DTF St Louis review: David Harbour and Jason Bateman excel in this quirky whodunit – The Irish Times The Irish Times’ review of DTF St Louis highlights the show’s unique blend of humor and mystery, with David Harbour and Jason Bateman delivering standout performances. The series, described as existing in a parallel reality, offers a refreshing take on the whodunit genre, blending eccentric characters and surreal scenarios. Set in a fictionalized version of St Louis, the show’s creators have crafted a world where the boundaries of reality blur, allowing for a series of interconnected mysteries that defy conventional storytelling. Harbour, known for his role in Stranger Things, brings a nuanced depth to his character, while Bateman, a veteran of comedy and drama, adds a layer of charm and wit. Their chemistry elevates the narrative, making the show’s quirky premise feel both original and engaging. The review notes that DTF St Louis is part of a growing trend in US television where elevated quirkiness has become a subtle but influential force. This trend, while not without its critics, has gained quiet popularity among audiences seeking a break from traditional formats. The show’s success is attributed to its ability to balance absurdity with emotional resonance, creating a viewing experience that is both entertaining and thought-provoking. While the series has its share of eccentricities, the review praises its commitment to character development and narrative cohesion. The blend of humor and mystery allows viewers to immerse themselves in the show’s world, where every episode feels like a standalone adventure yet contributes to a larger, interconnected story. This approach has helped DTF St Louis carve out a niche in the crowded television landscape, offering a fresh perspective on the whodunit genre.#david_harbour #jason_bateman #dtf_st_louis #stranger_things #st_louis
HBO’s New Show Wants to Be the Next White Lotus or Big Little Lies HBO’s latest miniseries, DTF St. Louis, has positioned itself as a dark, introspective drama about unhappy marriages, drawing comparisons to The White Lotus and Big Little Lies. However, the show’s approach feels both derivative and overly dramatic, blending elements of crime, comedy, and marital dysfunction in a way that feels more like a true-crime podcast than a nuanced character study. The series, co-created by David Harbour and his collaborator, leans heavily on the trope of unraveling secrets in affluent, suburban lives, but its execution often feels forced and unearned. The story centers on Floyd, a middle-aged man played by Harbour, who is portrayed as a man adrift in his life. His character is a stark contrast to Harbour’s previous roles, such as the brooding sheriff in Stranger Things or the half-demon hero in Hellboy. Here, Floyd is a man who has lost his way, burdened by a large beer belly, a lack of purpose, and a strained marriage to Carol, his wife. Their relationship is marked by emotional distance and resentment, with Floyd struggling to connect with Carol, who works multiple jobs to support their family. The show’s premise revolves around Floyd’s growing dissatisfaction with his life, which leads him to explore a clandestine dating app called DTF St. Louis, promising anonymous encounters outside his marriage. The show’s plot takes a dark turn when Floyd’s life unravels after a series of events, culminating in a murder mystery. The narrative shifts between Floyd’s personal struggles and the investigation into the crime, led by two detectives: an aging, lethargic white man and an ambitious young Black woman.#david_harbour #hbo #dtf_st_louis #the_white_lotus #big_little_lies
DTF St. Louis: Jason Bateman Unpacks Episode 2 Interrogation Clark Forrest, portrayed by Jason Bateman, faces mounting complications in the second episode of DTF St. Louis, titled “Snag It.” The episode delves into his affair with Carol, the widow of his deceased friend Floyd, as he navigates an interrogation by Detective Donoghue Homer. Viewers witness the early stages of their relationship, including their kink-filled “dream” sessions at a local motel, which Clark humorously attempts to avoid discussing with Homer. As the episode unfolds, Clark’s character diverges from Bateman’s previous roles, such as the sharp-witted Marty Byrde. Bateman emphasized that his decision to take the role stemmed from admiration for creator Steven Conrad’s work, noting the script’s unique blend of tragedy and absurdity. The episode opens with Clark and Carol’s first encounter at a cornhole party hosted by Floyd. Carol’s flirtatious advances lead Clark into a fabricated story about running a deep-sea demolition company in Canada, a lie he claims is why he’s called “the Bang Master.” The scene’s humor and Clark’s shame are highlighted by Bateman, who described the character’s desperation and the absurdity of his situation. Co-star David Harbour, who plays Floyd, laughed at the scene’s absurdity, sharing Bateman’s appreciation for Clark’s chaotic behavior. As the episode progresses, Clark’s emotional state shifts. By the time Detective Homer interrupts his weather report with handcuffs, Clark has reached a tentative sense of peace regarding his affair and Floyd’s death. Bateman portrayed Clark as someone who has processed his grief and feels a sense of arrogance for having shared Floyd’s friendship, a contrast to Homer’s lack of such experiences.#jason_bateman #steven_conrad #detroit_st_louis #david_harbour #jodie_plumb
Lily Allen review — live on tour and still hellbent on revenge The crowd in Glasgow came to be appalled as much as entertained by the explicit narrative and depiction of the breakdown of Allen’s marriage to David Harbour. Her live performance, which unfolded as a raw and unfiltered exploration of personal turmoil, drew mixed reactions from attendees. While some were captivated by the emotional intensity and candid storytelling, others found the content unsettling, particularly the graphic details of her past relationship. Allen’s tour, which has been a recurring theme of self-reflection and catharsis, has consistently leaned into the drama of her public life. The Glasgow show, part of a broader leg of her live performances, saw her delve into the complexities of heartbreak, betrayal, and the lingering scars of a high-profile marriage. Her lyrics, delivered with a mix of vulnerability and defiance, painted a picture of someone still grappling with the aftermath of a relationship that ended in scandal. The audience’s response was polarized, with some applauding her willingness to confront painful truths and others criticizing the lack of subtlety in her storytelling. Critics have long debated whether Allen’s music serves as a form of artistic expression or a platform for personal vendettas. This show seemed to reinforce the latter, as she openly referenced past conflicts and expressed a desire for retribution, framing her experiences as a battle between love and loss. Despite the controversy, Allen’s performance was marked by a commanding presence and a deep connection with the audience. Her ability to weave personal trauma into her art has become a defining trait of her career, even as it continues to spark debate about the boundaries of public confessionalism.#david_harbour #live_performance #lily_allen #glasgow #public_confessionalism
Lily Allen’s latest performance art piece takes the form of a dramatic revenge-themed costume lineup during her “West End Girl” tour. The 40-year-old singer, known for her candid public persona, unveiled a series of outfits inspired by her breakup album with actor David Harbour, which she performed in full during a show at Glasgow Royal Concert Hall. The set, lasting 45 minutes, featured six distinct looks, each corresponding to a chapter of the album’s narrative. Allen’s most striking outfit was a long fabric piece adorned with handwritten lyrics and receipts from tequila bars and Bergdorf Goodman, a direct reference to the track where she confronts her husband for buying a luxury handbag for another woman. The costume was layered over a custom Self-Portrait bodysuit, burgundy patent hot pants, and other high-end accessories, including a Christian Louboutin pump. The styling was handled by Mel Ottenberg, former Interview magazine editor-in-chief, who noted on Instagram that Allen “got me out of tour styling retirement 20 years after I first styled her.” The performance included all 14 tracks from the album, with Allen shifting through looks to match the emotional beats of each song. For “Madeline,” a track about the mystery woman in her husband’s texts, she wore a sheer Valentino negligee and a marabou-trimmed robe on a pink-lit stage. Later, she donned a black leather bullet-bra dress by 16Arlington, a brand she previously walked for in a November runway show. During “Pussy Palace,” she performed from a bed onstage, with a Duane Reade bag beside her, echoing the song’s lyrics about discovering love letters from other women. Allen’s tour, which continues across the UK through March and will expand to North America in April, has drawn attention for its theatricality.#david_harbour #glasgow_royal_concert_hall #lily_allen #mel_ottenberg #christian_louboutin
Lily Allen's West End Girl Live Tour: A Much-Anticipated Comeback with Mixed Reactions Lily Allen’s West End Girl, released in October 2025, quickly became a sensation. A raw depiction of marital betrayal and neglect, it marked a new kind of divorce album for post-tabloid celebrities, inspired by her separation from actor David Harbour. The album received critical acclaim and was compared to Miranda July’s All Fours, positioning it within a contemporary canon of emancipatory, autofictional art for modern women. Its narrative structure held rich potential for live staging, and Allen’s decision to perform it in full during a theatre tour—before an arena run later that year—suggested she would fulfill its theatrical promise. The West End Girl Live tour opened with theatrical flair, as a string ensemble named the Dallas Minor Trio performed a version of Allen’s 2008 hit The Fear. The crowd enthusiastically sang along to karaoke-style lyrics displayed on a screen, setting the tone for the album’s themes of existential crises. However, the ensemble’s performance of nine additional songs in this style, including Not Fair and the maligned Hard Out Here, risked testing the audience’s patience. While the arrangement worked for some tracks, the projection of tone-deaf lyrics and the repetitive format felt less engaging, raising questions about the balance between artistic commitment and audience expectations. Allen’s entrance in the second act, following a 45-minute first half, carried significant pressure. She appeared behind a luxe theatre curtain for the title track, West End Girl, performing a calm, spotlit rendition of the album’s opening. The scene, which included a simulated phone call and a stylized bedroom set, felt more like a rehearsal than a fully realized performance.#david_harbour #dallas_minor_trio #west_end_girl #lily_allen #miranda_july
