The Simone Missick-led legal drama All Rise has been canceled after two seasons after facing behind-the-scenes turmoil in its writers' room since its first season, problems that led to creator and co-showrunner Greg Spottiswood's firing in March. All Rise dealt with the lives and relationships of the judges, lawyers, clerks, and law enforcement officers who work at the Los Angeles County Courthouse. Walton Goggins starred in The Unicorn, which was also canceled after two seasons. The comedy followed a single dad who began taking steps to start dating again after his wife's death. "From the get-go, the single-camera Unicorn, starring Walton Goggins, has been, well, an unicorn, on CBS, not quite fitting into the network’s traditional sitcom mold," reports Deadline's Nellie Andreeva. "Yet, the series, which was well received by critics and features one of the strongest comedy casts on TV, had big fans at the highest ranks at CBS, which helped it snag a Season 2 renewal last year for a limited midseason run, which concluded in March. The Unicorn’s linear ratings were among the lowest on CBS but its Live+Same Day delivery was actually higher than that for the renewed S.W.A.T. More than ever this year, it comes down to economics as CBS — and the rest of the broadcast networks — are making their renewal decisions.
The two freshmen sitcoms have each scored a second season after premiering last November and last month, respectively.
The Los Angeles Times reports that "several (NBC) executives now privately acknowledge they made several public relations miscalculations. Instead of taking a leadership role, the venerable broadcaster’s hand ultimately was forced by prominent producers Shonda Rhimes and Ava DuVernay, A-list actors Mark Ruffalo and Scarlett Johansson, the Time’s Up organization, a coalition of publicists and rival streaming giants Netflix and Amazon Studios. Facing an embarrassing boycott of next year’s awards show by much of the industry, NBC announced Monday that it was pulling the plug on the 2022 Golden Globes telecast to give the HFPA, which was formed in 1943, time to carry out a series of planned reforms." As The Times notes, NBC's stance was complicated by its eight-year, $500-million TV rights deal for the Globes that it signed in 2018 and the fact its contract is actually with Dick Clark Productions, and not the Hollywood Foreign Press Association. “NBC should have been leading the charge to demand reform and improvement,” said Shawna Kidman, a communication professor at UC San Diego. “But NBC lost the narrative. They allowed these new companies, like Netflix and Amazon, to come in and take a stand for diversity and change and it seemed like the old media companies, like NBC, didn’t care about diversity and change — even if that’s not true.”
Lemon caused a frenzy when he said Friday night that it was "the end of an era" for CNN Tonight with Don Lemon. "Didn’t mean to set the internet on fire," Lemon tweeted Saturday morning. "What I said last night was true. CNN Tonight with Don Lemon is no more. I’ll be back on Monday with my newly named show Don Lemon Tonight. See you Monday at 10pE."
TNT, where the legendary sports broadcaster has called games for the past two decades, plans to pay tribute during the playoffs. Albert turns 80 next month. As New York Post notes, Albert has been calling professional games for nearly 60 years and is considered by most the greatest NBA play-by-player of all-time.
“I am in no way bitter with ABC for not renewing For Life for a third season,” the actor tweeted this morning, saying that ABC has been "nothing but supportive." He added: "Sadly, the live audience numbers didn’t reflect and equal the social media reaction. The catch up numbers were really good but that just doesn’t fit the model of a network show as they’re not a streamer. If we do manage to secure another home for FL...It’ll be up to you guys, our loyal fans, to continue to show your support for us because I can promise you this, we will continue to make a show that is beyond worthy of your time and engagement." Meanwhile, Deadline reported last night that For Life could be revived at Hulu.
A clue on Bill Whitaker's final night as guest-host read, "As a couple, they were known as 'Bennifer.'" The episode had been taped weeks ago, yet Jennifer Lopez and Ben Affleck have been in the news recently for potentially rekindling their early 2000s romance.
"My body is tired, I have lost a tremendous amount of weight, the mouth sores are out of control, I throw up more than I eat," the Tiger King star's Twitter account tweeted Friday.
"'MILF Island' was one of 30 Rock’s best jokes, a fake reality series dreamed up by Alec Baldwin’s Jack Donaghy that was so outlandish in premise it could only be a comedy-series gag, but so cynically observant about where society was heading in its craven tastes that it only barely counts as satire," says Kevin Fallon. "You could say the same about 'God Cop' ('Crime just got a worst new friend'), the game show 'Homonym!' ('au pair' or 'oh, pear'), and 'Black Frasier' (no tagline needed). Jenna Maroney’s ridiculous stint on 'America’s Kidz Got Singing' is even given a self-referential send-up in Tina Fey’s new series Girls5eva, on which Renée Elise Goldsberry’s character is hired to judge 'American Warrior Singer': 'I loved your vocals and your backstory was moving, but you left your neck unprotected so it’s a no from me.' Who knew how prescient all of those jokes would be in the age of the streaming boom, in which new streaming services and content to fill them are announced every day and the bar for what discerning viewers will actually watch is apparently in the basement. The announcement (last) week that NBC would be making an actual televised game show called Ultimate Slip ’N Slide, based on the summer backyard toy, would seem outrageous had game-show versions of putt-putt golf, tag, and even 'the floor is lava' not already existed. (To be fair, Floor Is Lava is a delight.)"
"Sure, Mare of Easttown is a grim, small-town murder show so typical to the prestige crime genre that it’s already inspired an SNL spoof featuring Kate McKinnon vaping a soft pretzel while explaining that she’s a grandma by virtue of being 'a Philly 40,'" says Jodi Walker. "But as audiences who have slowly made their way to the weekly series have discovered, there’s something else there. Orbiting around the signature murdered/missing girls, as pursued by the brooding detective with a dangerous devotion to justice, are itty-bitty scenes depicting the bizarre minutiae that comes with being a real person who lives in a real place and gets real hammered on real Jameson. 'The writers clearly Googled,' exclaims the Delco Daily in the SNL parody. 'They knew the foods and the towns!' That’s both accurate and funny, but obviously not the whole story. Because yes, this show is set in a town in Delaware County, Pennsylvania, so a lot of the show’s best details revolve around turning 'daughter' into a four-syllable word, and discussing different kinds of sandwiches and where to get them (Coco’s for cheesesteaks, Laspadas for hoagies, Wawa for miscellaneous). But I’d wager that what takes Mare of Easttown beyond parody is that writer and show creator Brad Ingelsby also knows people. When he writes them, he knows what concerts they’ve been to and what games they like to play on their iPad, and whether they’re the heartbreaker or the heartbroken—and so we get to know that too. Mare of Easttown is still incredibly dark, but its moments of specificity manage to be so humanizing that they act as a sort of life raft to get us through the bleak and murky waters of investigating who murdered Erin McMenamin and kidnapped Katie Bailey. World-building is not a storytelling technique reserved for the fantasy genre, and alongside Inglesby’s scripts, Craig Zobel’s mastery of mise-en-scène brings a surprising amount of humor—and, dare I say, joy—to what could otherwise be just another budget whodunit."
As Reality Blurred's Andy Dehnart points out, Netflix can be very powerful in the ways it portrays people. Tiger King's directors, for instance, purposefully left out Joe Exotic's racism and other “unsettling,” “horrible things” because it did not fit their narrative about him -- while Baskin got the villain edit that portrayed her as a potential killer. "Netflix was okay with 'the story' that Tiger King decided to tell, one that sanitized the presentation of a man convicted of trying to murder a rival," says Dehnart. "Netflix was also okay with an entire episode that was edited in such a compelling way that has convinced many people that Carole Baskin killed her husband. Now Netflix wants us to trust it as it gives the world’s largest entertainment platform to Colton Underwood. The former star of The Bachelor recently come out as gay, just months after his ex (Cassie Randolph) was granted a restraining order after detailing, in court documents, 'unsettling text messages' and 'a tracking device on her vehicles.” The restraining order was dropped months later because of 'a private agreement' between them. Both Netflix’s efforts to convince us that giving Colton a platform and attention is an excellent idea, and Colton’s efforts to blame his abusive behavior on being closeted, received a big assist from Variety‘s cover story this week. The story, written by Elizabeth Wagmeister, is very detailed, and has the kind of depth I typically want from great long-form journalism, and about reality TV show production. It offers some history and context about the representation of gay people on television, and how rarely queer love stories are centered, and also includes information about the show that’s being produced. The piece also quotes Raffy Ermac, Pride.com’s editor, who says, 'we shouldn’t be glorifying someone who has this history of allegedly stalking a woman,' and yet the story does exactly that. The cover frames the events of the past year as Colton’s 'Controversial Confession,' and the story is illustrated by sexy black-and-white photos, including one of Colton gazing directly into the camera lens while tugging at his shirt collar—a shirt from John Varvatos. Variety is helping Colton with his image so much they provided him with two stylists, designer clothing, and a professional photographer, never mind more than 3,700 mostly sympathetic words."
"I know that we have a really passionate fanbase that really cares about the show," says Austin Winsberg. "I know we have a lot of internal support at NBC. So I’m cautiously optimistic that good things will happen, but we don’t know yet” what the show’s fate will be. ALSO: Inside Zoey's dance-proof set design.
Showrunner Kevin Wade was told before Thanksgiving that the Season 11 finale would comprise of two episodes airing back to back. So he assumed that the scheduling meant CBS planned to end the series. "Yeah, so I started to think about how do we do something that could serve as a season finale but also if need be as a series finale," he tells Deadline. "We went back to the end of the first season where all the Reagans became involved in finding out and catching and bringing to justice the bad cops who killed Joe Reagan who is of course, Joe Hill’s father. And it was kind of a callback to that, just in case it was a series finale it would have a circle to it."
Both features "sure sound like Nielsen-like rankings of what’s hot in the U.S. or the rest of the world. Turns out they’re not," says Josef Adalian. Mariam Braimah, lead product designer for the Netflix TV app, explains that the two categories are “actually personalized content that also happens to be popular.” Adalian adds: "In other words, Netflix figures out the shows you’re most likely to enjoy, and then tells you which of those titles are currently getting a bunch of streams. If you’ve watched a lot of true-crime shows, then there’s a good chance The Vanishing at the Cecil Hotel was 'trending' for you when it came out earlier this year. But if you’re super into comedies, Schitt’s Creek and New Girl are going to be popping up in that row a lot. The streamer isn’t alone in using fuzzy definitions to define popularity: Twitter has long customized its trending topics in part based on who users follow on the service."
"On Ziwe, whether during a confrontational interview or parody music video, (Ziwe) Fumudoh plays an audacious, quick-witted consumerist, whose attitude and armor is inspired by an unholy marriage of Dionne from Clueless and Paris Hilton in The Simple Life, along with a few other ultrafeminine pop culture figures of the 1990s and aughts," says Jessica Testa. "As a comedian who became famous for making people uncomfortable with questions about race and class, Ms. Fumudoh, 29, uses fashion like a weapon, creating an air of innocence with her Delia’s catalog looks, then slicing through it with the sharp heel of a Barbie stiletto. She is also an exceptionally physical performer, writhing and jumping through her musical numbers, whether channeling a jazzy Chicago siren or a girl-group member, circa 1999." ALSO: Ziwe’s aggressive awkwardness is perfect for her show's audience-free setting.
The bubble medical drama, which ends its fourth season on Tuesday, was "really the first show to show problems in medicine and to really attack them and we took a lot of flack from doctors all across the country saying, 'Why are you doing this?' Doctors are heroes, et cetera, et cetera," says showrunner Andrew Chapman. "And we said, 'Yeah, doctors are heroes. Absolutely. But there are issues out there and you have to deal with these issues. Over the course of our now four seasons to run into people who are in the healthcare world, to have them come to me and go, 'Oh, you work on The Resident? I love that show. It's so true that this is a problem and that we deal with that problem all the time.' That's incredibly fulfilling to me."
"Show creator Tim Federle found a striking balance between grounded sentiment and buzzy musical theater that made this take a worthy and distinguishable adaptation," says Shannon Miller of the first season. "Also, the talent emanating from the young cast certainly didn’t hurt matters. In its second season, HSM: TM: TS faces a new challenge: proving that season one’s successful execution wasn’t a fluke. After all, the finale ended with a (mostly) successful teen production of High School Musical: The Musical. Technically, they did the thing. What’s left to accomplish? Well, a brand new spring musical, for starters. Also, fans likely remain curious about the fates of Nini (Olivia Rodrigo), who earns an opportunity to study theater at a prestigious performing arts school in Denver, and Gina (Sofia Wylie), who faces the possibility of moving away. It was clear last season that the series had more stories to tell, and the first three episodes of season two absolutely provide as much. While early episodes hint toward a couple of missed opportunities to improve upon itself, HSM: TM: TS makes up for it with stronger character development and a viable plan to move the story beyond its origins. And the best way to achieve said progress is, ironically, to move on from the HSM universe." ALSO: HSM: TM: TS' choreographer breaks down the Season 2 opening number.
"Rather than JUST having one girl on the team (not that Connie, played by Marguerite Moreau, wasn’t badass growing up), there are three girls, and one of their best players is Sofi (Sway Bhatia)," says Rachel Leishman. "All of the kids of the Don’t Bothers are incredible wholesome, and watching them grow as players and as a team had me cheering and crying on my couch in the same way that The Mighty Ducks movies did growing up. What’s beautiful about this show is that I never saw a moment where it was about someone’s inability based on gender or sexuality. Everyone is embraced for what makes them unique, and even when they do have their fights (like in the most recent episode, when the team learned that Evan almost went back to the Ducks), they still come together as a team—especially when people like Sam (De’Jon Watts) feel unwanted and unnecessary on the team and they all have to join together to show Sam how much they need him and are friends."
"The show isn’t made inherently better by the smaller episode order, but from a curation standpoint, Season 2 has weeded out more of the chapters that offer little besides an aesthetic," says Steve Greene of the eight-episode second season, down from the 18-episode Season 1. "The least satisfying episodes of Love, Death & Robots are transparent technical exercises, designed around proving that something can exist on screen rather than proving that it should. In Season 2, most of these shorts at least have an idea that they’re wrestling with, even if the execution of the animation itself is more successful than the performances and characters that make up part of it."
"Pop culture may be a crucial tool in effecting change, but for oppressed groups and their respective liberation movements, mainstream representation is often a mixed blessing," says Judy Berman. "Well-meaning TV shows and movies can nonetheless make spectacles of Black pain or paint feminists as unhinged. For decades, it was rare to see LGBTQ characters who didn’t conform to broad stereotypes or meet with tragic ends; trans people tended to fare worst of all. Even in the 21st century, as sympathetic depictions from The L Word and Bravo’s Queer Eye for the Straight Guy to The L Word: Generation Q and Netflix’s Queer Eye have coincided with real political progress, pop culture has struggled to expand its narrow view of queer and trans life. The problem with making art that aims to represent any community of millions is that it means doing justice to that community’s vast diversity. More than anything else I’ve seen on TV, FX’s excellent Pride nails it. The six-episode docuseries, airing in two parts on May 14 and 21, traces the history of LGBTQ civil rights from the 1950s through the 2000s, with an hour devoted to each decade. But instead of entrusting the entire project to the same director, producers from VICE Studios and Killer Films—a venerable independent production company that was pivotal in the New Queer Cinema movement of the ’90s—recruited a different notable queer, trans or nonbinary filmmaker to make each episode. The decision to let those smartly chosen contributors tell stories that resonate with them, in styles that reflect each director’s unique voice, yields a history that is artful, complex and vital without being monolithic."
"A great deal of Run The World’s premise centers on the towering burdens placed upon Black women by society, within the Black community, and of course, the expectations they place upon themselves," Aramide Tinubu says of the Starz dramedy from creator Leigh Davenport, who is executive producing with Living Single creator Yvette Lee Bowser. "Though the characters are imperfect, they continue to push back against society’s desire to humble Black women or make them feel grateful for positions and roles they’ve painstaking earned. Also, despite the friends’ overarching desires to have it all when it comes to their personal and professional lives, the series examines how fear can inadvertently lead to self-sabotage. For much of its eight-episode first season, Run the World is refreshing, although some cheesy and over-the-top comedic references cause occasional stumbles. There is a cringe-worthy reference to Harriet Tubman following an awkward sexual encounter. Later in the season, Renee stands up for herself at work, and what begins as a powerful and witty scene eventually descends into chaos, when it could’ve been one of the strongest points of the series. Yet there are more moments when the series feels grounded in real life...With its compelling cast, homage to Harlem in both the present and the past, and a stronger back end of the season, Run The World offers a lovely window into the lives of four Black women. It’s honest, witty, and at times heartbreaking. As in real life, the women at the center of the series know that they can hold on to one another when all else fails."
"In the final episode of Netflix’s Halston, the iconic fashion designer, played by Ewan McGregor, asks his assistant to sum up what the critics are saying about his latest collection," says Alan Sepinwall. "She suggests they are disappointed with where his career has gone, given that, 'at one point, you reinvented women’s fashion — wrapped a woman in a feeling, in your taste.' This is an eyebrow-raising comment, not because it’s an inaccurate summation of Halston’s impact in his field, but because Halston the miniseries has done such a poor job of dramatizing what was so special about its title character. It is the first moment of the show that adequately conveys why Halston was such a big deal, and why Ryan Murphy and his collaborators have come together to celebrate his life and work. Halston follows a familiar rise-and-fall biopic structure. But despite the obvious affection all involved have for their subject (the writers include Murphy, his frequent collaborator Ian Brennan, and playwright Sharr White, among others), the details of the designer’s fall come through much more clearly than those of his rise." Sepinwall adds: "Most of Murphy’s shows under his huge Netflix deal, like The Politician and Ratched, have run into trouble for trying to do too many things, none of them well. Halston in contrast is underbaked rather than overstuffed. Everything feels too flimsy, including Ewan McGregor in the lead role. The real Halston was something of a character created by the boy who was born Roy Halston Frowick, but McGregor never takes us below the surface of that character. It’s as if he worked out the voice and a few gestures and stopped there."
Jenkins is the rare acclaimed movie director who knows how to make compelling television. "This series is a specific story about the treatment of one specific group of humans in one specific country. But it’s also a story about humans, and Jenkins gives you space to find yourself in it without sacrificing the focus of this story — even if you might not like what you see," says Emily VanDerWerff of the Amazon adaptation of Colson Whitehead's Pulitzer-winning novel. She adds: "Too often, when a great filmmaker makes a TV show, they simply stretch out their normal storytelling style to span more hours than they typically would. There’s a reason that Drive director Nicolas Winding Refn’s 10-episode Amazon series Too Old to Die Young barely made a ripple when it was released in the summer of 2019, even though it hailed from a hip young director: The thing was slow as molasses. The cool, hypnotic rhythms of Refn’s work became glacial when expanded to fill so many episodes, most of which were over an hour long. The Underground Railroad avoids this problem almost entirely. A couple of episodes sag, but for the most part, the series crafts a propulsive, episodic narrative whose storytelling draws from TV classics like The Twilight Zone and The Fugitive as Cora travels from place to place along a literal underground railroad — with a train and everything — trying to figure out precisely what’s wrong about every new location she finds herself in. A lot of this structure comes directly from Whitehead’s novel, whose central conceit took Cora from the realities of plantation slavery in the early 1800s through several locations that became metaphorical looks at the Black American experience after the Civil War...Jenkins and his team have not only kept the episodic structure of Whitehead’s novel but made it more pronounced in subtle ways. Each episode of the series could fairly easily stand alone as its own tale, with casual viewers having only the most cursory understanding of the main characters and their situation." VanDerWerff adds that what Jenkins does with The Underground Railroad that makes it so significant is taking any viewer, whether they be white or Black, into the mindset of runaway slave Cora. "I have no idea what white Americans who aren’t me will make of The Underground Railroad, but I do think Jenkins has found some ways around this dilemma," says VanDerWerff. "Notice how often he centers the act of viewing brutalities both grand and mundane: The early scene with the whipping, for instance, lingers on both the white audience and the Black audience for said whipping, observing the callousness with which the white viewers regard the spectacle, just so much window dressing for an afternoon picnic. The strange time dilation of Whitehead’s novel also helps the series avoid a certain distancing effect. With other stories about slavery, white viewers sometimes come away with the incorrect notion that the inhumanity of racism is confined to a handful of specific periods in history: Even if we’ve still got problems today, at least it’s not like that anymore. Once Cora leaves the plantation, the new worlds she moves through often have eerie resonances with the present, in ways that discombobulate viewers who might be tempted to resign these stories to the distant past. But perhaps Jenkins’s boldest gambit is one whose impact I’m only just now understanding as I write these words. I saw myself in Cora, despite our many obvious differences. She is in some ways an archetypal character, one who attempts to shed her past as efficiently as possible, only to realize getting rid of the past is never that easy. I want to shed my past, too, and have found it stickier than I hoped it would be. Healing wounds is sometimes a lifelong process, and Cora is a character onto whom anyone in the audience could project their own journeys through their own pain. That projection is good. It’s what art is for, on some level."
The two bubble dramas are expected to land on the ViacomCBS streaming service as part of deals that are still being finalized. Deadline reports that, under the plan, SEAL Team would return on CBS for Season 5 this fall. After airing a few episodes on CBS (likely four), SEAL Team would then migrate to Paramount+. Clarice, meanwhile, is set to become a Paramount+-only series after launching in February. "Already seen with the moves of A.P. Bio from NBC to Peacock, Search Party from TBS to HBO Max and Younger from TV land to Paramount+, broadcast/basic cable series, owned or co-owned by the net’s parent company, are being able to extend their runs by moving to a sibling streamer," reports Deadline's Peter White. "SEAL Team and Clarice may not be the only examples this year, with NBC’s Zoey’s Extraordinary Playlist eying a move to Peacock, ABC’s (canceled) For Life to Hulu. For CBS, it came down to shelf space, as the network already has picked up three new franchise dramas for next season, offshoots from CSI, NCIS and FBI, in addition to medical drama Good Sam."
“I appreciate all the years of CNN Tonight with Don Lemon, but changes are coming,” Lemon said at the end of Friday's show. “And I will fill you in.” Soon after, Lemon's name began trending on Twitter. So Lemon tweeted a video to clarify what he meant. “Everybody calm down," he said. "I didn’t say I was leaving CNN. I just said it was the end of an era for CNN Tonight with Don Lemon. I’m not leaving CNN. So you will have to tune in Monday at 10:00 to see. That’s it. So relax.”
"Normally, that would not be news — broadcast comedies traditionally do themed episodes around such holidays as Thanksgiving, Christmas and Valentine’s Day when they fall within their runs," according to Deadline. "What is unusual in this case is that NBC has no comedies on the schedule this fall, and all three renewed freshmen will return for their second seasons in midseason (January or later)."
Holmes stars in a sitcom based on the life of pro bowler Tom Smallwood, who quit his factory job to pursue his sports dreams. Good Sam, whose executive producers include Jane the Virgin's Jennie Snyder Urman, revolves around a talented yet stifled surgeon (Bush) who embraces her leadership role after her renowned and pompous boss falls into a coma. Meanwhile, CBS has passed on the pilots for Cooper's How to Succeed, based on her book How to Be Successful Without Hurting Men's Feelings, which could end up landing on Paramount+. CBS also passed on Patrick Dempsey's Ways and Means and Hannah Simone’s Welcome to Georgia.
"What exactly was orchestrated and coordinated?" asks Mary McNamara of DeGeneres' Today interview with Savannah Guthrie. "The accusations? And, more important, by whom? A few disgruntled employees? Twitter trolls? Audience members who were not chosen to compete for cash? I certainly hope she is not blaming the media, because a Warner Bros investigation found enough justification in early reports by Buzzfeed to fire the aforementioned executive producers. As she has said before, DeGeneres told Guthrie that she had no idea staff members were unhappy because the A-list guests always seemed quite pleased and the show had 255 employees who worked in different buildings. While the first has nothing to do with anything, the second makes sense. DeGeneres has an easygoing, highly accessible persona, and as she discussed in her terrific 2017 comedy special, this can make life a bit difficult. Especially, one imagines, for a woman at the head of a very high-profile and lucrative business that involves hundreds of people waiting in a sweltering parking garage for the chance to see her show live each and every day. Often with 'We love you, Ellen' signs." ALSO: Wendy Williams calls out DeGeneres for being ignorant of toxic workplace allegations: “We all know people who have worked there, including people here.”
The May 23 finale will also include performances by Mickey Guyton, Luke Combs, Alessia Cara and Leona Lewis. ALSO: Season 18 Idol contestant Doug Kiker arrested for domestic violence.
The Katy Mixon-led American Housewife has been canceled after five seasons and 103 episodes. It's one of five shows ABC canceled today, including For Life after two seasons, Black-ish spinoff Mixed-ish after two seasons and freshman drama Rebel, starring Katey Sagal. They join Kyra Sedgwick's Call Your Mother, which was canceled earlier today. ABC also passed on four pilots, including Sam Esmail's Acts of Violence, Black Don't Crack, Bucktown and Adopted, which was passed on Thursday. All four pilots were produced by the ABC Signature banner.
The Black-themed reboot of The Wonder Years, starring Don Cheadle and Elisha “EJ” Williams as the adult and young Dean Williams, is also a coming-of-age series set in the 1960s like the 1988-1993 original. Queens is about a former girl group who reunite in their 40s to recapture their fame, starring Eve, Naturi Naughton, Nadine Velazquez, Taylor Selé, Pepi Sonuga and Brandy. Based on the short film of the same name, Maggie stars Rebecca Rittenhouse as a young woman trying to cope with life as a psychic. Quinta Brunson leads Abbott Elementary, a workplace comedy about dedicated passionate elementary school teachers. ALSO: Five ABC pilots are still in consideration: Kevin Costner’s National Parks Investigation, Dark Horse, Epic, Promised Land and Triage.
# TOPICS: The Wonder Years (2021), ABC, Abbott Elementary, Dark Horse, Epic, Maggie, National Parks Investigation, Promised Land, Queens, Triage, Quinta Brunson, Cancelations, Renewals & Pickups, Pilots
According to Deadline, "the Queen Charlotte limited series will center on the rise and love life of a young Queen Charlotte, the reimagined character added to the Bridgerton series that was not in Julia Quinn’s novels on which the show is based. Played by Golda Rosheuvel, Queen Charlotte quickly became a fan favorite and one of Bridgerton‘s breakout characters. The spinoff will also tell the stories of young Violet Bridgerton and Lady Danbury. Rhimes will write the series and serve as executive producer alongside Betsy Beers and Tom Verica." Netflix head of global TV Bela Bajaria says of the untitled spinoff: "Many viewers had never known the story of Queen Charlotte before Bridgerton brought her to the world, and I’m thrilled this new series will further expand her story and the world of Bridgerton. Shonda and her team are thoughtfully building out the Bridgerton universe so they can keep delivering for the fans with the same quality and style they love. And by planning and prepping all the upcoming seasons now, we also hope to keep up a pace that will keep even the most insatiable viewers totally fulfilled.”
Cyrus, who recently appeared on SNL, will star in three specials for NBC Universal, including the one-hour Pride concert special Stand By You. “I have had an incredible long-lasting relationship with NBC for years,” Cyrus said in a statement. “Many memorable moments in my career have been shared and supported by NBCU. This feels like a natural progression and I am looking forward to creating content that we love and hope everyone who watches does too. We’re starting this journey together with a Pride special on Peacock to celebrate a month we both want to highlight with this concert event.”
“We do we believe that the HFPA is absolutely committed to meaningful change and they are going to do the work. We just need to give them time to do that work,” Frances Berwick, NBCUniversal’s chairman of entertainment networks, told reporters today.
The Emmy-winning actress was spotted with a short blonde bob portraying the former first lady on the FX series filming in Los Angeles this week.
The $120 million severance package had been placed in a trust as Moonves and CBS were in arbitration over the money following his firing in 2018. “Leslie Moonves, CBS and a contractor to CBS have resolved their disputes,” read a joint statement today from Moonves and ViacomCBS. “The cost of the settlement will be borne by the contractor,” the statement added. “Mr. Moonves has decided to contribute the entire settlement amount to various charities. There will be no further comment regarding this settlement by Mr. Moonves or CBS.”
Handler, who hosted E!'s Chelsea Lately from 2007 to 2015 and Netflix's talk show Chelsea from 2016 to 2017, tells the digital publication Story + Rain: “I could see myself coming back to (a talk show) now, now that I’ve had enough space from it, and I’m getting to do the projects that I really want to do, projects with meaning. I think I’d have a much clearer vision for how I’d want to proceed with a show like that. It will probably happen at some point.” Handler adds that she had become burned out with celebrities.
“NBC has had a talk show in this slot since 1988 and there have been some amazing hosts in it," said Frances Berwick, NBCUniversal’s chairman of entertainment networks. "As Lilly moves on to the next chapter, we realize we have an opportunity to rethink the 1:30am programming. We’re not ready to share specifics on that yet but we will be going in a different direction than a talk show."
"My darlings, as I complete this album & documentary, I am also obsessing over The Crown on Netflix," Minaj wrote in an open letter to her fans. "The great Kenya Barris recommended I watch it & I've been hooked ever since. It's safe to say I've watched every single episode of every single season at least 5 times each." Minaj also praised Claire Foy's "perfect face" which does "just the right thing in every single scene." Minaj added: "I love Helena as Princess Margaret & Josh as Prince Charles, although let's face it; he's a tad hunkier than the real Prince ever was — and yes, I just used the word 'hunkier.' Olivia Colman as the later Queen... she's a great actress. I actually enjoyed her portrayal of Mrs. Thatcher's daughter in the IRON LADY even more than I enjoy her in this role! Go figure. BRAVO to the entire cast, writers & directors." ALSO: Ellie Kemper says she and her husband do chores as The Crown characters.
The cable network responded after Variety's report that Moon had been subjected to social media vitriol from the family of co-star Kameron Westcott: “Bravo strongly supports the Asian American and Pacific Islander (AAPI) community," Bravo said in a statement. "Anti-Racism is, in fact, not a form of racism and the network stands by Dr. Tiffany Moon and her advocacy against racism and violence.”
New photos from the set of Hulu's Pam & Tommy show James portraying Anderson in her iconic red Baywatch lifeguard swimsuit.
The Watergate limited series has also added Nelson Ascencio, Toby Huss, Zoe Levin, Zak Orth and Tre Ryder.
The cartoon clock, which looks like it hopped across the Disney+ platform, could have significant meaning for the Marvel series.
The Apple TV+ series inspired by young journalist Hilde Lysiak returns June 11.