To recruit actors for his rehearsals, Nathan opens an acting studio in Los Angeles, teaching 'the Fielder Method', which involves covertly observing and imitating unaware subjects. Feeling insecure about his own performance, Nathan reenacts the class with actors and a fake Nathan as the teacher while the real Nathan plays the role of Thomas, a student. Nathan makes his students immerse themselves in other people's lives while he immerses himself in Thomas's life, even living in Thomas's home.
Nathan returns to Oregon, where his 'son', Adam, is now a teenager. Nathan and Joshua, the actor playing Adam, decide that Adam should lash out due to resentment of his absentee father and develop a drug problem, a situation that mirrors Angela's own past. Adam suffers an overdose and is tended to by emergency responders played by Thomas and another Fielder Method graduate. After he runs away from home, the 15-year-old Adam reverts to a 6-year-old since Nathan plans to relive his son's earlier years.

In this revealing documentary, Giancarlo Granda, former pool attendant at the Fontainebleau Hotel, shares the intimate details of his 7-year relationship with a charming older woman, Becki Falwell, and her husband, the Evangelical Trump stalwart Jerry Falwell Jr. Directed by Billy Corben, the film outlines Granda's entanglement with the Falwell's seemingly perfect lives and the overarching influence this affair had on a presidential election.
The life of Jerry Falwell — the late Moral Majority televangelist who for decades helped catalyze the rightward shift of American evangelicals before his death in 2007 — is a quintessentially American story. But it’s in the next generation that the Falwell narrative becomes at once soap opera and morality tale. The film covers the graceless fall of Jerry Falwell Jr., who after the death of his father was placed in the presidency of the family’s conservative organ Liberty University. There, he seemed to remain painfully in thrall to his appetites. We hear testimony about his alleged tendency to drink on the job and discomfiting, slurry interviews between him and sympathetic media — but most crucially, we receive the testimony of Giancarlo Granda.
Granda was a pool attendant at a Miami hotel when he met Falwell and his wife, Becki, in 2012. Today, he alleges that he was persuaded to have sex with Becki while Falwell watched, and that the pair engaged in an ongoing campaign of communication with him that could be described as coercive. His energies were consumed with managing their tempers and occasionally threatening behavior, and he blames the swirl of scandal around them for derailing his professional future. Plainspoken and only occasionally visibly emotional, Granda is his own best advocate as he describes a couple who, he says, craved his body and were willing to discard the rest of him.

Previously on the first season on ‘Rise of Empires: Ottoman,’ Sultan Mehmed II won the battle for the conquest of the great city of Constantinople. Eight years after, Mehmed enjoys the might of his rule over the Ottoman Empire and holds the most significant reputation around his name in the world around. His eyes now glare at the west, with ambitions to seize control over all of Europe. However, there’s a lint in his eyes in the form of Vlad Dracula, the Voivode of Wallachia — a vassal state under the Ottoman Empire. The second season retells the Mehmed vs. Vlad throw down where the two historical figures lay it all out against each other in a fierce battle for the ages.
In the first episode, Vlad along with his brother Radu were left with Mehmed I by their father, as a guarantee that he would not betray the Sultan and help the Hungarians — something he was strongly suspected of. Over time, Vlad went on to get coronated for the throne of Wallachia and his characteristic hotheadedness and arrogance, as well as resentment against the Sultan and the empire, drove him to be unruly. As the threat of his rebellion became the largest it had ever been, Mehmet prepares for battle and moved with his mighty war machine of an army to defeat him.

Vlad Dracula was somewhat successful in having the upper hand during the first five-hour fight in the night attack; however, Mehmed’s army won the battle because of their strength and numbers. Vlad could not kill Mehmed II and fled the scene. After the battle, Mehmed and his army enter Târgoviște which was abandoned by Vlad Dracula. But when he entered the city, Mehmed saw a horrific scene. Muslims were impaled by Vlad in Târgoviște, and there was a ‘forest of corpses.’ In history, this is considered a sad event for the Turks. The experts said that when Mehmed saw these impaled bodies, he immediately started praying. One of the dead bodies was of his father in law Hamza Bay.
Days before, Mara and Gülbahar foiled the Wallachian plot inside the sultan’s harem. Radu Dracula takes the throne in Wallachia on Mehmed II’s orders. Radu Dracula promises his loyalty to the sultan, and Mehmed gives 2,000 men to him. We see a restless king Mehmed II back in Istanbul, because he was not successful in killing Vlad Dracula. However, after 15 years, Vlad’s head is brought to Istanbul by one of Mehmed’s soldiers at the end of the last episode of the series.

This brilliant docuseries is an exploration of the feudal Japan from 1551 to 1616 , during the final phase of the Sengoku period (The Age of Warring States), when several powerful daimyo (warlords) fought to become absolute ruler. It features reenactments of historical events and commentary by voice-over artist Hiro Kanagawa and outstanding historians.
In the first episode, Oda Nobunaga becomes head of the Oda clan upon the death of his father, but this causes problems with family members who compete for control.

A portrait of Dr. Anthony Fauci, the public servant, scientist, physician, husband and father whose career spans seven presidents and is bookended by two pandemics: HIV/AIDS, which shaped him, and of course, COVID-19; the latter bringing him countless TV appearances in American homes on an almost daily basis over the course of nearly two years.