"The former Apprentice contestant comes across as a younger, more vital, and more developed reality star than her former boss," says Lili Loofbourow of Omarosa's headline-generating media tour promoting her White House tell-all Unhinged. "She does not apologize. She acts in her own self-interest. And she is quite comfortable playing the villain if she needs to. At this juncture, she’s opted to play turncoat to Trump’s circle. It’s a storyline that requires her to perform a kind of prodigal daughter script to the rest of the world, an awakening to her past mistakes. She’s done this with typical skill over the past week as she’s promoted her book. Her strategy is not to present as an innocent." Loofbourow adds that Omarosa intended her story to be a "redemption narrative. It has to be. Reality-TV folks don’t build their brands on respectability—their freedom from conventional constraints like being predictable and well-liked is their power—but they can pull off One Big Pivot in their careers. Usually, it’s where they claim that, yes, they were part of the circus, but things have finally gone too far and gotten so bad that even they must shine a light on it! Only those who’ve been in the muck know what to fix."
The current Miss America Mund alleged that new Miss America Organization chair Carlson and her new CEO Regina Hopper silenced, marginalized and bullied her. “I want to be clear that as a proponent of women my entire life, I have never bullied Cara Mund,” Carlson responded in an interview with People magazine. “We have supported Cara for her entire year and we will continue to support her. It’s just disappointing that she chose to air her grievance publicly and not privately.”
According to TechCrunch, "the promos are full-screen videos, personalized to the user, featuring content Netflix would have otherwise suggested elsewhere in its user interface – like on a row of recommendations, for example. The promos also displace the preview information for the next episode being binged, like the title, description, and thumbnail that previously appeared on the right side of the screen."
Could this mean the hit MTV reality show is coming back?
Artist Miguel Vasquez has created his vision of what The Simpsons patriarch would look like in real life.
The cast members have become experts at saying "cryptic, unhelpful, and vaguely forbidding things" about the final season that really amount to "non-news," says Clayton Purdom. For example, this week Nathalie Emmanuel called the final season "incredibly exciting and heartbreaking." To which Purdom says: "Emmanuel should pursue a career in public relations. This is a consummate stretch of non-information."
“Something happens with certain characters you play," Lopez says of her NBC character, who says goodbye on Sunday. "They kind of just permeate into your feelings, your fiber, and your soul, and I felt like I got to explore a different side of myself with Harlee: A tougher side, a more forgiving side, and a more tortured side that I have never really tapped into."
A lot of Groening's medieval animated series seems nasty -- gross without being funny, says Darren Franich. "The main feeling you get is that everyone’s stoked to work for a service without any apparent standards and practices division," says Franich. He adds: "There’s a low-key boom in brilliant TV animation these days: The deranged anti-humanism of Rick and Morty, the candy-colored muchness of Cartoon Network’s Adventure Time and Steven Universe, the kinetically rebooted DuckTales. Next month sees the return of Bojack Horseman, Netflix’s best ongoing series. Catch me on the right night with way too much Duff on the brain, and I’ll tell you Bojack is the modern-day Simpsons, an ever-expanding silly city symphony carving a precise path between brilliant cultural commentary and up-close emotionality. Compared to all that, Disenchantment feels half-formed, a bit plastic. The vibe is like one of the wilder 'Treehouse of Horror' segments, the kind where the big joke is how many grotesque ways Simpsons characters can die."