"It isn’t that the beloved sitcom wanted to end—far from it," says Kelly Connolly of the comedy Netflix canceled Thursday after three seasons. "Every year, the cast and creatives clawed their way to a renewal, spearheading impassioned Twitter campaigns to save the consistently on-the-bubble show. But on-screen, One Day at a Time understood loss as an inevitability, just as it understood that the sun would rise the next day. The hard fight to survive, and to do so vibrantly, was baked into the DNA of the series itself." Connolly says Netflix's explanation that "in the end simply not enough people watched to justify another season" was tantamount to "passing the buck to a ghost...The idea that One Day at a Time’s future was ever outside Netflix’s control was an illusion. The cast, showrunners, and fans were left to push for the show’s renewal on social media because Netflix had failed to give the throwback sitcom the same robust promotion it had given other buzzy original series, such as Stranger Things and 13 Reasons Why. Hot off an expensive Oscars campaign for Roma, the company has been touting itself as a platform for diverse voices, but that commitment feels hollow when one of its most inclusive shows was given so few opportunities to find an audience."
Loughlin, who has recurred on 13 of the Netflix series' 57 episodes, will not reprise her Aunt Becky role on Season 5, according to The Hollywood Reporter. The news comes one day after Hallmark Channel cut all ties with the actress. Filming on the final season hasn't yet begun, but sources tell The Hollywood Reporter "that production won't be impacted by Loughlin's legal issues as there are no current plans for her to return." Netflix and Warner Horizon Television, which produces the series, declined to comment.
The Good Fight star joined Laura Benanti in impersonating the first lady on Friday night, in a Late Show sketch addressing the "body double" rumors.
Hollywood has a history of getting Lex Luther wrong, so Cryer's casting as the iconic villain came with some skepticism. "I was one of those skeptical people!" laughs Cryer, who makes his debut on The CW series on Sunday. "To this day, I’m not 100 percent sure why they asked me. But I’ve really loved the scripts so far, and I get what they’re doing. This Lex is a lot closer to the comics than Gene Hackman’s was. This guy is a sociopath, so it’s actually a darker play, and I think they were trying to find somebody who could find a twinkle in the eye of that. Which is hard! And I have to say, it only took me a few minutes before I was 100 percent comfortable and was like, 'Oh, yeah, I’m exactly the guy for this.'" ALSO: Supergirl promotes Azie Tesfai to series regular ahead of her debut on Sunday.
During Friday's episode of The View, Behar said all the right things in expressing sadness over the massacre that killed 49 people. But then she had made a truly awkward transition. “OK, now you can get back to being happy again,” Behar said. “We’re sad for them, but what are we going to do? It’s terrible.” Behar later apologized for her choice of words.
NBC's announcement that Singh will succeed Carson Daly with A Little Late With Lilly Singh, making her the first female host of a network late-night show since Joan Rivers in the 1980s, was met with applause. Singh has a massive audience on YouTube with 14.5 million subscribers to her channel. But as Hazel Cills points out, young people don't watch late-night TV these days. Cills says it's "unclear how Singh’s audience will translate not just to traditional TV but late night specifically. When YouTuber Grace Helbig got a nightly talk show with E! back in 2015, nobody watched it and it was quickly canceled after just eight episodes. Singh’s demographic is also young women, mainly teenagers and women in their early twenties, which is partly the audience that doesn’t even watch late night TV or traditional TV anymore. It’s clear in hiring Singh that NBC is trying to revamp stale, white ideas about what late night TV can be by hiring someone arguably nobody over 25 knows, for a medium that nobody under 25 watches anymore. But will the youths make their way to an ancient TV set to watch Singh? Only time will tell."
While Season 5A made a concerted effort to return to form after the controversial Season 4, "watching Season 5B deflated my enthusiasm," says Sonia Saraiya. She adds: "This offloaded dump of eight irrelevant episodes is a pile of silly gags and pointless puns, and sure, it’s got some laughs. But something about the season’s recursive narration seems desperate this time around, as if by running in circles, time will somehow cease to move forward. I used to like Arrested Development’s frantic energy, but right now, it just makes me sad. Even though Season 5 may not officially be the final season of the sitcom, by the end of the tepid journey, it feels as if the whole production has given up."
"The game has changed significantly since Leno’s (first) tenure" on The Tonight Show, says Bethy Squires. "I will agree with Leno that you can’t play it like (Johnny) Carson anymore," Squires adds. "Being apolitical is a bad look for 2019. Hosts like Stephen Colbert or Seth Meyers were explicitly hired for their political takes. Centrism is not popular right now — just ask Nancy Pelosi. Or Trevor Noah. I’m not saying Trevor Noah is a both-sides-ist, but he loves engaging in dialogue. He invited Tomi Lahren to The Daily Show, which made everyone furious (except Noah, who lapped up the ire like ice cream because he enjoys coming off as puckish). But nowadays when you piss off both sides, you get death threats from both sides."
The town of Hillsborough has had enough of a house designed to look like the classic 1960s sitcom, complete with giant dinosaurs and a "Yabba Dabba Do" sign. The town alleges that the homeowner has been making The Flintstones-inspired changes to his property without obtaining the proper permits.
The success of Netflix is driving its competitors to form what looks like the new cable bundle.
The Netflix makeover reality show, which returns for Season 3 this weekend, is still highly watchable, says Todd Van Luling. "But whenever I more deeply examine the tear-inducing joy the show brings me when the heroes have a transformation, I can’t shake a feeling of being duped," he adds. "This show may have an explicit message about inner empowerment, but implicitly all the transformation scenes are centered on turning the hapless heroes into wealthier (or wealthier-looking) versions of themselves. No amount of can-do attitude can achieve these results; only about six-figures in material upgrades can. These makeovers showcase the heroes with new clothes, expensive haircuts and fancy skin lotions as they walk into an expensively renovated home to consume a meal that likely came from a Whole Foods-esque store. With this in mind, all the asides about self-help and care seem insincere. The heroes aren’t choosing their own life renovations, which could narratively prove some actual change. The heroes just stumble into a whole new life of luxury and can only thank the hosts for the change in fortune."
Paleyfest moderator Patton Oswalt asked the Amazon cast what they'd like to see their characters do in future seasons. Brosnahan responded that she'd like to see Midge “react to the rebirth of the feminist movement. I don’t think Midge is a feminist at this point. If someone would say the word to Midge, she would say, ‘I don’t burn my bras.’ I would like her to bump up against the loud and proud. I’d also like to see her drop acid.”
"Grief is a mainstay of much recent television, via the Gothic bathos of The Haunting of Hill House, the destabilizing absurdity of Kidding and the rich meditations of Sorry for Your Loss, and also the third season of True Detective and the ... final season of Catastrophe," says Troy Patterson. "The Widow (Amazon) and After Life (Netflix) are less explorations of grief than tepid exploitations—both shows treat bereavement as an easy way to raise the dramatic stakes but only cheapen the lives of their grieving protagonists. These are dirges arranged for easy listening."
The Other Two, which had a gay lead and is staffed by predominantly female or gay writers, and the upcoming Awkwafina and South Side are part of Comedy Central president Kent Alterman's mission to offer diverse programming. Of course, Comedy Central has a track record with diverse shows like Key and Peele, Inside Amy Schumer, Broad City and The Daily Show with Trevor Noah. Still, Comedy Central isn't abandoning white straight males, with upcoming projects starring Anthony Jeselnik, Rory Scovel, Tim Dillon and David Spade.
From The Good Place to The OA, "there's never been such a bounty of intentionally philosophical programs as there is right now," says Amanda Bell. "Sure, law procedurals might cite Aristotle once in a while, and sci-fi series sometimes give props to those ancients for looking up at the stars all those millennia ago, but now there are certain shows that dare to do more than just stumble upon these ideas. These programs are intentionally getting into some weighty theoretical territory, and what's even more exciting is that it's not limited to just one genre." ALSO: The Bachelor creator Mike Fleiss has attributed his TV success to having a philosophy degree.
It's been exactly 10 years since the premiere of the NBC drama starring Ian McShane that was loosely based on the biblical story of King David. "Kings failed and failed aggressively, one of the more expensive one-and-done duds in recent TV history, so it's hard for me to lament the kind of trepidation that would prevent a network from trying anything like Kings now," says Daniel Fienberg. "But lament I do. At its best, Kings was shockingly good and completely without parallel in the broadcast landscape. At its worst, Kings was still a work of boundless and audacious ambition, an astoundingly big swing coming from a corner of the medium that was in the process of learning to become risk-adverse and timid. As it stands now, ABC, CBS, NBC and even once-bold Fox have allowed their drama slates to become shades of beige, uninteresting swaths of Chicago/New York/Los Angeles (or Atlanta if they're feeling WILD) procedurals, cookie-cutter mythology shows and increasingly degraded spinoffs and reboots and uncredited copies of properties that passed their most successful sell-by dates years ago."
In an interview with Willie Geist on Sunday Today, Harrelson said he's unlikely to ever reprise his Season 1 role on the HBO series.
Carly Schroeder, who appeared in 12 episodes of the Disney Channel tween series, has started training at Officer Candidate School. The 28-year-old Schroeder is the daughter of a Green Beret and the brother of a Marine.
The Breaking Bad and The Wire alum, who currently can be seen on Billions, "has become one of our most treasured That Guys, an actor who consistently lurks just behind the main characters, whose performance always seems to outshine the spotlight he’s been afforded," says Miles Surrey. "In theory, he’s meant to be a lesser character, but his grip on you is so strong because he always delivers much more than expected. And that’s how you end up thinking of him only as one of his characters."
Complex's list includes Mike Myers, Jimmy Fallon, Dana Carvey, Eddie Murphy, Molly Shannon, Maya Rudolph, Phil Hartman, Amy Poehler and Tina Fey.
The intense mockery of the Food Network personality has never made sense.
"Prestige TV is the defining art form of America right now, as the streaming wars offer up an endless array of shows that probe the intricacies of gender, sexuality, race, class and identity," says Allie Pape. "But for all it’s gained in thoughtful new voices and delicately drawn artistic masterworks, TV has lost one of its best categories, which I can only describe as 'Prestige Trash.'" Pape adds: "Given that, I’m a bit befuddled as to why Showtime’s Billions, the rare drama that’s equal parts prestige and popcorn, isn’t a megahit. Perhaps it’s because in an age of clearly drawn comic-book heroes and evildoers, it’s the rare show with the audacity to make nearly every one of its characters a villain. A Dynasty for the decade-long bull market, it’s lurid and pulpy, covering serious topics but disinclined to take itself too seriously — a combination that’s accidentally made it one of the more relevant depictions of our greed-fueled society."
"Are Sam’s daughters to-be-tolerated pains in the ass, or are they spoiled hellspawn whose mild sociopathy is never acknowledged by their mom?" Inkoo Kang asks of Pamela Adlon's FX comedy. She adds: "The majority of the scenes with Max, Frankie, and Duke—and Sam’s willingness to silently put up with whatever bullsh*t they fling at her—makes Adlon’s fictional persona less like the everymom she’s clearly intended to be and more a victim of her own making. We’re supposed to relate to Sam’s willingness to give until she’s got nothing left, but that’s hard when all I wanna do as a viewer lately is scream at her, Grow a spine! Learn what boundaries are! It won’t traumatize your kids if you yell at them once in a while!"
"The fourth and final season of Catastrophe may not be its best — I’d still give that honor to season one, a perfectly judged mix of slapstick, romance, pathos, and hard-nosed observational humor that kicked off with a five-minute lust-and-courtship sequence that felt like 'Previously On' highlights from a nonexistent season zero — but it’s the most affecting, thanks to the cumulative weight the series has built up," says Matt Zoller Seitz of the Rob Delaney and Sharon Horgan Amazon comedy series. He adds: "We know it’s the end for us as viewers, if not for Rob and Sharon as a couple. And because we’ve been on this journey for 24 episodes and 12 hours, we know them about as well as we know anyone in our actual lives...The title of the series, which seemed quite specific in season one, has become multilayered and multivalent."
As Rob Harvilla explains, Elba is "a full-blown movie star who somehow still radiates limitless up-and-comer potential; he feels both ubiquitous and brazenly undervalued. Stars with half his profile often feel 10 times as overexposed. Consequently, one major problem with Turn Up Charlie is that it’s awfully hard to buy him as, well, Charlie, a washed-up London DJ reduced to taking a gig as a nanny....Elba’s semicomedic sad-sack routine is such that you spend most of this eight-episode series just assuming he gained at least a little weight to take on a character-appropriate paunch, until he spends most of the last two episodes shirtless in Ibiza, where it is revealed that no, he did not."
The Hulu dramedy, based on Lindy West's memoir, that she co-created with Bryant and showrunner Alexandra Rushfield "is steeped in a sense of empowerment and anti-fat-shaming but never succumbs to the sort of cliché, 'You go, girl' cheerleading that a less confident show might be tempted to channel," says Jen Chaney. "It is a half-hour dramedy that is comfortable in its own skin and doesn’t care if you like it. Tonally, the series has the attitude that Annie aspires to have about herself, and that she gets closer and closer to possessing as each of the six episodes progress. By the way, that right there is my chief complaint about Shrill: It’s only six episodes. I easily could have watched 10 or 13 or 27 of these half-hour slices of humanity that somehow manage to seem both effortless and meticulously conceived all at once."