"The third season of GLOW....is the clearest example of how much Liz Flahive and Carly Mensch’s show has evolved in such a relatively short amount of time," says Caroline Framke, pointing out that the Netflix wrestling drama "encompasses story possibilities like no other on TV." "Though the Gorgeous Ladies of Wrestling have now relocated to a glitzy Las Vegas hotel, their stories include far less of the actual wrestling than before. Instead, three seasons in, the show takes advantage of the fact that it’s now freer to move past everyone’s basics and explore their issues in more depth," says Framke. "It also sets up several storylines that could pay off big should GLOW get a deserved fourth season order." The problem is that Netflix has a tendency of late of canceling shows after their second or third season. Season 3's ending, says Framke, is "downright gutsy given reports that GLOW, critically acclaimed though it is, has been teetering on the edge of cancellation since its debut. It also signals a willingness on the show’s part to keep pushing itself alongside its heroines and dream bigger with every chance it gets. GLOW would still be a very good show if it ended with season 3, but given its upward trajectory, it only stands to be great in season 4."

ALSO:

• GLOW doesn’t feel like a period piece, or for that matter a wrestling show anymore: "It has never been afraid to get dark or to unveil cliffhangers that feel more like existential threats, if not to the actual show than certainly to the plucky wrestling troupe the show is ostensibly about," says Rob Harvilla. "But the triumph here is that the characters, in all their vibrant messiness, have fully transcended the premise. GLOW doesn’t need the ’80s trappings anymore. It doesn’t even need the ring."
• GLOW felt like a different show in Season 3: "I wasn’t a big fan of Netflix’s GLOW," says Mathew Gilbert, who found that the first two seasons left him cold. "So I went into season 3 with an attitude," he says. "And I finished it with relief. It felt like a different show, with multi-episode arcs devoted to each of the characters. Some of those arcs were more satisfying than others, my favorite being the coming out of Sheila as a not-she-wolf, but all together they gave the season a much-needed depth. The characters now have three-dimensional relationships with one another, since they have history together. The third season makes the first two look introductory."
• Season 3 is GLOW’s least idealistic installment yet, and the one most comfortable lingering in discomfort
• GLOW Season 3 balances its celebration of a woman’s power with acknowledging the obstacles to that power
• Creators Liz Flahive and Carly Mensch were determined to deliver a season with so many radical changes that it felt like making a brand-new show
• Liz Flahive: "Having an existential crisis in Las Vegas just felt very funny and natural to us — an emotional reckoning in Vegas"
• Costume designer Beth Morgan breaks down her favorite looks from Season 3
• "We’ve had no wardrobe malfunctions," says Beth Morgan. "....We are so lucky; we’ve never had anything pop out."
• GLOW's Gayle Rankin loved unleashing her inner Liza Minnelli as Sheila “the She Wolf”
• Marc Maron is "totally kind of hot" in Season 3

The shocking success of ABC's Millionaire, which became a national phenomenon when it launched for an initial two-week run in the dog days of summer 1999, paved the way for Survivor and Big Brother on CBS the following summer, which was then followed by American Idol on Fox in summer 2002. In fact, you could draw a line from Millionaire's success to Donald Trump assuming the presidency, says Bill Carter. "That August 16, 1999 fell on a Monday is of little significance except in the world of television, which quite unexpectedly experienced a revolutionary moment that night," says Carter. "The people involved certainly did not anticipate anything extraordinary was in the offing. They were grateful they had a chance to get a new little program on the air, even though it had all the signs of being a throwaway: an extremely low-budget game show being rolled out on ABC toward the tail end of summer, when viewing levels were often at their lowest. The Monday part only mattered because that night kicked off an unusual two-week experiment: the new program, hosted by Regis Philbin, would occupy various time slots on 13 consecutive nights—half-hours on the weeknights, hours on the weekend. That unconventional scheduling was about the only sign that ABC had made more than a glancing commitment to this new addition to its summer lineup. The stakes were clearly low. The entire budget for the 13-episode run was $1.8 million, a figure that, even back then, amounted to loose change in a network programming budget. But the stakes were certainly high for one man, Michael Davies, the program's executive producer, because he had literally walked away from a job as an ABC programming executive to take the reins of the show."

McBride's shows, from Eastbound & Down to Vice Principals to the The Righteous Gemstones, can be an acquired taste. "It is possible that, but for professional reasons, I would never have seen any of these shows — life is short, and television series are long — but I never regret the time spent watching them," says Robert Lloyd. "They’re tightly plotted in a way that draws you from one episode to the next, and fine performances, from players well and less well known, strike individual notes that keep characters free from cliché. I don’t think they’re funny, exactly, though every so often a bit of slapstick or a throwaway aside will make me laugh out loud. But it’s not so much because the jokes are bad — though they sometimes are — as that laughter doesn’t seem to be quite the appropriate response to all the pain and humiliation. The series do achieve something like depth over the long run, and if it’s only a matter of the characters becoming familiar, that also makes them more recognizably human — more understandable, more forgivable. There is a carefully placed hole at the center of many McBride characters — not just the ones he plays but most of the ones he writes — that only love can fill. As a writer, he’s a sentimentalist at heart, which is what makes his comedies, for all their low humor and violence, basically old-fashioned. They’re feel-good, quasi-black comedies in which the good feeling is delayed as long as possible — but it comes." ALSO: In praise of the Danny McBride multiverse.

The drama based on on Kristin Hannah's bestselling novel tells the story of enduring friendship between characters played by Chalke and Heigl, from their teenage years through their 40s. Chalke's character will play the "fiercely intelligent and fiercely loyal" friend who's always been in the shadow of legendary talk show host and journalist Tully Hart, played by Heigl.

Step Up: High Water, which aired two seasons, and Wayne, which had only one season, will be shopped elsewhere as YouTube Premium continues scaling back its scripted programming. YouTube is also not proceeding with drama pilot Dark Cargo and comedy pilot It’s a Man’s World.

Disney and Charter Communications signed an agreement this week to "work together on piracy mitigation. The two companies will work together to implement business rules and techniques to address such issues as unauthorized access and password sharing." The announcement didn't say how the two companies will fight password-sharing.

Here are all the streaming options for this year's primetime nominees.

"I prefer to remember Joan as she was before the seventh season squandered her," says Angelica Jade Bastién of Liu's Joan Watson. "I’ll remember the empathetic way she interviewed those mired in grief as a detective, how she carefully navigated the emotional strife of her familial dilemmas, and the gentle chemistry she shared with Sherlock, which demonstrated how a deep friendship can stir us as human beings. I’ll remember watching Elementary with my mother, feeling inspired by how Joan faced her future with a gimlet-eyed exuberance that made me believe that second chances in life are possible. I’ll remember all the times Joan chose empathy over being jaded, in a world where that choice remains preciously rare."

Cameron Monaghan is back and his character Ian Gallagher is sharing a prison cell with Noel Fisher's Mickey Milkovich.

Bil Weir will host a CNN Special Report on Woodstock Saturday night.

This year is the second time this decade that the Emmys have featured the same shows in the variety category in back-to-back years. What will it take to shake things up in the category?

"For the past year, while trying to explain to friends why AMC’s Lodge 49 is the only TV show I really care about, I’d say it was because, in this series, the stakes are so refreshingly low," says Laura Miller. "No one in Lodge 49 has superpowers or special abilities. All of the characters are broke, living in Long Beach, California, and in no position to save the world. They eat breakfast in a strip mall joint called Donuts and pawn their flat-screen TVs to pay off debts they should never have taken on." She adds: "The eccentricity of Lodge 49 is never merely gratuitous. It is a story about how ordinary people try to get by, have a bit of fun, and sometimes save each other’s lives on the ragged fringes of a post-industrial economy. And it’s also about alchemy; the credits are a radiant collage of turquoise swimming pools and esoteric medieval etchings and glyphs." ALSO: Lodge 49 is unlike anything else on television, in a really good way.

The Apple TV+ official teaser trailer, released Monday, "sparked countless headlines about the 'first look' at Aniston’s big return to television, neglecting one tiny detail: you do not see Aniston, nor a single human, in the trailer," says Kevin Fallon. "Instead, the disembodied voices of the main stars talk about journalism while a camera pans through an empty set. The ghosts of Aaron Sorkin’s The Newsroom are apparently now haunting the halls of a soundstage leased by Apple. There is no real information given about this series, when it will come out, or what the hell Apple TV Plus even is. Maybe it’s all being kept under wraps because the platform is going to be so game-changing and good that the element of surprise is being used for dramatic effect to further blow us away. Or maybe we’re all going to wake up one morning in November with a TV series starring U2 automatically loaded onto our phones. At this point, who can say?"

"On the one hand, The Boys is an expert deconstruction of superhero stories, with an appropriately wintery view of institutional power, be it corporate, governmental, religious, or caped," says Matthew Dessem. "On the other hand, it’s an adaptation of a comic book series that launched in 2006, and to watch it in 2019 is to be forcibly reminded how much things have changed since then." He adds: "In the comic books, it’s the president who’s a ruthless Halliburton stooge and the vice president who’s a moron, but everyone operates under the assumption that if the president’s corruption or the vice president’s stupidity were publicly exposed, it would hurt them. The public simply wouldn’t stand for it." But in the Trump era, that kind of storytelling isn't believable.

ALSO:

• The Boys demonstrates why evil-Superman stories are so popular
• Erin Moriarty discusses Starlight's heartbreaking Boys scene
• Chace Crawford's superhero suit bulge for The Boys calendar has Twitter buzzing

Ali Barthwell decided to watch a full day of HGTV because "I f*cking love HGTV." After two hours, though, she had had enough, describing what she had seen as "the unbearable tyranny that was HGTV." "The appeal of watching HGTV is that you can completely shut your brain off," adds Barthwell. "There is nothing challenging or difficult happening on HGTV. It demands nothing—so when Caribbean Life started throwing trivia questions at me about giant obelisks and forcing me to sit through segments with the couples exploring spice markets or going on pedal kayaks, it was really asking a lot of me. Yet after a couple hours of Caribbean Life, I found myself way too eagerly shouting out the answers to the trivia questions, as though I had contracted my own form of Stockholm syndrome. Pina colada! Flamingos! Liberty Day festival celebrated with beef and bread! I wanted to escape, but all that was left was the knowledge that Maho Beach in St. Maarten is famous for being at the end of an airport runway, so that planes land right over your head. The problem with HGTV’s newer offerings is that they want the viewer to care about the people and places featured on the show instead of the houses and gardens themselves. I did not come here to see Jocelyn and Justin swim with mermaids. I’m here for the granite countertops."

Hunter Schafer's Jules was essentially a "trope-burning character," says Clarkisha Kent. "Euphoria cleverly uses the MPDG trope to make the audience view Jules as this free and ethereal spirit here to cheer up and uplift a depressive and lost soul like Rue, and even stand up to psychotic and despotic bullies like Nate (Jacob Elodri). The trope is already somewhat subverted by Jules being a trans girl who has adventures outside of interacting with our lead, and Rue being a young black female protagonist instead of the usual lost white man reluctant to grow up. And then it quickly flips the script on us completely by giving us Jules’ tragic backstory, complete with self-harm, psychiatric hospitals, rejection from her mom, and a complicated personal life that can’t be summed up as 'quirky.' Her ambition and bubbly nature are also quickly ensnared into Nate’s terrifying scheming and the notion she is this ethereal and somehow untouchable force violently goes out the window."

ALSO:

• Euphoria's messy season finale could mean good things for the show's future
• Creator Sam Levinson offers a detailed breakdown of Season 1
• Euphoria makeup artist Doniella Davy is responsible for the show's iconic beauty looks and its prosthetic penises

The Designated Survivor star says he injured his ribs, "making it difficult to breathe and impossible to sing," while touring Denmark.

By expanding her perspective, Oprah was able to latch on to shows like this week's David Makes Man. "When I was doing the Oprah show all those years, I was basically doing shows for myself and my producers; whatever was going on in our lives, we would sit around and talk about what we thought was important,” Winfrey tells Variety. “What I realized is when you’re doing a whole network, you need to speak to whoever is willing to listen...Fortunately for me, the African American audience followed me from the The Oprah Winfrey Show, so I learned to speak to who was listening, which has been one of my greatest lessons as a programmer for television."

A judge sentenced Locklear to 120 days in jail Friday after she was arrested twice last year, but she could avoid the sentence if she completes a 30-day stay in a substance-abuse treatment program. She'll also be placed on three years of informal probation.

The seven-part docuseries was made in partnership with The New York Times Magazine and columnist Dr. Lisa Sanders, a physician at the Yale University School of Medicine. Sanders has used her column to spotlight patients with mystery illnesses, using The Times' extensive readership to crowdsource medical advice.

"For many teen TV shows, it’s the set, especially the main characters’ bedrooms, that makes the show memorable," says Ilana Kaplan. "If a show goes on for as many years as you’re in high school, those characters’ bedrooms can begin to feel like your own. And when the show ends, seeing the rooms disappear can be as heartbreaking as watching the characters say goodbye."

"Not discounting Amazon’s deep pockets or anything, but Quality Time seems designed to reassure his audience that he’s still the same Jim Gaffigan," Dennis Perkins says of Gaffigan's Amazon special. "You know, America’s dad-bod incarnate, making himself the butt of food and Midwestern unworldliness jokes while projecting an everyman common sense that renders observational comedy the rightful domain of full-bodied white guys everywhere. 'This is what I look like. It’s mostly my fault,' is Gaffigan’s opener in Quality Time, slyly encapsulating the ensuing 75-minute set by planting his old flag, once more, in the generous breadbasket of his agreeably outsized onstage persona. Amazon, puffing up its new comedy cash cow in advance of the special’s Friday release, advertises Quality Time by applying the Wall Street Journal’s dubiously narrow title of 'The King Of Clean Comedy' to its newest acquisition. And, sure, Gaffigan’s sensibilities aren’t ever going to veer into Chris Rock’s or Dave Chappelle’s lanes, but Gaffigan’s hardly setting himself up for an in-house residency in Branson, either. He’s too much of a careful craftsman for easy labels, even if Quality Time (directed and co-written by wife Jeannie Gaffigan) appears engineered to return to normalcy, in his life and comedy." ALSO: Gaffigan's observational comedy goes down like the comfort food.

"If you’re going to indulge in a nasty crime drama, at least make it the classiest one on TV," says Jack Seale, adding: "When it debuted, Mindhunter skeptics found that, for all the bravura acting and precise direction that had others hailing a masterpiece, the series was as much of a precious prodigy as (Jonathan Groff's Holden) Ford himself. During season one, they argued, it was prone to aggravatingly knowing dialogue – such as the scenes where the FBI workshop the invention of now-familiar terms such as 'serial killer' – and to allowing those extended two-handers to drag on beyond endurance. Series two tackles that criticism by sending its characters further out into the real world. Last year’s loose case-of-the-week format is replaced by an arc dealing with the Atlanta child murders of 1979-81, underpinned by police officers’ frustrated efforts to catch the soi-disant 'BTK strangler.' Decamping to Atlanta, a city that has just elected its first black mayor but is riven by racial schisms and reeling from the violent deaths of so many black children, offers a significant shift of tone."

ALSO:

• It's hard to imagine any network giving a blessing to scripts this conversation-packed without a name like David Fincher attached
• Mindhunter is more interested in the investigators than the serial killers, especially in Season 2
• Season 2 goes further into the heart of darkness
• Things are a little too good to be true in the season premiere
• Jonathan Groff really did a lot of homework trying to get in the mindset of the Atlanta Child Murders eras
• Holt McCallany visited with real-life killers in prison to prepare for Season 2
• What if Rami Malek was on Mindhunter?
• Meet the real-life murderers of Season 2

"Sure, it’s a Danny McBride comedy, full of profanity, nudity, and hilariously uncouth manners," says Meghan O'Keefe. "However, it’s something more than just another ribald comedy in the legacy of Eastbound and Down, Vice Principals, and even The Foot-Fist Way. The Righteous Gemstones is an epic look at the triumph and tragedies haunting a family of famous televangelists. Each episode turns the screws on what makes these powerful people tick. We see them wrestle with faith, ambition, loyalty, and most of all, their need for love...What’s striking about The Righteous Gemstones isn’t simply how it skewers the hypocritical avarice of televangelists. Instead, it digs deep into the pain that drives each of the Gemstones...While it’s true that both Eastbound and Down and Vice Principals reckoned with deep-rooted emotions, The Righteous Gemstones still feels like a huge step forward for McBride, (Jody) Hill, and (David Gordon) Green. The series not only digs into faith, but plays with narrative form. Each episode seems to twist the kaleidoscope a bit more, feeding more information about the family’s past, or introducing a wholly different point of view on the drama. What unfolds is stunning and deep; outrageously funny and terribly tragic."

ALSO:

• The Righteous Gemstones misses a golden opportunity to satirize evangelical piety: "Although The Righteous Gemstones does indeed partake in some rather low-hanging fruit as it mocks the megachurch milieu (where the prosperity gospel rains its flashiest blessings upon those who preach it), it occasionally hints at some stronger potential," says Hank Stuever. "Mostly the show comes off as an unfinished, vaguely Coen brothers-flavored gumbo of broad stereotypes, violent occurrences and snaky retributions among a family whose holiest instincts were long ago subsumed by their contempt for one another. The Righteous Gemstones has been poorly plunked into the wake of Succession, a far better, rotten-to-the-core family drama that precedes it. There’s only so much blunt cruelty a viewer can endure."
• The show is "chockablock with c*ck, with at least one penis (real or fake) appearing in each of the first six episodes: "It’s hard to be convinced that McBride’s menagerie of manhoods is breaking any ground, but that’s not to say it doesn’t serve a higher purpose," says Inkoo Kang. "The series seems to weaponize its bouquet of willies as part of its assault on toxic masculinity and patriarchal power. After all, they’re never exactly impressive. Their exposures also tend to reveal the most pathetic or venal aspects of the male characters around them...But the show’s phallocentrism also accentuates McBride’s woman problem."
• Righteous Gemstones pales when compared to Succession: "It’s tempting to say that it’s hard to invest in the Gemstones because they’re just unlikable," says Jen Chaney. "But that’s not quite the problem, and to understand why, one need look no further than Succession, which happens to be the Sunday night lead-in for The Righteous Gemstones. The Roy siblings in that portrait of corporate nepotism are just as eager to earn daddy’s approval, just as privileged, just as rude to each other, and just as disinterested in ethics as the Gemstone kids. The difference is that, even when we don’t condone what the Roys are doing — which, by the way, is all the time — we find ourselves rooting for them in spite of this fact. There’s a subtlety in the writing in Succession that’s missing from The Righteous Gemstones, even though the latter series does pull off some solid twists along the way."
• Righteous Gemstones is especially geared toward Danny McBride fans: "Danny McBride makes shows that broadcast at a very specific and targeted frequency, or maybe a very specific volume," says Daniel Fienberg. "On Eastbound & Down and Vice Principals, characters rarely spoke when they could shout, never hung up a phone when they could throw that phone to the ground and smash it into a million pieces. The trick of the McBride shows is that when they aren't playing to the back row, or possibly to an entirely separate theater next door, they're marked by unexpected veins of heart, understated gems of restraint in a maelstrom. To appreciate the whole requires embracing that life is similarly composed of unreconcilable elements. Although it's created by McBride solo — regular collaborators Jody Hill and David Gordon Green contribute producing and directing credits — HBO's new comedy The Righteous Gemstones is likely to resonate with the audience that embraced his previous HBO comedies and perplex those requiring more conventionally 'likable' characters. I tend to respond to the McBride comedies in their moments of stealth humanism more than I laugh consistently at the grotesquerie."
• Gemstones has more world-building to do and more sustainability to build than his previous series: "Unsurprisingly, the show is at its best when simply explaining how the many-tentacled Gemstone empire works," says Alison Herman. "A thrilling montage in the third episode walks us through the headquarters, outlining the step-by-step process through which a deeply personal activity becomes a commodity. Prayer requests are fulfilled by uniformed functionaries; charitable donations are converted into eye-popping stacks of cash. There’s plenty of irony, and therefore comedy, in the chasm between the Gemstones’ moralistic preaching and their materialistic instincts. But there’s also novelty. Gemstones operates at a much grander scale than Vice Principals’ shabby high school or Eastbound’s minor league baseball diamond. And scale means opportunity."
• Righteous Gemstones isn't perfect, but it's a worth addition to McBride’s HBO oeuvre: It's "another messy, honest, exaggerated and realistic look at Southern charlatans desperate for fame, power, and success in a modern South that can too easily fall prey to their schemes," says Garett Martin. "It’s easy to see Jesse Gemstone not just showing up on Jim Bakker’s PTL Club in 1985, exhorting viewers to travel to the Heritage U.S.A. theme park in South Carolina, but brushing shoulders with Bakker today, shoveling freeze-dried corn meal into his mouth out of an oversized plastic bucket and trying to convince the so-called rubes at home that God needs them to order this gruel for their Revelation bunkers."
• The Righteous Gemstones is uneven but solid and engaging: "In a way, it’s reflective of the megachurches it skewers: It’s so easy to find yourself dazzled and buy into it completely," says Pilot Viruet, noting the pilot starts off a little rough.
• Gemstones shows off more of McBride's range, but its push to redeem his character seems to seek a depth and soulfulness neither script nor performance consistently serves
• If The Righteous Gemstones can come to Jesus and marry its competing drives, it will sparkle: "There is a poignancy in the light touches and the tragic backstories of The Righteous Gemstones," says Brian Patchett, "that proves that this modest level of complexity is possible without sacrificing humor or originality."
• Danny McBride makes it clear his Gemstones character is different from his two previous HBO a**sholes: "Those other characters never got what they wanted and that's why they have such a chip on their shoulder. Jesse is someone who's very privileged, he has everything he could ever dream for and it's not who he is."
• John Goodman and McBride talk God, capitalism and wearing cool pinkie rings
• Adam Devine on working with McBride: "I kind of always saw our comedic styles as kindred spirits, so it really sort of clicked from day one"
• McBride didn't mean it when he said he wanted to complete his "misunderstood angry man trilogy": "I said that in an interview. I think I was kind of trying to bully HBO into picking up (The Righteous Gemstones). There are elements of that which are true, but I think as I developed the show, it became more of an ensemble piece. I’ll change it to 'the evolution of the misunderstood angry man.'"
• Why McBride changed his mind after initially writing the Gemstones as antagonists: "I knew I wanted to do something on a minister, and I started writing it and built this megachurch family that was sort of the antagonist and was blackmailing this minister," he says. "And the more I wrote about it, the more it was doing what I kind of didn’t want it to do, which is that it was all about the church, it was all about religion. I started reevaluating the story and I was having the most fun writing the Gemstones and the dynamic amongst them was what I was looking for. So shifting the story and making those guys the main characters instantly turned it into more of a show about a family, which I felt was more relatable and interesting."

The Superman prequel series' Season 2 finale this week will serve as its likely series finale. Krypton's cancelation means the Lobo spinoff that was announced just two months ago is not moving forward. Krypton's viewership dropped significantly in Season 2 after attracting 1.8 million viewers (with delayed viewing) in Season 1. The Season 2 finale on Wednesday was watched by 350,000 same-day viewers. As Deadline notes, "Syfy has to rely solely on linear ratings to monetize a series, which is difficult for expensive shows like Krypton and Expanse, which command high license fees but whose viewers tend to watch content on digital platforms. For instance, Syfy only has streaming rights to the five most recent episodes of Krypton." The Expanse was able to find a new home on Amazon. Producer Warner Horizon plans to shop Krypton to other outlets.

The HBO tech comedy will return for its sixth and final season on Sunday, Oct. 27.

The pair discussed dealing with grief in an interview on Anderson Cooper 360. “You wrote me a letter after my mom died, and in it you said, ‘I hope you find peace in your grief,’” Cooper said. “One of the things I’ve been thinking a lot about is how we don’t really talk about grief and loss. People aren’t comfortable talking about it.”

Creator Mike Flanagan tweeted of the Blu-ray edition. “More details to come, but it was a blast restoring several episodes to their original form. Hope you all enjoy!”

Check out the first key art of Season 5, featuring the employees ready to take on a new Cloud 9 “helper.”

The DuckTales and Garfunkel and Oates star will have a "small cameo" in the Season 5 premiere.

Emily Andras is developing a meta adventure drama revolving around Comic-Con attendees. According to The Hollywood Reporter, "Axeholes follows a mismatched bunch of comic convention attendees who inadvertently get transported into the real-life world of their favorite fantasy TV series, Blue Bar’Bara. In the worst role-playing game ever, the unequipped party must learn to navigate a dangerous land of profanity-spewing battle axes, sociopathic fairies, disturbingly sensual dragons and a chainmail-bikini-wearing shield maiden as they struggle to find a way back home."

Doyle, whose 1970s-set family ABC comedy was canceled in May, is staying at ABC. He'll take over showrunning duties on The Goldbergs spinoff from Schooled co-creator Marc Firek, whose parting is said to be amicable.

The Tony- and Emmy-winning actress will recur on the sixth and final season as Councilman Rashad Tate's opponent in the gubernatorial race.

With today being the 42nd anniversary of the King of Rock and Roll's death, Netflix has announced it is teaming up with his ex-wife Priscilla Presley on an Elvis spy series. In Agent King, "Elvis Presley trades in his white jumpsuit for a jet pack when he is covertly inducted into a secret government spy program to help battle the dark forces that threaten the country he loves — all while holding down his day job as the King Of Rock And Roll,” says Netflix. Priscilla Presley adds: "From the time Elvis was a young boy he always dreamed of being the superhero fighting crime and saving the world! Agent King lets him do just that. My co-creator John Eddie and I are so excited to be working with Netflix and Sony Animation on this amazing project and getting the chance to show the world an Elvis they haven’t seen before.”

The gangster epic's fifth season will first air on the BBC starting Aug. 25 before its Netflix debut.

The two networks are adaptating Brexit: An Uncivil War writer James Graham’s play, Quiz. The three-part series tells the story of Charles Ingram, a former British army major who was caught cheating on the hit ITV game show in the early 2000s. Succession's Macfadyen will star as Ingram, Fleabag's Clifford will play his wife Diana Ingram and Sheen will take on the role of Millionaire host Chris Tarrant.

The Simpsons executive producer James L. Brooks revealed via Twitter that the Oscar-winning The Crown star is lending her voice to the Fox animated series. "Just this second came from recording one of the best guest appearances in Simpson's history. No kidding, I am flying," Brooks tweeted, adding that Colman plays "the most down home femme (fatale) ever who attracts every man she's ever met but falls hard, harder than she ever imagined, for Homer Simpson."

The move comes after HBO canceled daily Vice news show in June. “VNT is going to a wider audience as we bring it home to our television network and make it the centerpiece of a primetime block built off of the VICE news voice and sensibility, in addition to the award-winning documentary and series programming VICE is known for,” says Jesse Angelo, who has been tapped as Vice's news and entertainment chief. “This bold move shows how much our company believes in this team and now it will have all the support and attention it deserves throughout the Vice ecosystem and beyond.”

With the Unbreakable Kimmy Schmidt star hosting, each episode of Dishmantled "starts with the cannon-blasting of a mystery food dish into the faces of two blindfolded chefs," according to Deadline. They’ll use their culinary prowess to identify the exploded dish and then race against the clock to recreate it. Whichever chef comes closest to the original dish wins a cash prize." Dishmantled is from Chopped creator Linda Lea.

It seemed like Elementary would limp to a hollow finish last night after seven seasons, says Angelica Jade Bastién. Unfortunately, there were too many manipulations, she says. "The problems with the series finale, and the final season of Elementary as a whole, lie not so much in what happens but how it happens," says Bastién. "This season being whittled down from 21 episodes to 13 is clearly felt. The writers seem to be trying to force a full season of development into a final hour, making what could be a moving and entertaining concluding chapter into an overwhelming story that is too worried about burning through plot to deliver true emotional closure."

ALSO:

• Elementary deserves credit for giving viewers something to worry about in its "second" finale
• Elementary creator Rob Doherty on the series finale: "It was important to me that in the final episode of the series there was less a mystery to solve and more appreciation and assessment of what Sherlock and Joan have built over the years. It was less about what they did professionally and more to do with where they landed personally."
• Doherty admits he was hesitant about doing Season 7 after Season 6's satisfying conclusion

Nash is joining the limited series on the movement to ratify the Equal Rights Amendment as Flo Kennedy, the friend and confidant to Gloria Steinem and Shirley Chisholm, who co-created the Black Feminist Organization from salon style meetings in her apartment.

"Finally, A&E pulled the plug on Leah Remini’s hate machine," the church said in a lengthy statement blasting the show's "lies, distortions and exhortations to hate and bigotry."

The potential half-hour comedy revolves around the acid-tongued Mr. Black, "a man who has one dying wish: to break up his adult daughter and her boyfriend – whom he happens to live with." Mr. Black premiered in Australia's Network 10 earlier this year.

Patrick J. Adams' Mike Ross, in his return to Suits this week, was asked about how his wife Rachel, played by Markle, was doing. “Good. In fact, if I told you how good, you probably wouldn’t believe me," he responded.

Watch the beginning of Sunday's episode, a nod to what many consider the best zombie film of all time.

Beadle, who has hosted the NBA pregame show since 2016, is expected to be replaced by Nichols and Taylor, who will split hosting duties, according to The Athletic's Richard Deitsch. ESPN has yet to formally announce the hosting change.

The Perpetual Grace, LTD star and Charles Manson actor will recur on Barry Jenkins’ adaptation of Colson Whitehead’s bestselling novel as a station agent for the underground railroad in North Carolina.

The blooper reel features a slo-mo shot of Chris Elliot's snot falling out of his nose.

Special actress and Friends alum Hecht, Lifetime Meghan Markle actress Fitz-Henley and Orange Is the New Black vet Martinez are set as leads along with Bill Pullman, Matt Bomer and Chris Messina on Season 3 of the USA anthology crime thriller.

Coffee Bean & Tea Leaf has released a limited edition Central Perk coffee in honor of the show’s 25th anniversary next month. The special coffee was originally available only on the Coffee Bean & Tea Leaf's website. ALSO: David Schwimmer lookalike sentenced to nine months in jail after stealing a crate of beer.

“We hooked up,” the BH90210 said on Watch What Happens Live after being reminded that Spelling already said they hooked up. “We did. But we were young and so that’s what young people do.”

Watch as the pair competed to pull off Travolta moves via The Tonight Show's random Travolta generator

Showtime has posted the first two of the nine-episode dark comedy to YouTube in advance of its premiere on Aug. 25. Ironically, the show was once a YouTube Red series after it was rejected by AMC. The dark comedy stars Dunst as a minimum wage worker in 1992 who “lies, schemes, and cons her way up the ranks” of a “cultish, flag-waving, multibillion-dollar pyramid scheme.” Watch Episode 1 and Episode 2.

The 48-year-old Scottish actor is in talks to return to his role as Jedi master Obi-Wan Kenobi in a Disney+ series. According to Deadline, confirming a report from Cinelinx, details of the untitled series are being kept under wraps. This would be Disney+'s third live-action Star Wars series after The Mandalorian and the Rogue One prequel. Deadline adds: "Plans in recent years to produce a stand-alone Kenobi feature film morphed into the current plan for a big-budget series for Disney+, the digital subscription service that has become an all-hands-on-deck mission for Disney with a bevy of shows from Marvel Studios and major-budget original programming, such as the high-profile remake of The Lady and The Tramp." McGregor played Kenobi in all three Star Wars prequel films. He also made a voice-over cameo in 2015's Star Wars: The Force Awakens.

The FCC penalty was for an October 2018 sketch titled "Trump's Presidential Alerts – The Movie." According to the FCC filing, ABC says it was a "misunderstanding that the use of the tone was permissible." A network spokesperson told The Hollywood Reporter that "ABC takes regulatory compliance seriously and we are pleased to have resolved this issue." ALSO: FCC also fined AMC, for $104,000, for The Walking Dead misusing Emergency Alert System tones.

Chris Cuomo's recent "Fredo" viral video, an incident involving contributor April Ryan earlier this month and a lawsuit filed against Don Lemon -- which CNN calls a "shakedown" -- are causing concern for the cable news network. “We are living in a time where journalists are being confronted with orchestrated provocations on Sunday afternoons while out with their families, and shakedowns from people looking to make a quick buck,” an anonymous CNN executive tells The Washington Post. “All because of where they work and their commitment to holding those in power accountable. License to do so is being given from the highest levels of office in the country. It is dangerous, and it is wrong.” As The Post's Paul Farhi notes, "the network sees itself as subject to threats in the wake of relentless criticism and provocations from President Trump."

The TBS comedy Bee co-created with her husband and star Jason Jones has been down 30% this season. Which is why Bee and Zea think HBO Max would be a great place for new people to discover the show, even though it's currently streaming on Hulu. "I’m really hoping people will gravitate to it. I think it would fare very well on a streaming service, actually, because it is the type of show you can 100 percent binge,” Bee tells Indiewire. “I actually think if it makes it onto the WarnerMedia streaming service, it will do very well there. It kind of needs that in order to catch on.” Zea adds: "I know that right now everyone is still figuring out what that’s gonna be, but that would be extremely helpful."

The sixth episode of the podcast dropped on Thursday, more than two months after the finale. The bonus episode focuses on Jared Harris' performance.

ALSO:

• Chernobyl makeup and prosthetics designer Daniel Parker had one condition: it must not be gratuitous
• Chernobyl composer Hildur Gudnadóttir is the only female nominated in either of the two Emmy scoring categories

“I have no idea," Cowell said when asked about the current incarnation of Idol on ABC. "I haven’t seen the show in so many years, I honestly couldn’t tell you.” ALSO: What's up with Simon Cowell's face?

Jimmy Kimmel Live! has used the small Newfoundland town of Dildo as a source of comedy for the past two weeks. In an interview with Canada's NTV, Kimmel says he plans to visit Dildo, but he doesn't have a date set.

Wednesday's episode of the TV Land dramedy featured NY1 anchor Pat Kiernan playing himself doing a fictional story on "corporate ageism." The episode was filmed on May 7. In June, five female on-air personalities at NY1 sued the network alleging age and maternity discrimination.

Cox has been posting Instagram videos showing her trying to teach a kid how to say "I Know!," as Monica Gellar would say. ALSO: Frontier Communications will pay somebody $1,000 to binge-watch 25 hours of Friends.

The New Yorker runs down all the reasons why binge-watching TV can benefit you, including: Avoiding sunburn, always being near the bathroom and spending quality time with somebody you don’t hate.

The Desperate Housewives creator's new CBS All Access drama, revolving around three separate women in three separate decades (1960s, 1980s and 2010s), "feels a little unstuck in time, and not just because it flits between three timelines at once," says Meghan O'Keefe. "The show, which is Desperate Housewives' mastermind Marc Cherry‘s take on murderesses, has a campy detachment that feels retro. Its tone would have been at home in early ’00s television, the landscape that Cherry dominated. Now, though, in a time where women are at the vanguard of reinventing the crime drama, the show’s insipid vibe feels passé." O'Keefe adds: "In a world inundated with tremendous television, Why Women Kill is merely fine. That’s why it kind of died on arrival for me. It’s pretty to look at, fine to follow along with, but it says nothing new about crime storytelling or relationships. The best part of this show about murder is the killer fashion. It needs more bite to really slay."

ALSO:

• Marc Cherry is the Mark Zuckerberg of complicated, high-camp women: "He gives us the product we think we want, but in the end, it still only feels like a facsimile of the real thing," says Robyn Bahr. "When sudsy mystery Desperate Housewives debuted in 2004, it filled the stiletto-shaped void left by Sex and the City and inadvertently gave birth to an entire reality TV genre that made Bravo a household name. It was a fun and audacious nighttime soap that helped reinvigorate then-flailing ABC (along with Grey's Anatomy and Lost), but the flavor of the show — five seemingly flawless upper-middle-class women and their infinite web of lies — indeed feels 15 years in the past. Then again, so does Cherry's newest project, Why Women Kill."
• The best moments on Desperate Housewives were when the wives got to talking: "Which makes it all the more confounding that Cherry’s new soap opera, the CBS All Access drama Why Women Kill, is yet the latest show to fail to learn the lessons of one of the last truly huge network hits. His three protagonists — played by Lucy Liu, Ginnifer Goodwin, and Kirby Howell-Baptiste — exist in different timelines, each coping with a collapsing marriage and seeming to move closer to homicide with each slight. That isolation may be part of the show’s point: that these women are driven over the edge by the lack of camaraderie in their lives, a condition that recurs through the decades. But it makes for a deeply unsatisfying show cobbled together from vignettes, a show whose skittish leaps between storylines leaves good actors stranded."
• Why Women Kill is a delicious Desperate Housewives successor: Cherry's new drama "is like Housewives boiled down to its most essential elements – death, sex, great actresses and mystery – with the freedom to curse," says Kelly Lawler. "Despite its partial period setting, Women is essentially a modern version of Housewives, mixing dark comedy with violence to illuminate the lives of its main characters."
• Why Women Kill often lacks the cohesion necessary for a story like this, but it does mostly work as series of vague, bleakly funny vignettes
• Why Women Kill has a clever setup, but it botches one of Cherry's greatest strengths
• Why Women Kill gets the tone just right: Cherry knows how to make social commentary while making us laugh and take a discerning eye to our lives
• Why Women Kill works because it knows it's likely to be labeled as a "guilty pleasure"
• Marc Cherry explains his ability to write for female characters: "There's a whole bunch of rules, and the cast will make fun of me because sometimes someone will do something, and I'll go, ‘No. You're not going to move on that line. Bea Arthur would roll over in her grave if you moved on the joke. Stay put.' Those lessons still come out of me, and I'm ridiculed."