The HBO series is doing what the books that form its source material could never do: come to an end, says Zack Handlen. "Game Of Thrones isn’t just telling the rest of Martin’s story before he can finish it himself; the show is doing it better than he could," says Handlen. "Whether or not that proves to be true, most of the apparent changes are things that were inherent in the text from the start." Handlen says the TV series and Martin's book series can only end in one of two ways: Either The White Walkers win or the humans win. But it's hard to imagine the White Walkers winning after all these years focused on the humans. "Really, Game Of Thrones hasn’t ruined A Song Of Ice And Fire so much as it has brought the series to its inevitable conclusion," says Handlen. "It remains to be seen if that conclusion will make everyone happy or not (spoiler: probably not), but regardless, it will be an ending. If Martin ever finishes books six and seven, it will be in a world that has largely moved on from that version of his tale. And while that seems a bit sad, it might also be for the best for the writer. If the reason Martin has been struggling so long to finish his work is because of his concerns over living up to expectations, it’s possible that being rid of those expectations might allow him the creative freedom he needs to see things through. It might also rob him of whatever impetus to finish he has left. Only time will tell. Fans will at least get an ending, even if it’s not necessarily the ending they wanted. Given how things so often go in the Seven Kingdoms, that’s not entirely inappropriate."
TV news anchors and pundits spent much of Friday speculating on the Mueller report. "After all the buildup, the anchors had one new development to gnaw on: the fact that, according to a Justice Department official, the Mueller report recommended no new charges," says John Koblin, adding: "And before you knew it, television was populated, as it had been earlier in the day, with talking heads spinning out various possibilities that could fill the news maw in the days to come."
Streisand is taking flak for a new Times of London interview, where she says she "absolutely" believes James Safechuck's and Wade Robson's accusations that Jackson sexually molested them. “You can say ‘molested,’” said Streisand. “But those children, as you heard them say (the grown-up Robson and Safechck), they were thrilled to be there. They both married and they both have children, so it didn’t kill them.” She adds of Jackson: "His sexual needs were his sexual needs, coming from whatever childhood he has or whatever DNA he has.” UPDATE: Streisand has walked back her comments.
Apple will officially become a major rival for Netflix's content business when it debuts its star-studded TV slate on Monday. While Apple isn't paying anywhere near the $10 billion Netflix is shelling out this year on original content, Apple has the power of its more than 1 billion devices around the world (compared to Netflix's 139 million subscribers). Apple and Netflix's relationship has already been fraying for a while now, says Edmund Lee. As Lee explains, "Netflix is a service, or a pipe, that would sit on another service, or pipe, if it agreed to be included in the Apple bundle. And if it had joined forces with Apple, Netflix also would have received little to no data about who is subscribing or watching its stuff. Further muddying the company’s identity, from the Netflix point of view, would be the fact that Apple users who spooled up Stranger Things or Orange Is the New Black may not be aware that they’re watching a Netflix show. Retaining the brand is as important as owning the data." ALSO: What we know and don't know about Apple's Monday announcement.
"One could argue that Oliver was holding Leno 'accountable' for jokes he told in the 1990s that now seem cruel and unfunny," says Conor Friedersdorf of Oliver's Last Week Tonight segment earlier this week on public shaming, which focused on Leno slut-shaming Monica Lewinsky on The Tonight Show. "But Oliver could’ve criticized the old jokes while still treating Leno as he treats himself: as an imperfect but not malign comic who told jokes that are regrettable in hindsight. Surely Leno ranks low on any list of evil forces in American society. He doesn’t warrant a 'Go f*ck yourself,' delivered here for the supposed hypocrisy of making uncivil jokes on a subject and then, a quarter century later, in a polarized moment, yearning for more civility. And whether one feels love, disdain, or indifference toward The Tonight Show under Leno, it was arguably more civil on average than Last Week Tonight. Indeed, Oliver regularly goes the 'Go f*ck yourself' route, and it isn’t because profane shaming does 'a lot of good' for society—it’s because it’s popular...Last Week Tonight depends on a formula that includes a villain, a punching bag, someone to 'destroy,' so that audience members can feel that they’re part of a morally and cognitively superior in-group, perennially exasperated by malign idiots in the out-group."
"The Explainer Show fulfills more or less the same purpose as a specialized news report or a PBS special, and as such is targeted at the demographic least likely to consume said show as part of their media diets: millennials," says Alison Herman of shows like Last Week Tonight, Patriot Act with Hasan Minhaj and even Kal Penn's This Giant Beast That Is the Global Economy. Herman adds: "In recent years, this distinct category has grown an even narrower subgroup. The core idea remains in place: wrapping factoids in punch lines can make them more palatable, while giving them a more explicit point of view can make their biases more transparent. But rather than responding to a given news cycle’s headlines, these series prefer to choose their battles. They want to start a conversation, not join one. And because they’re deliberately choosing subjects that aren’t already on viewers’ minds, they take on the initial burden of introducing them to their audience. Call it the Explainer Show."
The legendary "My Heart Will Go On" singer filmed a "Carpool Karaoke" segment on Friday, but a Late Late Show airdate has yet to be revealed.
It only takes about half a season to recognize the the David Fincher-produced Netflix adult anthology series offers a "conventional boys-club approach to catharsis," says Tirhakah Love. "From the first episode on, there’s that all-too-tingling question of whether this show actually hates women." Love adds: "Later episodes are even more worrisome as women and girls are cursed for promiscuity, or dismembered and rendered sacrificial lambs in a vague demon-awakening ritual. Seldom does one of its many stories actually respect its characters. Part of it is functional: Love, Death & Robots conveys a sense that none of its characters are necessarily protected. It’s a big, bad world out there. But even the episodes led by women appear to be full of disdain."
She'll play an "independent, formidable and, occasionally, wildly impulsive" deputy district attorney on the CBS legal drama pilot.
The 63-year-old host of the PBS travel show Travel with Rick Steves is "absolutely American," Sam Anderson writes in a New York Times Magazine profile. "He wears jeans every single day. He drinks frozen orange juice from a can. He likes his hash browns burned, his coffee extra hot. He dislikes most fancy restaurants; when he’s on the road, he prefers to buy a foot-long Subway sandwich and split it between lunch and dinner. He has a great spontaneous honk of a laugh — it bursts out of him, when he is truly delighted, with the sharpness of a firecracker on the Fourth of July. Steves is so completely American that when you stop to really look at his name, you realize it’s just the name Rick followed by the plural of Steve — that he is a one-man crowd of absolutely regular everyday American guys: one Rick, many Steves. Although Steves spends nearly half his life traveling, he insists, passionately, that he would never live anywhere but the United States — and you know when he says it that this is absolutely true."
"Here’s the thing about being on set: We eat all the time, so three hours after breakfast is served, there’s a 'snack' that’s put out, and I say that with quotes, because it’s not really a snack — it’s a meal," says Santos. "Like, yesterday, our snack was dim sum, and it was amazing."
“The scoring approach to Leaving Neverland was to imagine a walk through a beautiful and magical forest,” says composer Chad Hobson, who scored the HBO documentary. “But as you travel deeper into the forest it becomes darker, more distorted, the limbs of the trees becoming more twisted and sinister. … It needed to sound rich and filmic, fairy-tale like.” Surviving R. Kelly composer Nathan Matthew David, meanwhile, says he opted to focus his music on the women accusers, “something that could be melancholic and dark, for the tragedy they went through, but also could be uplifting and sometimes triumphant.”
Fieri's Food Network series has evolved to show off the kind of places that are rarely seen on the cable channel, says Lewis Beale. "I love the fact that Fieri doesn’t really visit diners, drive-ins or dives anymore, but instead he roams America’s big cities, small towns, and strip malls, looking for the local curry joints, taco houses and noodle palaces," says Beale, adding: "The fact is, Diners, Drive-Ins and Dives is actually a show about two things that have truly made America great: individual entrepreneurship and immigration. The people Fieri features have come to these shores from other countries and have totally enriched our lives. Not that Donald Trump, who thinks a taco bowl is authentic Mexican cuisine, would understand this. But that doesn’t matter, because Triple D is the real America, and Guy Fieri, whether you like him or not, is putting it out there for everyone to see."
If a movie or TV production needs to film an airplane and/or airport scene, they turn to Air Hollywood, which specializes in airplane and airport sets.
Brett Chamberlin was in high school in August 2009 when he decided to hold up his Arrested Development sign amid an anti-Obamacare protest. Chamberlin's sign would become a meme. But now that Arrested Development has been resurrected for two disappointing seasons, what does Chamberlin think? "No regrets,” he says. “I suspect that whether or not I had held that sign, Arrested Development would still hold the cultural cachet that it does, it would still have the cult following.”
“I might be remembering this wrong but I think I was gonna be one of Phoebe’s triplets,” Elle tells Net-A-Porter. “I auditioned for it but I didn’t get it and I was like, ‘I’m boycotting the show, I’m never watching this again.'" She adds: "Then my sister was on it and I refused to watch the episode. I was like, ‘I am not watching this!’”
Makeup designer Louie Zakarian, who's Saturday Night Live's head of makeup, takes us inside his hectic schedule in creating "TV magic."
The longest episode of the David Fincher-produced Netflix adult animated anthology series is 17 minutes, while other episodes run less than eight minutes. Love, Death & Robots especially stands out when even half-hour sitcoms like Arrested Development are turning out bloated episodes that run about 50 minutes. "Love, Death & Robots' bite-sized programming tactic is a good one, never lingering too long on any one universe, on any one animation style," says Tom Philip. "Some of the short stories are very good...It's a binge-watch show, but in a new sense of the word. Puttering about, cleaning my room with the show playing on my TV, I got through three episodes. Imagine cleaning your room for the length of three rounds of House of Cards. I'd be living like Howard Hughes."
Carlson's primetime show's "house ads" for Fox News programs has soared from 1.33 per show to 6.2 per show after losing 26 major advertisers.
The Netflix mystery drama from creators Zal Batmanglij and Brit Marling, starring Marling, returns as a beautiful, batsh*t puzzle box, says Tom Philip. "There were moments of levity in Part I, but often too few and far between," he says. "Part II is, charitably, bonkers, aided no doubt by an obviously expanded budget for the follow-up season." He adds: "Not entirely ready to do away with the sins of the past, The OA still has some ways to go in pacing some of its episodes. The horror house installment is immediately followed by a 45-minute road trip undertaken by OA's previous disciples in universe 1.0 which, despite Phyllis Smith's charms, doesn't justify an entire episode. But that's a small price to pay for what has now revealed itself as one of the most ridiculously fun and earnest shows in recent memory. The OA Part II takes big swings wherever it can, and connects frequently. I've never been happier to be proven wrong about a show I'd written off. If Netflix has the sense to let Marling and Batmanglij tell the full story they've obviously mapped out for a few more years to come, this could be the beginning of something seriously special."