"Inside is very much about how the internet, and the world in general, has encouraged everyone to be a reply guy, especially white guys who are needy and bored (check and check)," says Drew Magary of Burnham's pandemic-themed special. "For that purpose, Inside is brilliantly written, convincingly performed, and extremely f*cking funny in its first half." All the raves for Inside are justified, Magary adds, "but they’re also traps. Because Inside is about how Burnham, or at least the character of himself that he’s playing, has been preconditioned by the internet to believe that the outside world is a waste of a time and that living with yourself online — posting sh*tty Instagrams and reloading them to see if they’ve been properly appreciated by others — is the only way to live. This is a harmful act of self-delusion and Burnham goes to great lengths to get that across to you, the viewer, passively watching at home. So if your response to that primal scream is not to go out and enjoy a burger with your friends, but to instead go BACK online to eat more of your own tail, well then you’ve already proven Burnham correct while simultaneously doing the exact thing he doesn’t want you to do. You’re still f*cking around in a hall of mirrors, wasting daylight...If I wanted to issue a contrarian take about Inside — and I’m trained like a seal for such thought exercises — I’d guess that Burnham doesn't actually live alone, and is just cynically exploiting the internet's love affair with itself. Burnham openly wonders if anyone, anywhere, can ever shut the f*ck up anymore. That’s a test no one is willing to pass, and that includes Burnham himself. But if Burnham is operating out of cynicism here, he sure is doing a fantastic job of it. If the man is being disingenuous, he’s sure doing a good job of hiding it, and of peppering some of his opening numbers with brilliant, blink-and-you’ll-miss-it throwaway gags...HOWEVER, I will tell you that Inside ended up exhausting me in the end....his fatigue in Inside ultimately ends up being contagious. You don’t leave this special walking on air. You SPRINT the f*ck away from it at full speed. And if you don’t, then you’re part of the social disease. With Inside, Burnham’s exhaustion is the point...This was a comedy special designed as a warning to you, the online person watching and processing from inside your home. Burnham’s central mission was to make you so aware of your life online that you’re ruined for it after the fact. That was the message. Burnham is a spiritual reply guy like me, and he f*cking hates it.
Deadline's report that Harrison was exiting The Bachelor franchise with a "mid-range eight-figure payoff" also noted that "Harrison lawyer Bryan Freedman (was) pledging to unleash the Shiva of lawsuits exposing a swath of The Bachelor’s alleged dirty laundry unless (Harrison) emerged feeling the financial love." Variety followed up by reporting that "Harrison’s team came to the table with ammo of their own — one example is bringing up former allegations against The Bachelor creator Mike Fleiss, who was accused by his wife of domestic violence, which led to a police probe in 2019. (Fleiss and his wife have since reconciled.)" As The Daily Beast points out, it was Freedman who "represented Fleiss’ formerly estranged wife, Laura Kaeppeler Fleiss, during the couple’s divorce that year." Entertainment lawyer and Sharma Law founder Anita K. Sharma tells The Daily Beast: “Just hiring Freedman was a huge shot across the bow from Harrison from the outset, and shows the level of contentiousness involved." While Kaeppler's information would remain confidential under attorney-client privilege, Sharma says that anything that came from third parties about Fleiss would be under no such restriction. The Daily Beast's Laura Bradley points out that Harrison and Fleiss famously did not get along when they first met. “We hated each other,” Harrison told The Cut in 2015. “It was a five-minute meeting that I was told would take an hour.” Fleiss is quoted as saying Harrison "looked like a guy barfed on by an eight-week-old." (UC Berkeley-educated Fleiss is liberal and anti-Trump, while self-described "conservative Texas boy" Harrison's right-wing-tinged arguments when it comes to race is how he got into trouble in the first place with his Extra interview with Rachel Lindsay.) Fleiss and Harrison eventually did hit it off, but as Bradley notes: "It would appear, however, that their bond has now soured—and that Harrison wanted to send a message with his choice of attorney." “There’s obviously tons of very talented litigators in L.A.—especially within the entertainment business—that he could have used,” Sharma said. Choosing the one who represented Fleiss’ formerly estranged wife in a contentious divorce, Sharma adds, “was definitely a power move.”
Staffers used words like "awkward," "insane" and "a bit inappropriate" in describing Toobin's unexpected return Thursday after a leave of absence following his New York Zoom masturbation incident. "Toobin’s return to CNN after a nearly eight-month absence came on the heels of an aggressive lobbying campaign by his friends, according to two people familiar with the matter," reports The Daily Beast's Justin Baragona and Diana Falzone. "CNN boss Jeff Zucker, while expressing concerns about how viewers would react, was also open to giving the famed lawyer a second chance." As one anonymous female CNN staffer noted: “The way (CNN) brought him back on air was a bit inappropriate in terms of a full segment of mea culpa and then a hard pivot to his legal analysis on air (on another story)." The same staffer noted that the “general feeling” from her co-workers is that while they “trust” The New Yorker’s investigation that the October 2020 incident was the only one of its kind in Toobin’s past, they also wonder if CNN followed through with an internal probe of its own. Another person pointed out that Toobin was welcomed back in the newsroom with hugs. “They seemed happy he was back," that source said. "It’s invisible if people are grossed out because they wouldn’t be the ones to come up to him. The couple dozen in the newsroom seem happy to have him back.” ALSO: Does Toobin's return set a precedent at CNN that the entire staff understands and feels comfortable with?
Speaking to a Swedish radio station, Whitaker revealed he had “juicy scene” on the Disney+ series as Saw Gerrera, though his appearance hasn't been confirmed.
"When Tuca & Bertie first premiered on Netflix it felt like a bit like holding a baby chick," says Kayla Cobb. "Most people didn’t fully understand Lisa Hanawalt’s endlessly silly and unapologetically bizarre animated comedy, but the fans and critics who did knew they were witnessing something precious. On Netflix, it felt as though Tuca & Bertie had to be hidden away for its own protection. Now that its home is Adult Swim, there’s a sense it can finally soar. In its second season Tuca & Bertie leans harder into the delicate emotions that made Season 1 so revolutionary while never losing its sense of wide-eyed wonder. The very fact this kindness is being backed by the network known for pioneering animation makes this season feel more rebellious than ever." Cobb adds that "Season 2 continues to challenge traditional animation in another way. Adult animation is typically defined by big, obvious plots and loud, often crass jokes. In its latest installment Tuca & Bertie rejects that mold and continues to play with subtlety. Jokes are still present but they’re less plentiful as the series tackles more interesting questions like why exactly do we use alcohol as a crutch? What does it mean to be lonely but not alone? Why do we focus so much on our own weaknesses when others only see our strengths?"
"There are car chases across the French countryside, a spooky near-haunted house, romantic interludes along the Champs-Élysées and the Seine, plus a finale that’s pure Hitchcockian pastiche. Accompanied by Mathieu Lamboley’s score, Lupin has, like its hero and its literary inspiration, a magician’s swagger, daring you to see beyond the sleight of hand," says Daniel Fienberg. "And beyond the sleight of hand, there’s often additional flash and little more. Assane is always four or five steps ahead of everybody to a degree that’s exhausting and, when (George) Kay and the writers skip major logical steps in his process, it’s extra frustrating. The show is still very entertaining, but even in leaving you wanting more — at least fans go into these five episodes knowing that’s it until Part 3 — you can see how it might not be sustainable; it’s a bit like how Killing Eve had one superb season and then the strain of repeating the same tricks became too much. Maybe Killing Eve suffered because the writers understood that both Sandra Oh and Jodie Comer were needed for the alchemy, while Lupin could last because only Sy is required. He has simmering chemistry with (Ludivine) Sagnier and (Clotilde) Hesme, but he could probably have simmering chemistry with a baguette. Watching these five episodes, he gets to be a romantic lead, an action star and a suave model for trench coats, track suits and and some ridiculous disguises. Sy is so good and so versatile that I’m ready for Lupin to really explore what the character’s race means in contemporary France."
"It’s the perfect companion to our larger cultural moment as we start to reckon with how much our culture has mistreated and misunderstood famous women," says Marina Fang. "Deborah’s character shares a lot of similarities with the late Joan Rivers, but brings to mind other women who have been wronged, disbelieved and subjected to sexist media coverage. The last few years have brought public reevaluations — in writing, documentaries, TV shows and podcasts — of the ways our culture unfairly maligned everyone from Monica Lewinsky and Britney Spears, to Janet Jackson and Princess Diana, among countless other famous women. It’s this mirror to real life that makes Hacks surprisingly cathartic."
Prodigal Son and Zoey's Extraordinary Playlist were two out-of-the-box network series that were recently canceled as the networks have doubled down on the same-old shows. "Zoey’s situation raises an interesting question: do networks just not know anymore what to do with shows that aren’t straight procedurals, sitcoms, or reality TV?" says Linda Maleh. "Would Zoey’s have been a huge hit had it been put out by a streaming service or a cable network from the start? We’ve seen it before, after all. Lifetime’s You (admittedly not a network show) flew under the radar until it landed on Netflix and support for the disturbing stalker drama exploded. In that case, it seemed people genuinely weren’t aware of the show until Netflix had it, despite a big marketing push from Lifetime prior to its premiere."
The Alice Braga-led USA series, which ended this week, "tried its hardest to try to reclaim the narco world away from emphasizing that all Latinos are involved and are thus evil," says Kristen Lopez. "When the series started, Teresa Mendoza’s introduction into the world is through her boyfriend; one of several instances in the series where men were often the first to let women down and proverbially throw them under the bus for their own aims. Braga showed a woman who was a survivor, intelligent, and understood her privilege as a woman. Teresa often used that to help other women, like a case of human trafficking she witnesses. The first three seasons saw Teresa sparring against fellow narco queen, Camila Vargas (Veronica Falcon) and this is where Queen of the South truly set itself apart. In these shows about the drug trade it was rare to get one woman with substance, but the show gave us two compelling women characters who were at the top of their game. They were the ones dominating and their sparring wasn’t petty, but grounded in real issues of this business they were both involved in. Similar to Teresa, Camila also struggled with issues that have defined women for generations. She struggled to have a successful business and a family life. Where women are told they can’t have it all, but should try like hell to do it, Camila was showing the fruits of that labor. But the show’s final season wasn’t just sad because it was the end of her story. It was also a reminder of how Queen of the South was forced to fight for its place on television. This last season benefited the most from USA Network’s advertising strategy of being plastered on all NBCUniversal channels — but for some reason it is not streaming on NBC’s streamer service, Peacock. And despite having a titan like Braga in the cast, it has not been campaigned seriously for Emmy consideration."
The former Bridgerton star, in a Variety's Actors on Actors conversation with The Crown's Emma Corrin, explained his approach to his star-making role. "I was like, OK, cool. It's a period drama. It's Jane Austen-esque. Why are we doing this now? What does it have to contribute?" Page said, according to EW, explaining his thought process when he first read the script for the Netflix drama. "We have a couple hundred years between Jane Austen and where we're at now, which means we've got like five or six waves of feminism since. And so, in carrying the torch, we need to make some ground with it. Because Simon's an archetype that already exists. He's Darcy. He's Heathcliff. He's a tall, dark, brooding, emotionally stunted man." When Corrin shared that she thought Simon's journey was interesting "in terms of unpacking masculinity," Page took it one step further, likening the show - and the emotional journey of its heroes, both make and female - to a McDonald's hamburger. "We talk a lot with Bridgerton about it being female-centric, but also, what are men looking up to? What am I doing with this icon of masculinity? What's making this meal actually worth eating?" Page said. "I think of Bridgerton as a Happy Meal but with secret vitamins put in there. It's like a secretly healthy, organic burger."
From Ryan Phillippe playing TV's first openly gay teen on One Life to Live to All My Children showing TV's first lesbian marriage, "for a genre that's been around since the Truman Administration, soaps don't always get the credit they deserve for helping to pioneer gay story lines," says Lynette Rice. "Some also assume that daytime audiences aren't nearly as woke as their primetime counterparts, so soaps would never dare to depict same-sex couples. Think again! Here, we look back at some of daytime's groundbreaking LGBTQ characters - and the battles that were sometimes waged in order to tell authentic and relevant stories." As General Hospital executive producer Frank Valentini tells her: "Anything that's been around for a very long time is weighed down with preconceived notions and stereotypes. People think everybody comes back from the dead on soaps, or how there's always an evil twin. People make fun of us."
"I’m very relieved," says Stephen Satterfield, host of the Netflix docuseries on the history and impact of African American cuisine. "It was really strange to be in limbo with the announcement being made and the show having not yet been released, but obviously we’re past that point. The reception has been wonderful; it even exceeded my expectations." What kind of expectations did he have going into this? "It’s funny, I knew you were gonna ask me that, but the truth is I actually didn’t have any expectations," he says. "I think what I meant to say is that I could have never expected the kind of feedback that we got. We hadn’t seen anything like this in the food and travel genre. The makers of the show, the subject of the show, was really about us reflecting our love for Black people and Black culture and appreciation for all those contributions, and I feel that Black folks throughout the diaspora felt that attention, they felt that care and love. That for me was by far the most gratifying part of the whole experience."
While a student at Pepperdine University, Waldron landed an assistant gig with one of his comedy heroes: Dan Harmon. As he sat outside Rick and Morty's writers' room, Waldron thought he'd catch Harmon's attention by organizing the show into a softball team. “What I knew about him before was that he was a guy that would love a bunch of attention, like everybody,” Harmon says. “When he started coaching the softball team, it became obvious that he deserved attention.” Waldron adds: "We were terrible. We were the worst team in Burbank rec league history. But it was a great opportunity for me to trick everybody into reading my writing" Waldron leaned on his “Southern roots” to channel Friday Night Lights coach Taylor every week. “We lost every single game, and he’d take us out to the parking lot and give us this pep talk,” Harmon says. “What was the point of pep talking this terrible team? He kept on, which was a job that you couldn’t accomplish by being ironic or cynical.” The softball team led Harmon to offer Waldron a writers' assistant job on the fifth season of Community. “I look at all the amazing moments I’ve had in my career, and I’ve been so lucky, I don’t think I’ll ever have anything more exciting than that one,” says Waldron. In 2017, Starz bought into Waldron's idea about a show about wrestling brothers. But Heels proved to be a disaster and was left on the backburner (Heels is now set to premiere in August on Starz.) Meanwhile, Waldron landed a staff writer job on Rick and Morty, a show that Marvel boss Kevin Feige was a huge fan of. Waldron thus became the latest Dan Harmon alum to work in the Marvel world, following in the footsteps of Community directors Joe and Anthony Russo and Rick and Morty writer Jeff Loveness, who is writing Ant-Man 3. “Well, you can’t fight Kevin Feige in the street,” says Harmon. “He’ll just say, ‘Oh, I love that you’re fighting me, this is so wonderful,’ and everyone will start booing you for being a bully. I am honored and validated by the idea that if people leave me, they leave me for Marvel. That’s an amazing legacy.”
As Fast Company's Mark Sullivan notes of the recently launched Netflix.shop, "Netflix has never gone large on e-commerce. And there’s a big market for entertainment-themed apparel and accessories. The trade group Licensing International said retailers sold $128 billion worth of the stuff worldwide in 2019. Disney, which has both an online store and a brick-and-mortar store in New York City, gets the biggest piece of that pie. Part of the reason for that is the timelessness of legacy Disney content—you know, Mickey Mouse and Bambi. But Netflix believes hits like Tiger King and Stranger Things might have some staying power, too. When Disney first announced its intent to launch its streaming service in the summer of 2017, it signaled that the race was on between Disney and Netflix, and that the true nature of the competition could be measured by whether Disney could become Netflix faster than Netflix could become Disney. In other words, one of Netflix’s greatest challenges is to branch out into other types of revenue streams like Disney does, which makes most of its money downstream from the actual content, through licensed merchandise and theme parks. Netflix may intend to build a similar type of ecosystem to make money from the franchises it’s created. But it’s taken the company a while to reach this step, while Disney moved quickly to get into streaming video and has made it a success. But Netflix also has some Disney-trained talent to help it get there." ALSO: Netflix's Halston unveils its 10-piece capsule collection inspired by the series.
“I, personally, struggled at the beginning,” the Chilean filmmaker in an Apple TV+ featurette. “I wanted to take everything to a more grounded sort of space, where the narrative was more naturalistic or realistic. And he (King) was like, ‘No, you have to come to my world where all the things happen to the characters.”
“It would be dishonest for him to come out and for everything to be just fine in his household,” says co-showrunner Brian Tanen. “In 2021, you really just want to see parents hug their kids and tell them everything’s going to be OK. But part of our job on this show was to tell a different coming out story than, say, Simon had in the film." Ana Ortiz, meanwhile, says she compared her Ugly Betty Hilda Suarez character to Love, Victor's Isabel "constantly. They are two sides of a coin, aren’t they? Hilda really would would fight anyone to the death if they looked at Justin cross-eyed. Whereas, I think Isabel is so hung up on what people think of her and her family and of her as a mother. Like, ‘How could you raise a gay son? If it was me, I wouldn’t let them be gay.’ I’ve heard that quite a bit from people in my community: ‘Well, just, no — tell him he can’t be gay. Tell her she can’t do that.'”
"With their feet rooted to their boards and an ability to whoosh in any given direction, they exist as both abiders and defiers of gravity, as the visual definition of freedom," says Jen Chaney. "That was the case in season one of Betty and in Moselle’s 2018 movie Skate Kitchen, which inspired this HBO series. It’s also true in Betty’s second season, which arrives on Friday. But as in the real New York — and the whole world — this time, freedom comes with caveats. The six vibrant new episodes of Betty take place in the late summer and fall of 2020, which means the pandemic’s presence is very much felt. Many of the characters wear masks, although one wishes they would wear them more consistently indoors and in close proximity to others. Perhaps for the sake of capturing the actors’ expressions on-camera, the face coverings often dangle around the chin instead of protecting mouths and nostrils. There are references to PPE loans being denied, leases being terminated, and COVID violations in progress. In the first episode, Indigo (Ajani Russell), who’s working at a grocery store, gets into an altercation with a white customer who refuses to wear a mask, claiming she has a 'medical condition.' This lady is one iPhone video away from being called out as a Karen on social media, and her behavior prompts Indigo to quit and try to make money through means that require even more moral compromises on her part."
"The ambitious Kevin Can F**k Himself is rooted in a genre of sitcom built around a shlubby guy and his pretty wife," says Matthew Giilbert of the AMC series starring Annie Murphy that premieres on AMC+ on Sunday and AMC a week later. "The husband is the sports-loving man-child with a beer belly, and the audience cackles tirelessly every time he makes a bad joke. She’s the long-suffering shrew, the buzzkill, and the butt of his jokes. He’s the big kid, she’s the babysitter who tolerates his high jinks, her arms crossed over her chest. The long list of these domestic comedies includes Kevin Can Wait, According to Jim, and, of course, as progenitors, The Honeymooners and its animated counterpart, The Flintstones. Kevin Can F**k Himself is a no-holds-barred response to those series — and a dark reflection of the sexism so deeply embedded in them. After watching the challenging show, which premieres Sunday on AMC+ and next Sunday on AMC, you may never again be able to stomach those blindingly bright, laughter-plagued, drearily stereotypical sitcoms. With just a change in context on Kevin, the lowbrow mass entertainments that often rise to the top of the Nielsen ratings turn into abrasive, hateful American cultural artifacts whose cruelties are many — not just sexism, but xenophobia, narcissism, and psychological abuse. Somewhat like the brilliant Lisa Kudrow series The Comeback, Kevin Can F**k Himself — created by Valerie Armstrong — is a brutally subversive take. The semi-experimental format requires a bit of getting used to, as it toggles back and forth between two radically different styles; but ultimately it works in a jagged, and therefore appropriate, way."
"Blindspotting isn’t the most obvious candidate for a film-to-TV spinoff," says Alan Sepinwall. "The 2018 movie, co-written by Rafael Casal and Daveed Diggs, who star as best friends in Oakland, made less than $5 million at the box office. It was well-reviewed but not a major awards player. And its stories — Diggs’ ex-con Collin finishes out his probation, while Casal’s Miles rails against gentrification — didn’t leave lots of open questions demanding a sequel, on the big or small screen. But Blindspotting the series, debuting this weekend on Starz, is less a continuation of the film than a smart expansion of its world. Some of the original characters are back, but the show is built in a way that doesn’t make the movie required viewing for newcomers. Instead, it feels of a piece with what Casal and Diggs (who return as writer-producers) did earlier while functioning as its own satisfying, serio-comic slice of Oakland life. In one episode, a character even summarizes the events of the film for a new friend, then says, 'Yeah, it was a whole movie. Sh*t is just different now, I guess.'" Sepinwall adds: "The actors — (Jasmine) Cephas Jones and (Helen) Hunt in particular — seem comfortable navigating the series’ slippery tone, where scenes can shift from low-key to magical realism without warning, in the same way that Trish deftly code-switches while seeking a small-business loan when she sees she’s been paired with a black banker. And if Ashley feels initial discomfort about her move, particularly where Trish and her various side hustles are concerned, the ensemble settles quickly into a welcoming hangout vibe. You’re just as likely to hear Earl expounding on why the 1993 Robert Townsend superhero movie Meteor Man is responsible for both Black Panther and the Obama presidency as you are to see him panic about getting busted when a job interview threatens to keep him out past curfew. Like the movie, the series is ultimately a love letter to the multicultural stew of Oakland, even as it acknowledges the way the city, like most of urban America, is rapidly changing."
A month ago, The Silence of the Lambs sequel series looked ready to join fellow CBS drama SEAL Team in the jump from CBS to Paramount+ for its second season. But negotiations between Paramount+ and MGM, which co-produces Clarice with CBS Studios, have reached a stalemate, reports Deadline's Nellie Andreeva. "Additionally, I hear there is no viable path for Clarice to continue on CBS as the broadcast network already committed to a full slate of series for next season," reports Andreeva. "It would mean the end of the road for the high-profile drama barring a major breakthrough in the Paramount+ negotiations, which currently appears unlikely. Reps for Paramount+ and MGM declined comment. Industry veterans describe this as one of the craziest situations they have seen, where a show with a Season 2 pickup is facing a demise and the prospect of putting 300 people out of work. It involves a marquee IP, Silence of the Lambs; a top producer, Alex Kurtzman; a recently merged company, ViacomCBS; and an about-to-be merged studio, MGM, which is in the process of being acquired by Amazon. Depending who you talk to, MGM either abruptly stopped good-faith negotiations that were closing in on an agreement, or the studio opted to walk away after being offered a 'mediocre' deal it could not accept." As Andreeva notes, Clarice was the lowest-rated and least-watched scripted series in linear ratings last season, but it was a strong performer on Paramount+. MGM, reports Andreeva, fears that Clarice moving to a streaming service would hurt its value among international buyers, which pay a premium for network shows. "Still, MGM would’ve made money on Clarice with a Season 2 run on Paramount+," adds Andreeva. "Instead, it would now be walking away with a loss from deficit-financing a show canceled after one season, one of the worst scenarios in the broadcast network business."
The Wrap reports that the reality competition series had to halt production indefinitely after 40 crew members fell violently ill with what a source calls “awful explosive diarrhea” with people “collapsing” on set and “being forced to run into port-o-potties.” One person on the set in Simi Valley, outside of Los Angeles, tested positive on June 3 for giardia, an intestinal infection caused by a parasite.
"Today is my last day shooting #InsecureHBO. Said goodbye to some of my favorite people on Earth, on and off screen, this past week," Issa Rae tweeted today, alongside photos of herself with Jay Ellis and Yvonne Orji. "Never imagined all the doors this would open. Forever grateful to those who paved the way for us to do us."
The recent Prodigal Son star is expected to appear in five episodes in a key recurring role.
“Together again,” Parker captioned her Instagram photo, adding that they just read through the first new episodes “alongside all the fellas and our newest cast members. Like an ice cream sundae.” Parker also posted an image of the script cover.
“Covid just destroyed the budget completely. It was absolutely brutal," says creator Andre Jetmir of the court-like syndicated series that wrapped filming in February and has already aired 20 episodes. Jetmir has vowed to pay his staff by Tuesday as the budget problems have now been resolved. “I haven’t been paid either, so you can put me down on the list too,” he adds.
The docuseries from Baby God director Hannah Olson, will tell the story of Amy Carlson, AKA Mother God, and her Love Has Won religious cult with exclusive access to key subjects and previously unpublished archival material. The mummified remains of the 45-year-old Carlson were found on April 28, suggesting she had been dead for several weeks. "The Love Has Won movement has been described as a combination of New Age spirituality, conspiracy theories, and elements from mainstream Abrahamic religions," per Deadline. "The group proclaimed that Carlson was a divine, 19-billion-year-old being who had birthed all creation. Carlson claimed she had been reincarnated 534 times, including as Jesus, Joan of Arc, Marilyn Monroe and Cleopatra, and would lead 144,000 people into a mystical '5th dimension.'"
The potential series based on Tiffany Jackson's 2019 novel of the same name is "a coming-of-age story set amidst and violence and popular rise of hip hop music in the 90’s," according to Deadline. "Part murder mystery, part thriller and part love story, Let Me Hear a Rhyme is a premium drama with surrealist elements that tells the story of three grieving teens who use the clues their murdered friend left behind in his music to find the killer. This discovery sets off a chain of events they never saw coming." Morenike Balogun will write the series with Curtis "50 Cent" Jackson serving as executive producer.
Campos-Duffy, who makes her debut Saturday as co-host of Fox & Friends Weekend, tells The Wrap: “I’ve been hearing about the new Real World reunions. I have many old and dear friends from my Real World days and it will be fun to watch and see what their post-MTV lives and families are like. But I doubt anything like my season of the Real World in San Francisco could ever be made in today’s woke cancel culture. When you shame and punish people socially and professionally just for having a different point of view, you get a lot of self-censorship and fake virtue signaling. Conversations are stilted and not genuine. That’s what the tyranny of wokeism does. Without free speech, grace, understanding and humility, you can’t ‘get real,’ as the show’s catchphrase so famously says."
Wonder Woman 1984, released last December, is still No. 1 overall. But the Friends reunion drove more single-day HBO Max subscription sign-ups than blockbuster films like Godzilla vs. Kong and Zack Snyder’s "Snyder Cut" of Justice League.
They're the latest additions to the One Day at a Time co-creator's Amazon romantic comedy series starring Emeraude Tobia and Mark Indelicato.
The final season gaffe came up while Clarke was answering a question about her morning drink of choice on theSkimm's Texting With digital series. "It's not Starbucks - spoiler," she said. "I'm going to say it again for the record: was not mine. Looking at you, Dan Weiss."
The revenge story about a grieving mother who infiltrates the life of the man she believes killed her son premieres July 12.
Writers on the Netflix biographical series on Tejano pop superstar Selena Quintanilla complain that they were overworked and underpaid -- with the show given the backseat treatment with a modest budget. "It’s an intrinsically American story that seemed primed to join Netflix’s roster of big-budget U.S. originals," reports the Los Angeles Times' Yvonne Villareal. "Instead it was ordered as a Latin American original, with a modest budget to match — well under $2 million per episode, according to multiple sources, for a period drama with specific costume, makeup and set needs. The Crown, by comparison, cost a reported $13 million per episode at launch. (Selena viewers criticized the series’ apparent budgetary limitations on social media.)...The Writers Guild of America sets rules for minimum rates of writer compensation on streaming series based on episode length, episodic budget and the number of subscribers to the platform. Because Selena’s budget fell below the guild’s then-threshold of $2.5 million per episode for one-hour 'high-budget' series on platforms with more than 20 million subscribers — a category that includes much of Netflix’s programming — different WGA rules for minimum pay applied. This enabled the production to negotiate writers’ pay lower than the 'high-budget' minimums set by the WGA: Multiple Selena staffers who did not want to discuss their pay publicly in absolute terms disclosed that they made between 30% and 50% per week less working on the series, which was filmed in Mexico, than is typical for equivalent roles on those produced in the U.S." Villareal reports that the show took on a telenovela schedule with the writers "expected to complete the two seasons, totaling 18 episodes, in roughly 20 weeks, a time frame more typical for turning around eight to 10 episodes. The schedule was eventually extended by four months." Henry Robles, a Selena: The Series co-executive producer, says: "The show sort of experienced what Selena experienced. From the beginning, she wanted to sing in English. But people didn’t know what to do with her. The music industry didn’t know how to categorize (her) or they expected certain things of her because she was Mexican American. And it’s similar to this show.” Gladys Rodriguez, another co-executive producer, adds that she feels like she has “a little bit of PTSD” from the show: “I feel like our work was cheapened from the start. We were never given a fair chance. ... Representation is what we want but it goes beyond that — we want to be treated equally.” A Netflix spokesperson told The Times the company believes the writers were compensated fairly based on quotes negotiated by their U.S. representation.
The announcement of the iHeartRadio podcast, titled Drama Queens, comes after Bush, Burton and other cast members have revealed the inappropriate behavior behind the scenes, including allegedly from creator Mark Schwann. "Quarantine hit and I was doom scrolling like everyone else. And the number of people who were posting about how in this really scary time at the start of the pandemic, they were starting One Tree Hill over again, really kind of hit me," Bush tells People. "I was like, this show has something magic about it. It feels really evergreen to so many people. So let's be very clear that it feels great to be executive producing this podcast together. We're like, 'Oh, who's in charge? We're in charge.' Yeah. We're in charge and it's great. I love it. I love a reclamation."
The July 9 event will celebrate The Witcher TV and video game series. Netflix is partnering with video game developer CD Projekt Red for WitcherCon. WitcherCon is expected to reveal more details of Netflix's various Witcher series. ALSO: The Witcher teases Season 2 with new Ciri footage.
According to TVLine, Kreuk will join her former Smallville co-star on the Amazon series, playing "a refined former debutante who is living the Country Club life with her husband Hubble (Good Witch's Marc Bendavid), but who is much tougher than she appears."
The One Day at a Time alum's character is described as a “warm, loving, self-critical and emotional mess of a woman who has lost and gained the same 30 pounds for 30 years" who considers her daughter to be her best friend. As a restaurant owner, “she is constantly thinking about and serving people food.”
He'll star in the live-action video game adaptation as Dr. Albert Wesker, an accomplished virologist notorious for his work with groups affiliated with the bio-weapons black market. Reddick will be the first person of color in the franchise's 25-year history to play Albert.
September will mark the 10th anniversary of Notaro getting her big break on Conan. So Notaro, who's busy in New York City, flew in (and immediately flew back to NYC) just to say goodbye to Conan as his TBS show ends. “For years, I was turned down for talk shows and late-night. Or I’d have one shot or no shot,” Notaro said on Thursday's show. “I’d get feedback that my delivery was too slow– not enough jokes per minute, I heard. Too low-key, not mainstream enough. Then when I got a shot to come on your show, I remember leaving the studio and I got a call from my manager saying that your show had called to have me booked again immediately and that you wanted me to be a regular on the show. I couldn’t even comprehend that because of all the rejection I had gotten. I feel like your show gave me this incredible opportunity to be myself, to try out weird things, and also, I’m certain, went hand-in-hand with me being welcome on to so many other talk shows."
Written by Nick Wootton and directed by Justin Lin, the untiled pilot "is a high-stakes two-hander about Elena Federova (Baccarin), a recently captured international arms dealer and brilliant criminal mastermind who orchestrates a number of coordinated bank heists throughout NYC for a mysterious purpose, and Val Fitzgerald (Bathé), the principled, relentless and socially outcast FBI agent who will stop at nothing to foil her ambitious plan," per Deadline. "The sexy and twisted heist show reveals how far some people will go for love, justice and the most valuable commodity in the world: the truth."
The untitled series focuses on Richter Belmont, the son of Sypha and Trevor, and Maria Renard set in 1792 France during the French Revolution.
The playwright won the 2021 Pulitzer Prize for drama for her play The Hot Wing King, which follows two Black gay men and “their culinary clique, The New Wing Order,” as they prepare their culinary entry. The Hot Wing King premiered Off Broadway weeks before shutting down due to the pandemic. P-Valley also started as a play, titled Pussy Valley.
Girardi has been accused of stealing funds from legal settlements. In a rare admission, the State Bar of California revealed that an internal audit of the L.A. power broker’s file at the bar “revealed mistakes made in some investigations over the many decades of Mr. Girardi’s career going back some 40 years and spanning the tenure of many Chief Trial Counsels.” The audit conducted recently by an outside consultant “identified significant issues” in the “investigation and evaluation of high-dollar, high volume trust accounts,” the bar said. The state bar is currently trying to disbar Girardi, who was diagnosed with Alzheimer's disease earlier this year.
The cable network will take advantage of NBC Universal holding the rights to the KUWTK franchise. Past episodes will also continue streaming on Peacock and the Kardashians' new home on Hulu.
Originally God's Favorite Idiot was to film 16 episodes in Australia all at once. But after completing eight episodes, Netflix has decided to film the show in two batches. So McCarthy and Falcone will leave Australia and return at a later date to finish the final 16 episodes.
He'll play the manipulative, right-hand man to the Devil on the animated video game series.
Mayson, a Black and Chinese trans non-binary actor, musician and cosplayer, will take on the role of Joe Exotic's longtime zoo manager Kelci “Saff” Saffery.
About 5.3 million watched the one-off HBO Max special, the second most-watched TV program in Sky history after Game of Thrones.
This Is Us star Ventimiglia was spotted by paparazzi Thursday dressed in various period garb.
Braelyn Rankins stars as 14-year-old Calvin Richards, who has "a wonderful, close-knit family who can survive anything as long as they’re together," says Peacock. "And good thing because Calvin was chosen to compete on a tween reality singing show — 'Take Note' — and they’re going to spend the summer navigating the crazy ups and downs of new friendships and competitions, while being thrust into the national spotlight."
The video game adaptations were made as part of Netflix's "Geeked Week."
All nine seasons of the Dick Wolf drama will be shown on the free-to-air television network, starting Tuesday.
The animated kids' series is set in a mythical Mesoamerican inspired world where Maya, a warrior princess, sets off on her own odyssey to recruit three legendary fighters who she believes can help save the world of humankind and gods, according to Variety.
"What if hybrids existed?" Netflix says of its marketing stunt. "Would we be ready to welcome them into our world? We took a human/owl hybrid out for a stroll in LA to see how people would react."
The Disney+ Pixar series sequel to Monsters, Inc. premieres July 7.
The trailer for the July 9 Season 3 premiere teases the aftermath of Jack surviving getting shot.
"Stop trying to make this live-action cartoon," says Haddish in an Adult Swim promo for Sunday's premiere of Season 2.
"Your journey to wellness begins soon," Hulu says of the Nicole Kidman-led star-studded “elevated suspense drama" set at a boutique health-and-wellness resort that premieres Aug. 18.
The E! series finale capping off 272 episodes was "your typical boring series finale fare," says Jordan Julian. "Not even fans of the Kardashians will find anything interesting or revelatory in this finale. The show is so tangential to their fame now, which exists largely on social media and in their entrepreneurial ventures, that it doesn’t have anything new to say. It hasn’t for years. Once, the Kardashians were unique in the way they shared every moment of their lives with viewers—just look at Kourtney, who gave birth to her son Mason with an entire camera crew in the delivery room. Now, the famous family can’t leave home without being papped, let alone keep news of divorces, relationships, and pregnancies under wraps. With hundreds of millions of Instagram followers, they clog social feeds with snapshots of their children and partners. This renders the show’s dramatic story arcs, like whether Kim and Kanye will split up (they will) and whether Kourtney and Scott will get back together (they won’t, because she’s dating Travis Barker and he’s dating a 19-year-old), irrelevant. It’s a natural end to a show they don’t need anymore. The most striking takeaway from the Keeping Up with the Kardashians series finale is just how effective the titular family’s rabid, wholly transparent pursuit of fame really was. A tired critique of the Kardashians, often leveled snobbishly by people who have never watched the show, is that they are famous for being famous. This is obviously no longer true and maybe it never was. They’re famous for helming million-dollar makeup empires, for coupling up with rappers and athletes, for sharing heavily filtered photos on Instagram, and, of course, for appearing on a hit television show for over a decade. If that means the Kardashians are famous simply for being famous, then the same can be said of countless other popular celebrities. To be honest, the Kardashians deserve much of the credit for originating the brand of social media celebrity that dominates pop culture today, for better or worse." Julian adds: "The Keeping Up with the Kardashians series finale most definitely does not mark the end of the Kardashians. Instead, Thursday night’s episode signifies the end of a 14-year televised experiment in manufacturing modern celebrity, one that—for better or for worse—has proven to be an undeniable success."
Jason Momoa announced the Season 3 renewal and the Aug. 27 Season 2 premiere date Thursday night on The Tonight Show Starring Jimmy Fallon. Simultaneously, Apple TV+ released a teaser revealing Dave Bautista as Edo Voss, the brother of Momoa’s Baba Voss.
The acclaimed comedy finished shooting its eighth and final season on Thursday night. "We just wrapped Brooklyn 99," tweeted co-creator Dan Goor. "I want to thank our amazing crew and cast. Andy Samberg, Andre Braugher, Stephanie Beatriz, Melissa Fumero, Joel McKinnon Miller, Dirk Blocker, Joe Lo Truglio, Terry Crews, and Chelsea Peretti, thank you. You changed my life." Fellow co-creator Michael Schur followed up Goor's tweet by posting a June 2012 email from him pitching a show about a "Small town police force." Brooklyn Nine-Nine's final season premieres Aug. 12.
A petition demanding that The Late Late Show either drop or revamp its long-running "Spill Your Guts or Fill Your Guts" segment, which launched in 2016, has received more than 12,000 signatures. "James Corden's The Late Late show features a segment called 'Spill Your Guts,' where guests either have to answer difficult questions he gives them, or eat the foods that are presented to them," writes Kim Saira, who started the petition after calling out the show in a TikTok video that went viral. "The foods that are presented are meant to be 'gross,' as they are supposed to encourage the guest to answer his questions instead. However, many of the foods that he presents to his guests are actually from different Asian cultures. He's presented foods such as balut, century old eggs, and chicken feet, and which are often regularly eaten by Asian people. During these segments, he's openly called these foods 'really disgusting,' and 'horrific.' In the wake of the constant Asian hate crimes that have continuously been occurring, not only is this segment incredibly culturally offensive and insensitive, but it also encourages anti-Asian racism. So many Asian Americans are consistently bullied and mocked for their native foods, and this segment amplifies and encourages it." The Late Late Show has yet to respond to the petition.
Ken Jennings is still the best of the nine guest-hosts so far, according to The A.V. Club, while Aaron Rodgers is No. 2.
The And Just Like That HBO Max sequel series is expected to begin filming any day now. As Sonia Saraiya points out, Kim Cattrall's Samantha was an essential part of the original series and movies. "If Sex and the City crossed any boundaries or broke any barriers, it used Samantha to do it while the other characters looked on dumbfounded: She dated a woman, fell for a Black man, got Botox, sneered at marriage, complained about children, and most importantly, lived like a horny teenager well into her 40s, even through the breast cancer treatment she got in the last season," says Saraiya. "She was New York’s femme id, a crusader whose superpower was cock. In a neat package that evaded intra-feminist argument, her desire didn’t embarrass or degrade her, it simply turned her on. In season five, when her friends judged her sex life, she retorted: 'I will wear whatever and blow whomever I want as long as I can breathe and kneel.' It’s not just hard to imagine the show without her, it’s also hard to imagine Sex and the City thumbing its nose at aging without Samantha in a starring role. But it’s possible. After all, an inevitable part of aging is being forced to say goodbye to people you love. Maybe Cattrall’s absence will be explained away by suggesting that Samantha died in the intervening decades? If And Just Like That… can’t have her, I hope it will have her spirit. Too many of these revivals are a warmed-over rehash of what the originals served hot, with a few jokes about Twitter or Trump thrown in. Samantha would never look back with nostalgia. Intent on making a splash and seizing the day, she’d have her eyes fixed on the horizon." ALSO: Sarah Jessica Parker visits Carrie Bradshaw's apartment ahead of filming.