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    Ty on TV

    Houston actor Ty Doran goes All Night on hot new Hulu series

    Holly Beretto
    May 11, 2018 | 2:20 pm
    Houston Hulu All Night Ty Doran actor
    Courtesy photo

    When former Houston actor Ty Doran sent in his audition tape for Hulu’s hot new series, All Night, the 20-year-old already had myriad performances under his belt. The Kinkaid alum and Northwestern University sophomore most recently had a recurring role as Peter Tanner on the hit show American Crime. And he was no stranger to the Houston stage, performing at the Alley Theatre, Black Lab, and Catastrophic Theatre.

    Doran turned up in Los Angeles last summer to do screen tests for the Hulu series. The production team was so impressed with Doran’s acting and presence, they cast him on the spot. Recently, Rolling Stone named All Night to its 10 Best Movies and TV Shows to Stream in May list. The comedy premieres May 11 on Hulu.

    The 10-part show is an ensemble production about high school seniors at an all-night, school-sponsored graduation bash designed to keep them safe from the dangers of alcohol, drugs, and whatever else well-meaning adults always mean to keep kids safe from. (You can guess how well that’s going to work.)

    For Doran, working on the series meant not only a door open to creative freedom, but also an up-close look at the difference between how a series like All Night differs from a traditional network drama like American Crime.

    “There was a lot of creative freedom [on All Night],” Doran tells CultureMap. “Network TV is more regulated. On American Crime, there were a couple of instances where rough language was used. And it was only used on that series for deep effect. But when the network took hold of it, you couldn’t hear the sound on the curse words and it really took you out of the action. That was always a little disappointing.”

    With All Night being an online program, Doran says, the cast and production team had a lot more opportunity to craft a show they way they wanted — without fear of retribution from network execs or irate advertisers.

    The two-and-a-half-month shoot was a different experience for Doran than his previous TV role. On American Crime, he’d turn up only when his character was needed. On All Night, Doran was on set nearly every day, as Bryce is a main player in the show. He said he felt like he was much more a part of the creative discussion about how his character was being developed, and felt free to offer his own ideas.

    Doran said the team worked on All Night in two-episode blocks, alternating filming between two different episodes at a time. “That’s a little more complicated as an actor, since you don’t have as much time to learn lines,” he says. “But it was cool in terms of performance, since I didn’t know where my character was going. I didn’t know what the end was. When you work on a play, you have the whole script there, and sometimes you can be tempted to play the end of the show at the beginning, because you know what’s coming up. Working the way we did really kept me in the moment, and helped me keep having a fresh take on scenes, since I was experiencing things as my character was.”

    Doran describes Bryce as an overachiever with a vengeful streak in him. But he was also attracted to the way his character grows in the series. And he was also attracted to what it meant for viewers to have the show be on Hulu.

    “I think it makes it much more accessible,” says Doran. “You have access to the whole story from the outset; you don’t have to wait from week to week to see what happens. Having it all available at the outset is exciting, and I think it will reach a lot more people.”

    Now that All Night is behind him, Doran is concentrating on rehearsals for Dry Land while finishing the semester at Northwestern. He’ll head out to L.A. for the summer, where he says he’ll “put [his] face in the rooms” of casting directors and other Hollywood types.

    In the meantime, though, he wants people to have fun with All Night. “I think the show really captures so beautifully the finality and seeming importance of this 12-year process [of school], and the sense these kids have of things they just have to get done. It’s so heightened, and dramatic and funny and cool.

    And I think it really shows that these young people are capable of growing, of learning from and teaching each other. They’re learning how to present their adult selves to the world.”

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    Movie Review

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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