayed in a hotel before we reached the actual retreat site. I went to check in, and the dude behind the desk asked me, “Are you with Amazon?” I was like, “I don’t know.” I really didn’t know; I was working through a temp company, and Amazon has a lot of partners and businesses and stuff. So looking back in that moment, it was strange; they literally told me it was Amazon.
What I found most interesting about your season of “Jury Duty,” in particular, was that you’re the regular guy stuck in the middle of all of this, and so much depends on your reaction. But you have a character of your own, so to speak, that comes through, and you actually get opportunities to interact and forge the story. Even in scenes where you’re messing with the Malibu realtor and joking around about the Fleshlight, you get to improvise right back with a guy without even knowing it. Is that how you normally approach situations like that? Throwing yourself into something and figuring it out along the way?
Yes and no; at first, not really, but everyone was so welcoming, and just themselves? It allowed me to feel comfortable, let loose, and just have fun with it.
PJ (Marc-Sully Saint-Fleur), Anthony
You did seem to form a really quick bond with all of these characters. Do you find that’s a typical attitude for you when you enter a new situation? Or was there something specific about this environment?
The environment and the cast, for sure, but also just me being a big team guy. I came into a team that was already really close, and that’s something I love to be placed in. So that made me really feel at home as well.
You were also immediately given the role of “Captain Fun,” which felt like offering you a specific set of parameters for the retreat (especially after Kevin bestows it on you before leaving in the first episode). Did you feel that responsibility suddenly?
I mean, he definitely gave me a new task. But honestly, that was my job; I was expecting to show up and help in any way they needed, to make sure everybody kept their spirits high. So no, that wasn’t a big ask for me.
Did the hat give you any sense of power?
Yeah, for sure, it definitely helped. Honestly, I did it because I felt as if the Rockin’ Grandma’s crew would appreciate it, right? They all got more excited. So it was more about embracing the silliness.
In the reunion, we see a lot of unused footage. Was there a moment or an interaction you had at the retreat that you remember as significant, but which didn’t make it into the show?
I know this might be a boring answer, but whiffleball. I’m a big baseball fan, but the fact that everyone was enthusiastic about wanting to play, and not half-heartedly out there, that meant a lot ot me. Because if I called all of my homies back in Nashville, maybe two of them would show up to play. So it meant a lot. Everyone from the company came in, even Marjorie.
Speaking of her, you also had an interesting dynamic with her because she exists outside of the Rockin’ Grandma’s crew, so she becomes this confidant. There’s even a moment in the first episode, after the disastrous Kevin proposal, where she almost offers you an out. Did you think about it?
When she offered it, I considered it for, like, a second. But honestly, I ended up saying “no” because nothing had happened that made me feel uncomfortable. Nothing like, “I can’t be here.”
Dougie Jr. (Alex Bonifer), Anthony
Everyone’s talked about the “hero” aspect of your role in the season, and whether the show kind of innately brings the best out of the people it’s focused on. I think it especially brought out the best in you; I’m thinking specifically of your big speech at the end, where you’re suddenly thrust into the position of talking Doug down from selling Rockin’ Grandmas. It’s a big end-of-movie moment, and it’s astonishing to see the poise and conviction you express in that speech you give to Doug. What were the emotions you were feeling in that moment, which, for all you knew, was really happening?
My heart was pumping, my adrenaline was going. Mentally, I didn’t really have a plan, because when we were at the top of the hill, I was telling Alex (or Dougie), “Yo, you gotta do it!” Of course, they’re not gonna let it happen. So as I’m walking up, I’m asking myself, “What am I gonna say? I didn’t really have anything.” When I first walk in, I know I have to say something he’ll connect with and stop to hear me out.
That’s where the “father to father” line comes out, which hits you like a ton of bricks. And when you throw the Triukus exec’s line back in Doug’s face (“Do you really wanna listen to the temp?”), everyone can see that you mean it.
Somebody said the quiet part out loud! The only way anybody gets through this madness is if they’re a little crazy themselves.
When the initial reveal happened for you, what emotions ran through your head there? Was there ever a feeling of betrayal, or of trust being broken? How did you process that moment?
I never felt my trust had been broken; honestly, just them being there for me and continuing to build on the relationships we’d already had was what drove it home for me.
It really does feel like the cast was also impacted by getting to know the real you, and it came out in the way they’ve engaged with you since.
Yeah, they absolutely impacted my life, just being so supportive and loving of me, even to this day. Having that community around you just uplifts you and makes you more willing and wanting to show up for people.
James Marsden, Anthony
And of course, you’ve now met Ronald from Season 1, and are aware that this show exists in a broader context. It almost feels like you and Ronald share a unique experience that only you two have gone through, even though you didn’t experience it together.
I honestly look at Ronald now like my big brother. Anytime I call or text, or even when I’m out here. When we sat down and talked for the first time [in the ninth episode, “The Meeting”], I told him, “I know you’re trying to help me, but is there anything I can do for you?” We went through the exact same experience, and for that, he’ll be my big brother for life.
How does this whole experience sit with you as a chapter in your life? I know the future is probably still a little uncertain, because this was an arena you probably never expected to get into. But do you know what your next steps are in the wake of this?
I don’t know for sure, but I’d like to see brand deals, partnerships, and maybe commercials. If an opportunity comes to do a movie or a TV show, I’d be open to it. But that’s not the alley I’m chasing down.
Is there a character at Rockin’ Grandmas you wish actually existed, irrespective of the actor? Is there a persona you really wish you could go back and talk to again?
Honestly, I’d say Dougie; I know I keep bringing him up, and I know [Alex] is my brother, but I just want to go back to check on him and see how things are going. Just to see if he really stepped up to the plate, and if everybody was still motivating him to be the best CEO he could be.
I’m really curious; what did the Jamaican Jerk Off Sauce actually taste like?
It was solid! Like I said in the episode, 8 1/2 out of 10. I didn’t really get a jerk flavor from it, though. I’m not a big jerk guy. But it was good.
Did it taste at all of Taco Bell hot sauce?
Not at all.
- Capcom’s “Pragmata” is the Next Great Dad Game (April 13, 2026)
“The Last of Us,” “BioShock Infinite,” and “God of War Ragnarok”. What do they all have in common? Their stories center around a central father figure protecting a young companion, whether it’d be a son, daughter, or an important character they come across. It’s a popular trope that works both narratively and gameplay-wise. You play as one character while your companion tags along with you, helping out in some fashion.
Capcom’s “Pragmata” is joining that fold, but with a compelling sci-fi setting, as well as touching character moments and engaging gameplay that makes it one of the best games of 2026 so far.
“Pragmata” follows an astronaut named Hugh and an Android named Diana as they attempt to escape from a lunar station after disaster strikes. In the meantime, they have to deal with a rogue AI system called IDUS that’s hellbent on eliminating them. What makes the story work are the interactions between Hugh and Diana. Diana acts like a curious child, wondering what life is like back on Earth, while the childless Hugh plays the role of an adoptive father, looking out for her. Hugh himself is adopted too, so he’s able to share his perspective with Diana about forming bonds and families with those who aren’t blood related.
Outside of cinematic cutscenes, small interactions between them are brimming with humor and charm. For example, she learns about how humans consume food, but thinks that they’re inefficient considering they have to eat 2-3 times a day. Hugh explains that it’s not just the process of eating, but eating together with family or friends that also nourishes the soul. Moments like these push their father and daughter dynamic forward, making their bond feel natural. I also love their character designs. Ironically, Hugh is wearing a giant suit. With his helmet on, he’s the one who looks like a hulking robot whereas Diana simply just wears a blue jacket and you can constantly see the human-like expressions on her face. It’s a clever twist that makes them stand out as characters.
The gameplay also shines due to equal participation from both Hugh and Diana. In games like the “Last of Us,” Joel has almost all of the player control agency while Ellie is mostly relegated to NPC control. However, in “Pragmata,” Diana has the ability to hack enemies and expose their weak points for Hugh to shoot at. Hacking plays like a puzzle game where you navigate a puzzle and move the cursor to a execution spot on a grid, while picking up bonus nodes along the way. These optional nodes include effects such as confusing enemies so that they attack others, stunning them, or just doing extra damage.
What makes the gameplay captivating is that you have to do the hacking in real-time while dodging attacks. Battles become suspenseful and chaotic as Hugh waits for Diana to finish hacking in order to deal any meaningful damage. Progression is well-paced and organic. For example, Hugh can level up his suit to gain more HP and defense, while Diana can improve her hacking such as increasing the duration enemies are exposed. You can also beef up Hugh’s repertoire of guns permanently to deal more damage. It’s a really straightforward system that’s easy to understand.
The game’s dungeon design has a slight Metroidvania aspect to it, so when Diana unlocks a new story ability, she and Hugh can revisit previous areas to find new mods and nodes. Exploration is greatly encouraged as you’ll also find computer chips and holograms of items from Earth that can grant Hugh and Diana with new special skills. Furthermore, there are challenge rooms scattered throughout and time trials available in the central hub to take on and earn more rewards to help you get through the game.
“Pragmata” can be completed in about 10-15 hours, which is shorter than I expected, but works in the game’s favor as it doesn’t overstay its welcome. The gameplay evolves enough by introducing new hacking tiles for Diana to toggle through and weapons for Hugh to use. Combined with the relatively short run-time, these factors prevent combat from becoming stale by the time the credits roll.
Capcom has had a stellar 2026 so far, with the releases of the excellent “Resident Evil Requiem,” “Monster Hunter Stories 3: Twisted Reflection,” and the “Mega Man Star Force Legacy Collection.” “Pragmata” continues the streak with its emotional characters and enthralling gameplay. It’s one of the best games of 2026 so far, and it’s one that I’ll be thinking about for a long time.
The publisher provided a review copy of this title on Xbox Series X|S. It will also be available on PC, PS5, and Nintendo Switch 2 on Friday, April 17.
- Chicago Critics Film Festival Lineup Announced, including Guests Olivia Wilde, Joe Swanberg, Dawn Porter, More (April 10, 2026)
The Chicago Film Critics Association announces the line-up for the 13th Chicago Critics Film Festival, running from May 1-7, 2026 at the historic Music Box Theatre. A blend of new and familiar voices, this year’s line-up reflects the breadth of filmmaking in 2026 including new works from Olivia Wilde, Dawn Porter, and Joe Swanberg, all scheduled to attend.
Other guests include Cory Michael Smith, Edd Benda, Stephen Helstad, Zach Schnitzer, and Nate Simon. New films starring Seth Rogen, Willem Dafoe, John Early, Samara Weaving, Paul Rudd, Dustin Hoffman, and Cooper Hoffman will premiere, along with two shorts programs, five documentaries, and three timely anniversary titles: Steven Spielberg’s “A.I.: Artificial Intelligence,” David Cronenberg’s “The Fly,” and Jonathan Demme’s “Something Wild,” all presented on 35mm. Watch this space for more information but get your tickets now while you can.
Friday, May 1st
6:30pm “The Invite” (on 35mm w/Q&A with director/star Olivia Wilde)
9:30pm “The Fly” (40th anniversary on 35mm)
11:59pm “Decorado”
Saturday, May 2nd
11:30am “Shorts Program 1” (w/directors Q&A)
2pm “Tuner”
4:30pm “Carolina Caroline”
7:15pm “Power Ballad”
9:45pm “I Want Your Sex”
11:59pm “Leviticus”
Sunday, May 3rd
11:30am “You Had to Be There”
1:45pm “Shorts Program 2” (w/directors Q&A)
4:15pm “Maddie’s Secret”
6:30pm “Late Fame”
8:45pm “A.I.: Artificial Intelligence” (25th anniversary)
Monday, May 4th
4:15pm “The Last One for the Road”
6:30pm “When a Witness Recants” (w/Q&A with director Dawn Porter)
9:30pm “Time and Water”
Tuesday, May 5th
4:30pm “If I Go Will They Miss Me”
7pm “Chili Finger” (w/Q&A with writer/directors Edd Benda & Stephen Helstad)
9:45pm “Black Zombie”
Wednesday, May 6th
4:15pm “Romeria”
7pm “Loafers” (w/Q&A with writer/director/star Zach Schnitzer and producer Nate Simon)
9:30pm “Something Wild” (40th anniversary on 35mm)
Thursday, May 7th
5pm “Broken English”
7:30pm “The Sun Never Sets” (w/Q&A with writer/director Joe Swanberg and star Cory Michael Smith)
- Cannes Announces 2026 Program with New Films by Pedro Almodovar, Hirokazu Kore-eda, Asghar Farhadi, More (April 9, 2026)
The Cannes Film Festival announced the first selections for its 2026 program this year, a diverse array of films from international masters from around the world, blended in with new, unexpected voices. After a 2025 program of high profile Hollywood premieres like the last “Mission: Impossible” movie and Spike Lee’s “Highest 2 Lowest,” this year looks a bit more subdued on the red carpet front, but undeniably includes some of the best working filmmakers from around the world, including Pedro Almodovar, Asghar Farhadi, Ryusuke Hamaguchi, Hirokazu Kore-eda, Cristian Mungiu, Pawel Pawlikowski, Ira Sachs, and Andrey Zvyagintsev, all in competition.
Interestingly, the newest films from Jane Schoenbrun and Nicolas Winding Refn will both launch in programs ineligible for the Palme d’Or, while the latest from James Gray, widely rumored for Cannes, is nowhere to be found. (It’s worth noting that films from Lee, Bi Gan, and Lynne Ramsay, among others, were all added after the initial program reveal last year.) Of course, the best thing about Cannes is the unknown. There’s almost certainly a masterpiece or two in here. Come back in May to find out which one(s).
In Competition
“All of a Sudden,” Ryusuke Hamaguchi
“Another Day,” Jeanne Herry
“The Beloved,” Rodrigo Sorogoyen
“Bitter Christmas,” Pedro Almodóvar
“The Black Ball,” Javier Ambrossi and Javier Calvo
“Coward,” Lukas Dhont
“The Dreamed Adventure,” Valeska Grisebach
“Fatherland,” Pawel Pawlikowski
“Fjord,” Cristian Mungiu
“Gentle Monster,” Marie Kreutzer
“Hope,” Na Hong-jin
“The Man I Love,” Ira Sachs
“Minotaur,” Andrey Zvyagintsev
“Moulin,” László Nemes
“Nagi Diary,” Koji Fukada
“Notre Salut,” Emmanuel Marre
“Parallel Tales,” Asghar Farhadi
“Sheep in the Box,” Hirokazu Kore-eda
“Stories of the Night,” Léa Mysius
“The Unknown,” Arthur Harrari
“A Woman’s Life,” Christine Bourgeois-Taquet
Un Certain Regard
“All the Lovers in the Night,” Yukiko Sode
“Benimana,” Marie-Clementine Dusabejambo
“Club Kid,” Jordan Firstman
“Congo Boy,” Rafiki Fariala
“Le Corset,” Louis Clichy
“Elephants in the Fog,” Abinash Bikram Shah
“Everytime,” Sandra Wollner
“I Am Always Your Maternal Animal,” Valentina Maurel
“I’ll Be Gone in June,” Katharina Rivilis
“The Meltdown,” Manuela Martelli
“Strawberries,” Laïla Marrakchi
“Teenage Death and Sex at Camp Miasma,” Jane Schoenbrun (Opening Film)
“Uļa,” Viesturs Kairišs
“Yesterday the Eye Didn’t Sleep,” Rakan Mayasi
Out of Competition
“L’Abandon,” Vincent Garenq
“De Gaulle: Tilting Iron,” Antonin Baudry
“Diamond,” Andy Garcia
“The Electric Kiss (Opening Night Film),” Pierre Salvadori
“Her Private Hell,” Nicolas Winding Refn
“Karma,” Guillaume Canet
“L’Objet Du Delit,” Agnes Jaoui
Cannes Premiere
“Heimsuchung,” Volker Schlöndorff
“Kokurojo: The Samurai and the Prisoner,” Kiyoshi Kurosawa
“Propeller One-Way Night Coach,” John Travolta
“The Third Night,” Daniel Auteuil
Special Screenings
“Avedon,” Ron Howard
“Cantona,” David Treehorn
“John Lennon: The Last Interview,” Steven Soderbergh
“Les Matins Merveilleux,” Avril Besson
“Les Survivants du Che,” Christophe Réveille
“Rehearsal for a Revolution,” Biga al Ahani
“The Survivors of Che,” Christophe Réveille
Midnight Screenings
“Colony,” Yeon Sang-ho
“Full Phil,” Quentin Dupieux
“Jim Queen,” Nicolas Athane and Marco Nguyen
“Roma Elastica,” Bertrand Mandico
“Sanguine,” Marion Le Corroller
- Netflix’s “Big Mistakes” Starts Off Feeling Small but Settles into Its Best Self (April 9, 2026)
The first two episodes of Netflix’s “Big Mistakes,” which basically play as one hour-long episode, actively annoyed me. A premise that feels overly familiar in the era of ordinary people getting caught up in violent situations a la “Ozark” with frustratingly dim lighting that matches that increasingly influential award winner centered by two obnoxious characters who I expected would just bicker their way through the next eight chapters: I started to regret my career choices.
Some of the issues in the first hour of “Big Mistakes” linger, but to say that the show finds its footing in unexpected ways would be an understatement. Behind-the-scenes drama could be to blame for the rough start tonally, but Dan Levy and his team relatively quickly figure out how to amplify the best aspects of their show, pivoting into a radically different one than it first seems.
“Big Mistakes” was created by and intended to be a vehicle for Levy and Rachel Sennott. When “I Love L.A.” went to series, Sennott couldn’t juggle both shows, so her part was recast with Taylor Ortega, and it feels like that shift impacted the show’s launch. The first impression I had was that Levy and Ortega not only don’t feel like siblings, but I’m not convinced they’ve ever even met. That lack of sibling chemistry early in the season really impacts the tone—it’s different watching a brother and sister bicker than it is two obnoxious strangers. There were also reports that Levy was struggling with the balance between crime and comedy in the writers room, and one can totally feel that early in the season, too.
BIG MISTAKES. (L to R) Dan Levy as Nicky and Boran Kuzum as Yusuf in Episode 103 of BIG MISTAKES. Cr. Spencer Pazer/Netflix © 2025
And then it’s gone. Before the halfway mark, “Big Mistakes” has become a more confident, balanced, entertaining show, a program that still struggles with some unbelievable choices by its many characters, but one that moves with such momentum that it’s an easy binge. It’s one of those shows where you want to see what’s going to happen next, how these two are going to fall into another trap or work their way out of one. And it contains several engaging performances, especially from Levy and Laurie Metcalf. It’s not perfect, but if this is Netflix’s newest “Ozark Lite,” it’s a better one than most of that imitative field.
Levy plays Nicky, a pastor in a town so small that his mother Linda (Metcalf) can both own the hardware store and be running for mayor. When his grandmother is dying, Linda tasks Nicky and his sister, Morgan (Ortega), with buying a nice necklace for her burial. They go to a pawn shop, and Morgan decides to shoplift what seems like an ordinary piece of jewelry, only to discover it is a bauble that is very important to a local crime syndicate. The store clerk/tough Yusuf (Boran Kuzum) brings Nick and Morgan to his boss, Ivan (Mark Ivanir), who basically forces them to join the payroll, giving them flip phones they have to answer whenever he needs them. What better unexpected pawns could a crime lord have than a pastor and a schoolteacher?
BIG MISTAKES. (L to R) Laurie Metcalf as Linda and Darren Goldstein as Tom Donaldson in Episode 104 of Big Mistakes. Cr. Courtesy of Netflix © 2026
Meanwhile, Linda launches a heated political campaign with her third child, Natalie (Abby Quinn), taking on a truly toxic power player in the community, Tom Donaldson (Darren Goldstein), whose strings are pulled by his wife, Annette (a perfectly cast Elizabeth Perkins). There are times when the Metcalf/Quinn/Perkins half of “Big Mistakes” feels like a different show from the Levy/Ortega one, but that becomes something more of a feature than a bug. The always-great Metcalf chews on the clever dialogue regarding small-town politics in a way that makes you wish she had guest-starred on “Veep,” and it allows a bit of a release from the criminal half of “Big Mistakes” while also reminding one that the worlds of international crime and local politics aren’t that different when it comes to idiotic behavior.
Levy settles into his role, too, getting just enough character work outside of the action of the piece to make him feel increasingly genuine. Mostly, he just doesn’t seem as adrift as in the early episodes, even developing some stronger chemistry with Ortega, although the extended scenes where they just yell at each other are the most consistently grating.
BIG MISTAKES. (L to R) Taylor Ortega as Morgan and Dan Levy as Nicky in Episode 107 of Big Mistakes. Cr. Courtesy of Netflix © 2026
Importantly, Levy and his fellow producers wisely surround their abrasive leads with rich supporting characters, mostly on the criminal side of the coin. Kuzum and Ivanir are particularly good, taking roles that could have been two-dimensional and making them richer through subtle choices. Ivanir conveys why Ivan would see our leads as different from his usual criminal cronies, while Kuzum finds a balance between being charming and dangerous.
“Big Mistakes” sometimes feels a bit too derivative of things that its creators know people love from the accidental criminals of “Ozark” to the dysfunctional siblings of “Schitt’s Creek,” but it’s ultimately smart enough to overcome that criticism. It’s an easy weekend binge in one of the most crowded TV months of the year. And a reminder that sometimes people, and shows, aren’t what they first appear.
Whole season screened for review. Now on Netflix.
