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We are in a golden age of television, and by that I mean men are doing full-frontal nudity. Since the dawn of time, we have been inundated with erections in pornography—and I’m certain I’m not the one introducing dick pic to your vocabulary—but now penises are taking up pixels on prime-time TV (or whatever prime-time TV has streamed into these days). Let’s start with a quick televisual tally. A blessed TV genie granted us three penises in the season premiere of Sam Levinson’s Euphoria (two of which were lamps yet to be rubbed). There was a teenage boy stripped naked in a drug dealer’s kitchen to prove he wasn’t wearing a wire; there was a house partyer taking a crap in front of a hot girl (if not the hottest girl in history); and there was an act of shocking mid-fellatio gun violence. Meanwhile in Manhattan, resident prude Charlotte York Goldenblatt was interrupted one morning with her husband. And just like that we saw Harry Goldenblatt’s flaccid penis through the zipper of his suit. (Props to the props department that delivered the man a rather large package.)Penises on TV used to be rare occurrences, like those flowers that bloom once every 12 years, but we’re living through a bountiful phallic bouquet. These sightings of the lesser-spotted male member—which have extended to movies too—feel like they mean something, but I’m not completely sure what. I just know I haven’t felt this exhilarated since Ben Affleck’s shower in Gone Girl.I’m trying, of course, not to be a sniggering schoolboy about this. But there’s something puerile about seeing all these male nubbins. It’s hard (cough, cough) to talk about full-frontal male nudity without my eyebrows raising just a little, without a little smirk, without feeling a little and I oop. None of these are very sexy scenes—and maybe that’s the point? Maybe we’re deliberately being not titillated in order to appreciate the art of the moment. We’ve all been to galleries and been grown-ups about the nude marbles. There’s an argument to be made that TV is art and these full-frontal expressions are paint strokes in the frieze of a show. But part of me will always half stifle a laugh when a man is naked on the telly. I don’t find it very arousing; I don’t find it very funny; I don’t find it interestingly scientific or anatomical. But I do find it very noticeable, very unusual.I wonder too if the idea is to shock us, to embrace a TV taboo in order to push things forward? It’s slightly depressing to think that the final frontier of telly might be an unhard penis, but here we are. Euphoria has always been refreshing in its depiction of teenage life; even the more outrageous story lines don’t feel specifically designed to bait us. But are we seeing numerous penises for shock value? Are TV execs offering up these prawns so that writers like me get in a tiz?Jokes aside: I feel there is something important about seeing all these flaccid penises—it changes the tone of the scene and the tone of the man, in turn changing the representation of masculinity onscreen. Are these glimpses of male nudity meant to correct the balance of years of storytelling filtered through the male gaze, of women treated as objects? Perhaps we’re seeing an era of gender reciprocity? As full-frontal male nudity inches toward gender parity, it’s hard not to feel slightly euphoric.
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Television
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For years, Steve Toussaint has carved out a niche as one of television’s most reliably anonymous character actors. Since his first major TV role, a bit-part in the mid-90s police drama Backup, he has appeared in pretty much everything going. He was in The Bill. He was in Casualty. Doctor Who. Midsomer Murders. Death in Paradise. Line of Duty. It’s a Sin.To see Toussaint’s face appear on screen is to go: “Oh hey, that guy,” safe in the knowledge that you’re in good hands. And yet the man himself is a mystery. He has fewer than 2,000 Twitter followers. His Wikipedia entry lists only his year of birth and his professional output. In an age when everyone knows everything about everyone, he’s a complete enigma.But that might be about to change. This week sees the launch of House of the Dragon, HBO’s long-awaited Game of Thrones prequel. It will, one suspects, very quickly become the biggest show on television. And Steve Toussaint happens to play Corlys Velaryon, one of its leads. What’s more, as one of the few Black actors in the show (and more about that later), spending every scene bearded in a huge, grey, dreadlocked wig, his presence is felt even more keenly. As such, when I chat to him over Zoom from his home in north London – positioned in front of a giant Pam Grier poster – it’s hard to shake the feeling that this will be the last interview that Steve Toussaint will ever give with his civilian status intact.Steve Toussaint as Lord Corlys Velaryon in House of the Dragon. Photograph: HBOHe has already had a taste of what his future might look like, since House of the Dragon had the rare distinction of being A Big Thing since the moment it was announced. And that meant filming the series (in Leavesden in Hertfordshire, Cornwall, Portugal and Spain) had to take place in a vacuum of total secrecy.“Our code name was Red Gun,” he reveals with a kind of bemused glee. “When we first went down to Cornwall, during the second or third week of shooting, our faces and costumes had to be covered in these black cloaks. We were like: ‘No one cares,’ but then the next day in the Daily Mail there were these photos of us on the beach. We realised: ‘Oh wow, no, this is a bigger deal than we thought.’”Was the scale of the potential viewership something he had to grapple with while filming? He shakes his head. “The job doesn’t change, whatever else is out there. We still have to learn the lines, look into each other’s eyes and try and be convincing. You can’t really play to people’s expectations. And the fact is, when they started announcing our casting, there were an awful lot of people who were quite keen to let us know what they thought. So, either the positive or the negative, you can’t really let it affect how you do the job.”Yes, about that. When George RR Martin first wrote the character of Corlys Velaryon, he was a middle-aged white man. So, when news emerged that he would be played on television by a Black actor, it caused the worst fringes of the internet to heap racist abuse on Toussaint. This is something he’s spoken about in the past, and you sense he doesn’t necessarily want it to be the defining aspect of his role, but there was something grimly inevitable about the reaction. After all, the same toxic fandom went after John Boyega when he was cast in Star Wars, and Moses Ingram when she appeared on Obi-Wan Kenobi. Was he briefed about how to handle all the negative attention?“No, no, we had no idea,” he says. “When my first photo came out on Twitter it was: ‘Oh, wow, this?’“But it’s been so interesting,” he continues. “I mentioned this the other day to my white friends, and they were all like: ‘Oh my God!’ But when I mentioned it to my friends of colour, they were like: ‘Well, we knew that was coming,’ you know? We were just: ‘I wonder how long it will take?’ And it was minutes. None of us were surprised.”It’s so weird that this sort of racist abuse tends to primarily happen in the world of fantasy and sci-fi, I tell him. He probably didn’t encounter it after he was cast in, say, Line of Duty. “It’s funny, because you go: ‘You don’t have a problem with flying dragons, but a Black guy who’s a nobleman?’” he scowls. “But I don’t hate. Listen, those people are best left to themselves. To those things.”Born in south-east London in 1965 to Barbadian parents – his father worked on the London Underground and his mother was a nurse – Toussaint had a long and circuitous route to acting. While studying politics at the University of Sussex, someone offered him a role in a play. “He said: ‘Look, the lead in this play is this conceited guy. He’s arrogant. He thinks he’s God’s gift to women. You’d be great,’” he recalls. “And I was like: ‘Thank you, I think?’”Steve Toussaint: ‘I get to wear this huge wig. I’ll be fine’ Photograph: HBOAfter graduating, Toussaint enjoyed spells in merchant banking and hospital administration before deciding to give acting another crack. “I rang up drama schools,” he explains. “And I told them: ‘Look, I’d love to come and audition.’ And they said: ‘Great, bring your cheque.’ I was like: ‘What, you have to pay? Will I get the money back if I don’t get in?’ And they laughed. I thought: ‘That’s a racket,’ so I did evening classes instead.” This quickly led to his first paid role, as the Genie in panto in Bromley.Three decades later, he has become an integral part of the biggest show of the year. The likelihood of him becoming a household name is increased by the fact that House of the Dragon is very, very good. Taking place two centuries before Game of Thrones, it’s a smaller story about a power struggle within House Targaryen. The narrowed focus allows for deeper storytelling and, if the first episode is any indication, it has the potential to be spectacularly intense. Which is good because, as I tell Toussaint, I was getting worried that it would be crap.“When we started, the one thing that [showrunners] Ryan [Condal] and Miguel [Sapochnik] kept saying was that we can’t continue making Game of Thrones, because Game of Thrones did that extremely well,” he replies. “So we’re trying to do something that’s recognisably the same world, but a different story. You get to concentrate a bit more on each character, so that when things develop later on you’re a little bit more invested – because you’ve spent some time with them.”A second season of House of the Dragon has yet to be officially commissioned. But that seems a formality, I posit, since a show like this is too big to fail. At this point, Toussaint pulls a bit of a face.Toussaint at House of Dragon premiere in London. Photograph: Ian West/PA“At a meeting for a Steve McQueen thing I did a couple of years ago, I bumped into a lovely actress who had made a pilot for a Game of Thrones spin-off,” he recalls by way of explanation. “I said to her: ‘Oh my God, I’d love to be in that.’ She goes: ‘Well, don’t worry, when it goes – when it goes – there’ll be lots of great parts.” However, that spin-off turned out to be Bloodmoon, a notoriously expensive experiment that HBO filmed before panicking and hiding it away from the world for ever. “And they had spent somewhere like $30m on that,” Toussaint says. “I’d love to believe that something’s too big to fail, but nothing is.”You sense this level-headedness has been hard-won over the course of a career full of false dawns. Towards the end of our chat, I reinforce what I have decided will be the theme of the interview: that he is about to become very famous indeed. As a parting shot, I ask how that must feel.“Generally, I’m quite sanguine, to be honest,” he replies. “When I first started, there were many things that I thought would change everything. The first time I was at the RSC, the first time I was at the National, the first time I was on TV. At the premiere of Prince of Persia, a couple of producers said to me [affecting the voice of a cigar-chomping Hollywood type]: ‘We’re going to make a lot of these, and you’re going to be in them all, because you’re fucking amazing.’ And then, of course, it didn’t make the money that they wanted, and that was the end of it. I did a pilot in the States years ago, and CBS were like: ‘We’re your friends at CBS! We want you to be part of us,’ and then the show didn’t get picked up. So I’m just enjoying today, right? I decided a long time ago, I’m not gonna spend my time looking over there. If it does well, and people like what I do, fabulous. If it doesn’t do so well? Well, I still had a great time making it and I met some lovely people.”And as for the prospect of his life changing? He wouldn’t be so sure. He starts naming a procession of his younger, photogenic new castmates. “Those guys?” he laughs. “The young, sexy guys? Their lives are going to change. I get to wear this huge wig and a big beard. I’m going to be fine.”House of the Dragon starts 22 August, 9pm, Sky Atlantic
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Television
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The first project at Small Ideas will be an undisclosed TV series that Raiff will write, direct, and produce. Cooper Raiff, Clementine QuittnerSmall Ideas Twenty-five-year-old filmmaker Cooper Raiff is on the up. In 2022 alone, his sophomore film “Cha Cha Real Smooth” was scooped out of the Sundance Film Festival by Apple TV+ for a cool $15 million and released this summer, and he announced a new film, “The Trashers,” starring David Harbour and Cooper Hoffmann. Now, the “Shithouse” director and Sundance Audience Award winner is launching a production company, called Small Ideas, with former Black Bear Pictures executive Clementine Quittner.
The outfit will aim to develop and produce independent film and television projects from emerging filmmakers and creators, as well as writer/director Raiff’s own work. The first project at Small Ideas will be an undisclosed TV series written, directed, and produced by Raiff, with Quittner also producing. “Clem and I are very protective of passion. We want the artists we work with to know we believe in their stories and ideas as much as they do. I know how brutal fighting for people to trust your vision can be, and I know what a difference it makes to not have to fight for it alone. Small Ideas knows just how much love and support a filmmaker needs,” Raiff said in a statement. “I’m super excited for Clem to run the show—she’s going to be the company’s engine. She elevates everything she works on and it’s a dream to be her creative and professional partner.” Quittner added, “Cooper is a brilliant filmmaker and my favorite collaborator. I can’t wait to work together to build a home for artists we love and artists we don’t yet know—people who desire to make things differently.”
Quittner’s credits as a creative executive at Black Bear spanned shepherding upcoming projects like “Nyad,” directed by “Free Solo” filmmakers directed by Jimmy Chin and Chai Vasarhelyi and starring Annette Bening and Jodie Foster, as well as “The Marsh King’s Daughter,” starring Daisy Ridley and Ben Mendelsohn. Quittner also oversaw development on “Exciting Times,” Raiff’s series adaptation of Naoise Dolan’s novel with Phoebe Dynevor set to star over at Amazon Prime.
“Cha Cha Real Smooth” was released by Apple TV+ on June 17, and it could land in the fall awards conversation for its screenplay. “The Trashers,” based on the true story of UHL hockey team the Danbury Trashers, is set to shoot this fall. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television
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Yazmin Oukhellou returned to work on Saturday as she filmed scenes for the latest series of long-running reality show The Only Way Is Essex, little more than a month after surviving a car accident that killed boyfriend Jake McLean. The reality star, 31, was seen for the first time without her arm in a sling during a weekend away in Lincoln, where she was joined by co-stars Junaid Ahmed, Ella Rae Wise and Dani Imbert for a location shoot away from its traditional Brentwood setting. Yazmin was a passenger in the vehicle which plunged 70ft off a cliff in Turkish port city Bodrum on July 3, leaving her with severe injuries - including a broken arm. The crash took place at around 4.30am and investigators established that the car, driven by McLean, hurtled around 70 feet over a left turn bend and landed in a ravine almost 30 feet below. Jake was pronounced dead at the scene while Yazmin was rushed to hospital, where she underwent treatment for her injured arm. On the mend: Yazmin Oukhellou returned to work on Saturday as she filmed scenes for the latest series of long-running reality show The Only Way Is Essex, little more than a month after surviving a car accident that killed boyfriend Jake McLean Devastating: Yazmin was a passenger in the vehicle which plunged 70ft off a cliff in Turkish port city Bodrum on July 3 (pictured), leaving her with severe injuries - including a broken armEmerging over the weekend, Yazmin looked pleased to be back at work as she stepped out in a light blue gym co-ord consisting of form fitting shorts and a complementing zip-up crop top.She walked alongside TOWIE cast-mates Junaid Ahmed, Ella Rae Wise and Dani Imbert - as they appeared fresh from a gym session while filming in Lincoln. And Yazmin appeared to be on the mend, as her arm had no visible aids holding it in place for the first time since the accident. The group spent some time touring the city, stopping for lunch at TGI Fridays before picking up some food shopping to take back to their rented accommodation. Two-piece: Yazmin donned a light blue gym co-ord for the outing, which consisted of form fitting shorts and a complementing zip-up crop topBright ensemble: The beauty teamed the set with rainbow trainers as she clutched onto her phone Pals: Yazmin was joined by her TOWIE cast-mates Junaid Ahmed, Ella Rae Wise and Dani Imbert as they filmed in LincolnYazmin was spotted stepping out last week with her arm still supported by a cast, as she recovered from the crash - which has left her with 'permanent scarring'.Jake and Yazmin were driving in a blue Mercedes E class saloon along a windy, mountainous road between the coastal city of Bodrum and the seaside town of Yalikavak as they returned from a night out.She severed an artery and a nerve during the accident- with UK doctors warning that she may never have full use of her right arm again.During the crash, the TV personality deliberately broke her trapped arm to escape the scene and rush for help - while partner Jake lay unconscious. Working up a sweat: The group appeared fresh from a gym session, donning athleisure wear for the outing Day out: The group stopped for a spot of lunch at TGI Fridays during the outing Supplies: Before picking up some snacks from the shop and heading back to their rented accommodation for the tripSteps: The outing appears to be a big step for the reality star, who has been keeping a low profile Taking it easy: She held her phone with her right arm, which has been in a sling up until now, while her stronger left arm carried the shopping Co-ordinated: Junaid went for an all black look for the outing as he carried a clutch bag to match his ensembleSmiles: She shared a giggle with her pals as they made their way through the city, passing an ice cream van Traumatic: It comes just weeks after the July 3 crash, in which Jake and Yazmin were driving in a blue Mercedes E class saloon along a windy, mountainous road between the coastal city of Bodrum and the seaside town of Yalikavak as they returned from a night outWith doctors telling her it's a 'miracle' she's still alive following her brush with the 'notorious' crash spot, Yazmin opened up to The Sun about the experience upon returning to the UK.Admitting she is unable to sleep without her mother Lisa by her side following the ordeal, the traumatised star shared her inability to comprehend surviving when Jake did not.She said: 'I severed an artery and a nerve, that's why I bled so much. The doctors called me an angel, a miracle, because it's a notorious spot and people have never survived. Now I'm just wondering how the hell did my partner die while I've survived? It's made me look at life totally differently.Scary: Yazmin severed an artery and a nerve during the accident- with UK doctors warning that she may never have full use of her right arm againPressure situation: During the crash, the TV personality deliberately broke her trapped arm to escape the scene and rush for help - while partner Jake lay unconscious Chilling out: She returned to the UK shortly after the crash, and has been staying at home with the aid of her mumYazmin continued: 'I am definitely going to need therapy for a while, and I'm going to try some in-patient treatment too. I know this will live with me forever, I need to take it slowly.' 'I could have been like Jake and not survived so I'm just very grateful and lucky that if that's the worst case scenario, I will deal with it as best I can. The scarring that I have is awful so I will always have that as a reminder. But at least I'm still alive,' she explained.As she continues to recover from the terrifying experience, Yazmin told how her emotions are 'very up and down' as she processes the grief of losing Jake.She detailed how she had lost relatives in the past, including her beloved Nan last year, but no one who she's loved in an 'intimate way', admitting it's 'very difficult'. Support system: But as she gets back into the swing of things, Yazmin is being supported by her TOWIE pals Recovery: As she continues to recover from the terrifying experience, Yazmin told how her emotions are 'very up and down' as she processes the grief of losing Jake The television personality had been on holiday with Jake in the resort of Bodrum where the terrifying incident took place, as the pair were currently 'off' but had taken the trip to reconcile.But Yazmin now fears she may be banned from her boyfriend's funeral over tensions with his family, as his mum, Anita Walsh, believes an argument between Jake and Yazmin could have contributed to the crash. While the reality star denies reports of a bust up and claims the trip made things 'perfect' between her and Jake, an Assistant Prosecutor who cannot be named under Turkish Law told MailOnline on July 6: 'We have spoken with Jake's mother and she has told us that something was going on in the car that distracted him. 'She does not believe that this accident was caused by his poor driving. She said that he is a very skilled and experienced driver and would not have lost control of the car like this.'Prosecutors are investigating whether Jake was drink-driving, while the on-off couple argued outside a club at 3am, shortly before Sunday's crash. Shocking: Doctors have dubbed Yazmin an 'angel' after surviving the fatal crash On and off: The television personality had been on holiday with Jake in the resort of Bodrum where the terrifying incident took place, as the pair were currently 'off' but had taken the trip to reconcile
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Television
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Cinematographer and director Christina Alexandra Voros tells IndieWire about how she showcases the "main character" of the modern-day Western: The land. Taylor Sheridan’s modern-day Western “Yellowstone” tells an epic story about characters trying to hold on to values and a way of life that are swiftly transforming in a constantly changing world. The style of filmmaking that the show has adopted serves as a perfect cinematic corollary for its themes. Thoughtful and precise in both its narrative and visual construction, “Yellowstone” has more in common with the classic Hollywood genre films of John Ford, George Stevens, and Clint Eastwood than it does with most contemporary television series.
According to director of photography Christina Alexandra Voros, that is entirely intentional. “Taylor’s mantra is that we’re not making a TV show, we’re making a 10-hour movie, and that extends to every facet of how the show is made,” she told IndieWire. “There’s not a pattern. The pattern is how do you make the best show possible, and that means some episodes may shoot eight days and some are 14 and there may be an episode that’s all on the ranch and another one that has 30 different locations. There’s something incredibly liberating about that, and there’s something incredibly daunting about it.” A great deal of the show’s power derives from its juxtaposition of intimate character study with epic sweep and grandeur, something that is never far from the back of Voros’ mind when she’s shooting. “It’s important to keep a sense of scope, because the main character on the show is the land,” she said. “That’s what everyone is fighting for and over and trying to protect, so it’s imperative to show that character in all her glory. We pay a lot of attention to time of day and build around it more than I have on other projects. Obviously everyone wants to shoot magic hour all the time, but sometimes there are landscapes that are more impressive in front light, or the effect is more emotional when the sun is two hours from setting and it hits the leaves in the trees in a certain way.”
Cam McLeod / Paramount Network
Voros credited Sheridan and season one director of photography Ben Richardson with establishing an approach to lenses and camera placement that further showcases the beauty of the locations. “We lean into the longer end of the lens, which may seem counterintuitive because on our iPhones we all want to go as wide as possible to capture as much space as possible,” she said. “But that’s not how our eyes see things, so rather than shoot a wide shot of a field on a 25mm lens, we’ll go back a mile and shoot it on a long lens. It’s not uncommon for us to use a doubler on a 400mm. There’s something about the compression when you have all these layers of the Montana topography that gives it a heightened subjectivity — you feel like you’re in the space.”
The lyrical passages showcasing the land that provide some of the show’s most pleasurable moments are punctuated by their stylistic opposite, brutally violent set pieces that show just what the characters are willing to go through to hold on to that land. Season four, for example, opens with a nerve-shredding 13-minute sequence in which multiple characters came under siege in escalating action including bombs, car chases, and gun fights spread across several locations. For Voros, shooting such a sequence requires a delicate balance of planning and being responsive to whatever surprises emerge in the moment, a skill she learned in her earlier life as a documentary filmmaker. “The beauty of shooting multiple cameras is that you have the ability to control and be incredibly precise, and you also have the breadth to catch the magic when it happens,” she said. “When you look at that season premiere, there are pieces that are very much designed, and there are pieces where the sun happens to be in the perfect place at the perfect angle and you could not have gotten that if you planned it for weeks.” Voros trusts her operators — who she contends are the best in the business — to catch those unexpected moments on the fly. “The idea is once you’ve achieved your objective, if you see something else happening, go get it,” she said. “I think getting those extra layers on top of what has been storyboarded is what makes the show feel more elevated.” Voros also tries to extend that flexibility to the actors: “I’m always looking for the balance between visual power and giving the actor freedom to make choices. I like to light spaces so that the actors can move in those spaces and not feel entangled by the technical requirements. I never want to say to Kevin Costner, ‘Oh, that was beautiful but you stepped outside of your light.’ The show is incredibly taxing on the actors, because we block shoot four episodes at a time. An actor could be doing episode three in the morning and episode six after lunch. I’m very conscious of giving them the room to lean into their craft.”
Voros’ role on “Yellowstone” has evolved since season one, when she began as a camera operator. She was promoted to director of photography during season two, then was unavailable to shoot season three but came back for two episodes as a director. For season four she photographed six episodes and did double duty on two of them, serving as director and director of photography. (Cinematographer Dino Parks shot the other four episodes.) “It’s not something I would do in another environment, but because we’ve had basically the same crew for four years there’s an enormous shorthand,” Voros said. “I know the show, and I feel like it takes less time to set the cameras and design the lighting plans myself than it would to talk to another DP about what I want. But you know, we’re a well-oiled machine. There’s no learning curve to catch anybody up on.” Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television
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The twin showrunners of the blockbuster Netflix series tell IndieWire why they're feeling more encouraged about their brand of storytelling. Welcome to It’s a Hit! In this series, IndieWire speaks to creators and showrunners behind a few of our favorite Emmy-nominated television programs about the moment they realized their show was breaking big.
Despite it having the same opening weekend as their fourth season, “Stranger Things” creators Matt and Ross Duffer saw the success of “Top Gun: Maverick” as a bit of a reflection of their own success.
“It obviously did crazy well, and it’s such a throwback movie. The nostalgia works for the older generation, those of us who grew up with ‘Top Gun,’ but it’s also resonating with everybody. And the storytelling is so, so traditional Hollywood blockbuster, and it exploded,” explained Matt Duffer during a Zoom with IndieWire. “It’s not trying to do anything super fancy. It’s just trying to tell a good simple story. That’s where I’m like, ‘Okay, this type of storytelling is still working.’ That’s great. That’s the storytelling I love, and I don’t know how to do anything else.’” The twin showrunners did not expect their ‘80s nostalgia-laced sci-fi horror Netflix series would resonate with audiences the way it has, and continue to be surprised by its accomplishments, with Season 4 breaking Netflix records, and netting 13 Emmy nominations, including Outstanding Drama Series. Matt added that seeing their show, and other projects like “Top Gun: Maverick,” that nod to the golden era of original blockbusters do so well this summer has been a relief. “It’s like, ‘Okay, I don’t have to pretend I like this other stuff. I can just keep doing and telling the type of stories that I love and know how to tell.’”
This interview has been edited for length and clarity.
IndieWire: When did you realize “Stranger Things” was becoming a hit? Was that clear during Season 1?
Matt Duffer: Well it’s funny, when I think back on it, it was more of a slow realization. It definitely felt like Season 1 had the snowball [effect]. It was probably the whole Barb phenomenon. Ross and I didn’t really understand social media at all at the time, but [there were] a bunch of articles, and then enough people told Ross and I that this isn’t normal, what’s happening. But Netflix also took a really long time to tell us that we were doing okay. And that was a time when they didn’t give numbers, right? They would just say “We’re very happy.” So officially, we got “We’re very happy.” Then “Saturday Night Live” was the other big one, where it was like, “That’s crazy.”
Charlie Heaton, Noah Schnapp, and Finn Wolfhard in ‘Stranger Things’ on Netflix.Courtesy of Netflix
Did it feel the same way this season? Or did this season start to resonate with people before you all had even woken up that Friday that it came out?
Ross Duffer: Yeah, it’s weird that you can get real-time, very quick feedback. The people that are staying up and watching eight hours of “Stranger Things” that night, that’s our hardcore fanbase, so you can’t necessarily go off those reactions. But I remember just being excited. You could immediately see what was resonating, whether it was the Max stuff, and “Dear Billy…” and Kate Bush, or the twist in Episode 7. So there was a bit of a relief that, even in that early group of viewers it was resonating, at least those moments. Obviously the Kate Bush thing gave us our feedback. Our barometer [was] going “Oh okay. This is penetrating culture in a way,” and that was really exciting to see. This was a very ambitious season. Were there any nerves around taking an extended break, partially due to COVID, or was it like, “Okay, we have more time to use to our advantage?”
RD: No, we were certainly anxious. Matt and I have always, even with the other seasons, talked to Netflix about the movie franchises that we grew up falling in love with, whether it’s Indiana Jones or the Tim Burton Batman’s or whatnot, where there were these gaps that can often serve to actually build excitement. So we were okay taking time. The worst case would be rushing and not getting it right. Obviously, the pandemic was something no one could foresee, and at that point you just go “Well, that’s not really a choice. We’re gonna go as fast as we can at this point.” When Netflix proposed dividing the season in some way, that alleviated a little bit, because we go, “Well, we get two bites of the apple. We can get it out sooner for people, and we can also give them time to digest some of these moments and build momentum for those final two episodes.” So that made us all more comfortable with the delay between seasons.
MD: But you do go, “Does anyone care anymore?” when you’re in your dark moments. And then if you dare to wade on Twitter, which is always a bad idea, you’ll find people going “It’s been too long, I don’t care anymore.” And I was like, “Okay, well, maybe we put out something that’s good. They’ll care.” That’s the philosophy, and that did seem to work. So it’s the same thing with [Season] 5, the most important thing for us is to get it right and not rush it. If we’ve made any mistakes with the show, it’s been through rushing. I don’t want to take forever—you can’t because of the kids, we can’t take 10 years. So we gotta move at a decent pace. But our priority is to get it right.
Caleb McLaughlin, Sadie Sink, Joe Keery, and Gaten Matarazzo as Dustin Henderson in ‘Stranger Things’ on Netflix.Courtesy of Netflix
It’s so interesting that people watched it so quickly when you also consider the episodes being much longer this season.
MD: The runtimes were a bit of a surprise. They exceeded the length of the script. Usually, they come in under the length of the script, so Ross and I are analyzing our screenwriting and seeing what we changed about the way we write that translated into these mega-long episodes. But I like it. It’s like a supersize season. So yeah, you waited longer, but you got almost double the length.
And the world really expanded this season too.
MD: That is one reason for sure. A huge reason, obviously, why it ended up as long as it did.
You mention the Barb moment came as a surprise, but since then it seems like you all really know how to introduce a new character. How did you figure that out? And what has it been like to see fans flock to Sadie Sink, Maya Hawke, Joseph Quinn, etc.?
RD: Whenever we introduce a new character, we want to make sure that they’re going to be an integral part of the narrative. So that’s something with Eddie this season, where we go, “Well, we need a character here for this storyline to really work, and to give it the engine that is needed.” But every time we do that, we’re nervous, because you go, “We’ve got a great cast of characters here, and actors, and any moment we’re spending with a new character, we’re taking time away from one of the other actors.” So we’re just very, very careful about who we’re introducing. And then specifically in the casting process, it took a very long time to find Joe Quinn, and you just go through so many edits, because you know that we can’t add someone that’s going to just take away from our characters if they’re not terrific. MD: And the same was true with Sadie and Maya. And it’s not like the actors don’t know [either]. They all know that they’re coming into a cast people love, and you’re introducing a new element. And you’ve seen it on shows go wrong, and so they’re all nervous, but like Ross said, with those particular three, and Dacre [Mongomery] as well, who played Billy, it was like, because these actors are amazing it’s just really fun. I just like shaking it up, so we shake it up by changing the plot or adding in a new monster. We’re doing our best to resist [adding new characters] for Season 5. We’re trying not to do that so we can focus on the OG characters, I guess.
Joseph Quinn as Eddie Munson in ‘Stranger Things’ on Netflix.Courtesy of Netflix
Did you all come to Netflix with five seasons worth of ideas? Or have you been figuring the story out season by season?
MD: The truth of it is when we came in, and we pitched it, it was just one season that we had figured out, we didn’t do the five season map out, because our approach—and it sort of is still to this day—is one season is so much to focus on, just focus on getting that right. We had no idea we were gonna go beyond Season 1, so it was just like, “Let’s make an amazing season, we may never have this opportunity again.” And then when we got that opportunity again, and the show was successful enough, we’re like, “Okay, we’re gonna get multiple seasons,” we did sit down and sort of figure out a lot more about the mythology of the Upside Down. And we have a 25, 30 page document that’s a little bit boring to get through, but it has a lot of the ideas that we started to introduce this season. And initially, it was more fun that we didn’t know it. It’s scarier to not know, but as we were moving this so many hours into the season, it started to actually be fun to start pulling back the curtain, not too much, but pulling back the curtain a little bit and revealing more about the Upside Down, the origins of the Upside Down, what happened to the numbers and all that. So we jokingly call this [season] “Stranger Things: Revelations” because we tell the audience a lot of what was in that document when we were working on Season 2.
So how soon did you kind of figure out that Vecna would have this connection to the overall arc of the show?
RD: All these things were goalposts. It’s not like there was someone called Vecna, but it was going to be about Number One. And I remember even talking about in the early days, they’ll do spin-off comic books or things like that, going “You can do other numbers, just stay away from One.” We knew we wanted this entity controlling everything, but it wasn’t really till we’d gotten into the season that we figured out all the details. That it was Henry, that this is how his powers are going to work and operate, and all of that. So we like leaving these huge goalposts, what the Upside Down is, and we hint at it this season, but the final reveal is going to be in Season 5, and we’re excited about that. MD: Season 2 we had the idea for a Pinhead-type, Freddy Kreueger-type villain. We had that figured out, and it was not until the [Season 4] writers room that we cracked merging those two [(Vecna and Henry)]. That was the big epiphany, that was the hardest thing. We probably spent the longest time in that room, figuring out “How do we get that twist to work, and to land?”
Vecna in ‘Stranger Things’ Season 4 on Netflix.Courtesy of Netflix
How does it feel to create a project that people could easily nod to 40 years from now in the same way you all nod to pop culture moments from the 1980s? This season was received like a summer blockbuster.
RD: All you can really do is focus on just trying to tell the best story that you can. We’ve talked a lot about the Kate Bush stuff and how that really resonated, but that’s not us sitting in the writers room, going “Hey, how can we give a song a big moment?” That’s us going “Okay, Max is in this dire state. How can we get her out of it?” And researching comas, and seeing that music as therapy can make a difference. And so it’s always just trying to go back to the narrative as opposed to trying to influence pop culture in any way, shape, or form.
MD: I’m mostly excited because the show, even though it’s on this new streaming platform, a lot of what we’re doing is pretty traditional storytelling. And I think it’s exciting and encouraging that that type of story is resonating with a younger generation because we always thought the show was kind of—I told Netflix it would appeal to everybody, but I was lying to them to get the show sold. We thought it would appeal to us, people who grew up on these movies, either watching them in the ’80s, or like us, steep[ed] in the VHS growing up. So that has been the biggest shock to me, that it has resonated as much as it had with preteens and teens who don’t have these references. That has everything to do with the style of storytelling that we’re trying to replicate. It’s just encouraging.
Definitely. It is really cool to have this show that we can all talk about, and that, like you said, has elements that are introducing things people loved to a new audience.
MD: It’s really awesome. And hopefully it’s like, to me and Ross, one of our big movies was “Scream.” We saw that young, I was in middle school when “Scream” came out. I wasn’t allowed to see [in] the theaters, but we did rent it. And we hadn’t yet seen all the movies it was referencing. We didn’t really know about “Nightmare on Elm Street.” We didn’t know Wes Craven. We didn’t know John Carpenter. And I fell in love with “Scream.” It was our gateway drug that then led us to a whole love affair with all these great horror movies. So that’s always been my hope with the show. If the people like us who grew up with it and love it, that’s great. But the younger audience, it’s exciting [what] we saw even with the music, discovering Kate Bush. That made me super excited. But also the idea of them discovering these movies that we grew up on. Can it do what “Scream” did for us for some other nerds out there? That would make me super happy. “Stranger Things” Seasons 1 – 4 are available on Netflix.
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Actor Tony Sirico arrives for the premiere of HBO's television series "Boardwalk Empire" Season 4 in New York, September 3, 2013. REUTERS/Carlo Allegri Register now for FREE unlimited access to Reuters.comJuly 8 (Reuters) - Actor Tony Sirico, who played the lovable but murderous gangster Paulie Walnuts on the HBO series "The Sopranos" and was frequently cast in Woody Allen films, died on Friday at age 79, his family said.Sirico played a major role in the HBO drama that started in 1999 and became an influential hit early in the era of prestige television.Though he played smaller parts in six Woody Allen movies from 1994 to 2016, Sirico was not especially well known before his breakout role, in which he was a captain in the crime family of lead character Tony Soprano, played by the late James Gandolfini.Register now for FREE unlimited access to Reuters.comThe Paulie Walnuts character was a steely criminal who displayed periodic kindness, sometimes providing goofy comic relief with malapropisms, but always loyal to the boss."A larger than life character on and off screen. Gonna miss you a lot my friend," Sopranos co-star Steven Van Zandt said on Twitter.Sirico often played Italian-American mobsters, including a small part in "Goodfellas," Martin Scorsese's popular and critical hit from 1990. Sirico also took a comic turn voicing the talking dog Vinny on the animated show "Family Guy."His credits in Woody Allen movies include "Bullets Over Broadway" of 1994, "Mighty Aphrodite" of 1995, "Everyone Says I Love You" from 1996, "Deconstructing Harry" from 1997, "Celebrity" from 1998, and in his post-Sopranos fame, "Café Society" of 2016."It is with great sadness, but with incredible pride, love and a whole lot of fond memories, that the family of Gennaro Anthony 'Tony' Sirico wishes to inform you of his death on the morning of July 8, 2022," his brother, Robert Sirico, a Roman Catholic priest, posted on Facebook.He is survived by two children plus an unspecified number of grandchildren, siblings, nieces, nephews and others, his brother said.No cause of death was reported.Born in Brooklyn on July 29, 1942, Sirico served 20 months in prison on a gun charge in the early 1970s, according to the movie database IMDB.com.His first movie role came in 1974's "Crazy Joe," about the Mafia figure Joey Gallo, but his defining role was in the HBO series created by David Chase."When I first read David Chase's script, I knew this was special," Sirico is quoted as saying on IMDB. "This is what I'd been looking for all my life. ... I knew right away this was a role to kill for."Register now for FREE unlimited access to Reuters.comReporting by Daniel Trotta; Editing by Leslie AdlerOur Standards: The Thomson Reuters Trust Principles.
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NEWYou can now listen to Fox News articles! Former child star Erin Murphy is still "open to the idea" of a potential "Bewitched" reboot."If they ever did a great script, and it had all the right people behind it, good casting director, all that, I would be open to the idea," Murphy, 58, told Fox News Digital on Wednesday.The actress famously played the magical daughter Tabitha in the hit ‘60s series "Bewitched." She starred alongside Elizabeth Montgomery’s character, Samantha Stephens. "Bewitched" focused on a young woman who uses her powers to solve her family’s problems, as Montgomery’s character married a man without any magic on his own. Former child star Erin Murphy says she’s "open to the idea" of a potential "Bewitched" reboot. (Getty Images)‘ROCKY’ LANDS SPINOFF: A LOOK AT HOLLYWOOD REBOOTS, RECASTING AND MOREThe hit television show ran on ABC from 1964-1972 and starred Montgomery and Dick York – who was later replaced by Dick Sargent. Themes from the show were borrowed for Marvel’s recent smash hit television show "WandaVision.""There's been a lot of talks, basically my entire life, about doing a 'Bewitched' reboot, and I think if the script were ever great that it should be done," Murphy noted, as she spoke with Fox News Digital at Paul Sorvino’s celebration of life event at the Hollywood Museum. Erin Murphy famously played the magical daughter Tabitha in the hit ‘60s series "Bewitched," starring alongside Elizabeth Montgomery’s character, Samantha Stephens. (Getty Images)In 2019, Murphy told Fox News Digital that a reboot was "talked about … years ago." "I was almost ready to do it and then the script wasn't quite right," she shared at the time.The show was nominated for four Golden Globes and won an Emmy in 1968 for supporting actress Marion Lorne, who died just days before the ceremony.Meanwhile, a movie based on the classic television series "Bewitched" is in development at Sony, Fox News confirmed in March 2021.CLICK HERE TO SIGN UP FOR THE ENTERTAINMENT NEWSLETTER In 2005, Sony released a "Bewitched" movie, starring Nicole Kidman and Will Ferrell, with a romantic comedy spin. (Getty Images)Terry Matalas and Travis Fickett, who both worked on "12 Monkeys" and "MacGyver," will pen the script while John Fox and John Davis ("Dolemite Is My Name," "Game Night") will produce for Davis Entertainment.CLICK HERE TO GET THE FOX NEWS APPIn 2005, Sony released a "Bewitched" movie with a romantic comedy spin. Nicole Kidman starred as Isabel Bigelow and Will Ferrell played the character Jack Wyatt. Stephanie Giang-Paunon is an Entertainment Writer for Fox News Digital. Story tips can be sent to stephanie.giang@fox.com and on Twitter: @SGiangPaunon.
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"Saturday Night Live" stars who helped define the show in the 2000s now play some of the most winning characters on television. Jason Sudeikis is relentlessly upbeat on "Ted Lasso." Andy Samberg recently wrapped eight seasons as an irreverent detective on "Brooklyn Nine-Nine." Will Forte is back for more crude antics on "MacGruber."But with the HBO dark comedy "Barry," Bill Hader zigs where his former "SNL" castmates zag. In the series, which Hader also co-created and co-produces, he plays a stoned-faced hitman who, frustrated with his sordid profession and yearning for a fresh start, stumbles into a new life as an aspiring actor in Los Angeles.Barry sees a chance for redemption in the form of Sally Reed (Sarah Goldberg), his earnest but self-absorbed actor girlfriend, and Gene Cousineau (Henry Winkler), his shambolic but soulful acting teacher. (Hader and Winkler have both won Emmy Awards for their performances.)But like the mafia chieftains who rile Al Pacino in "The Godfather Part III," Barry's underworld associates — including the cowardly but vindictive Monroe Fuches (Stephen Root) — pull him back into a morally wretched existence he so desperately wishes to leave behind."Barry" is often laugh-out-loud funny, particularly when it skewers the vain ambition of striving young actors on the margins of Hollywood or tracks Barry's fumbling attempts to conceal the bloody realities of his secret occupation. But it is also grim, fearless in showing ethically scrambled characters at their worst.The third season of "Barry" debuts on HBO on Monday after a three-year hiatus. (Covid forced production to shut down in March 2020, and filming finally resumed last August.) Hader, a passionate cinephile with a keen eye for tragicomic details and action choreography, directed the first two episodes of the new season."He is so capable as a director," said D'Arcy Carden, who has a supporting role on "Barry" as one of the title character's fellow aspiring actors."I remember in season one, I had this moment where I was shocked by how good he was, but then I was like, 'No, this is what he was born to do.' He happens to be a brilliant comedian and actor, but that's like a side note. He's, like, a director." (Hader reportedly plans to direct every episode of the show's fourth season.)In an interview with NBC News this month, Hader laid out his (spoiler-free) vision for the third season and reflected on some of the cinematic influences that have shaped the show. The conversation has been lightly edited for length and clarity.NBC News: I know there’s a lot about season three that you can’t spoil, but can you give me a general sense of Barry’s character arc this season?Bill Hader: I can say: “The chickens have come home to roost.” [Laughs heartily.]There’s a side to the character that can be sympathetic and even naïve in a childlike way, but we know after two seasons that he’s capable of committing heinous acts. Do the darker dimensions of this character’s personality weigh on you as an actor?Not really, no. You do those [dark] scenes and then we’re on to the next thing, you know? You do a really intense scene and then it’s like, it’s lunch. [Laughs.] You’re sitting there chatting with the person who’s just been in that really intense scene.It’s not some heaviness that sticks with you.No, no, no. I think if I allowed it to get to that point I would never leave my house. [Laughs.]I was stunned when I realized it’s been almost exactly three years since the season two finale aired. [The episode, “berkman > block,” aired on HBO on May 19, 2019.]It’s wild.In that time, the world has changed dramatically, with lots of chaos and tumult. Did the experience of the last few years change the DNA of the show at all, or change how you conceived of it?You know, I think in some ways, yes. It wasn’t just the pandemic, but everything going on in the world, and how it took a toll on everyone emotionally. You were seeing people lose their minds and seeing people close to you get depressed and get a little crazy. I’m sure that found its way into this season, without a doubt.I know you’re a serious cinephile, as anyone who has seen your Criterion Collection videos or heard you on "The Rewatchables" podcast can attest. In directing episodes of this season, were there particular films that were touchstones for you?The director of cinematography and the first assistant director and I watched a couple of things just to get the idea of blocking [action]. “Rosemary’s Baby” was a movie we watched. I remember watching some of “Burn After Reading,” the Coen brothers movie.In general, you watch a ton of stuff and then it kind of, like, seeps into the show organically in ways you don’t even realize. It wasn’t even until I was [sound] mixing the last episode of season two, when Barry is going on a rampage through the monastery, where I went, “Oh my god, this is ‘Taxi Driver,’” you know? [Laughs heartily.] “Unforgiven,” too. The rain and all that.It’s interesting you mention “Taxi Driver,” because the first two seasons gave me a strong Paul Schrader vibe. [Schrader wrote the “Taxi Driver” screenplay and has since gone on to direct several films about disaffected loners.]Oh, yeah, yeah. The loner person.The alienated protagonist.If we had had a v.o. [voiceover track], it would have been full Schrader. It would have been me sitting in a room writing stuff down, whatever Oscar Isaac [“The Card Counter”] and Ethan Hawke [“First Reformed”] were doing in his last two movies. I love his stuff, but weirdly my favorite movie of his is “Mishima: A Life in Four Chapters.” He really knocked it out of the park with that movie. It’s a man driven by these ideals that lead to self-destruction.If you watched the first two seasons and you believe you know how far the show will go in terms of Barry's morality, what do you think will be the biggest surprise about the new batch of episodes?Barry’s really horrible to people this season. When we find him, he’s hopeless and he’s still looking for a purpose, as he says. But we had to write things honestly, and there are a lot of scenes in it that are pretty tough to watch, you know?It’s like: Well, we could try to make it [horrible behavior] funny, but that’s not funny, so you have to play it honestly. If you downplay it or say, "He’s bad, but only to this point" — that is weirdly more offensive to me. You want to show him in all his honesty.You can’t really make excuses for a guy who is fundamentally a killer.That doesn’t feel real. I like true crime stuff, and you never see that. You never see the murderer who can live a normal life and not at least be a compete and total monster to the people that love them, or be alienated from them. Barry tries to hide it, but this season we very consciously decided that everything needed to come out.
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Yeoh will star alongside series regulars Justin Chien, Sam Song Li, Highdee Kuan, and Joon Lee. Alice Jewkin, Jon Xue Zhang, Jenny Yang, Madison Hu and Rodney To will appear in recurring roles.Michelle Yeoh.Irvin Rivera / Contour by Getty Images for IMDbJune 15, 2022, 7:16 PM UTC / Source: VarietyThe Netflix drama series “The Brothers Sun” has set its main cast, which includes Michelle Yeoh, Variety has learned.Yeoh will star alongside series regulars Justin Chien, Sam Song Li, Highdee Kuan, and Joon Lee. Alice Jewkin, Jon Xue Zhang, Jenny Yang, Madison Hu, and Rodney To will appear in recurring roles.The show was ordered to series at Netflix back in February with an eight-episode pickup. It is set in Los Angeles and Taiwan and features an all-Asian writers room and all-Asian cast. It follows Taipei gangster Charles Sun (Chien), who’s settled into his life as a ruthless killer. But when his father is shot by a mysterious assassin, Charles must go to L.A. to protect his mother (Yeoh) and utterly-unaware younger brother, Bruce (Li).Chien’s (“Two Sides: Unfaithful,” Disney Television Discovers Talent Showcase 2021) Charles Sun grew up the elder son of a crime boss, groomed to be a hardened criminal. He goes to Los Angeles to protect his mother and younger brother but finds himself torn between the life he’s been raised in and the life he could make for himself.Yeoh (“Everything Everywhere All at Once,” “Crazy Rich Asians”) will play Eileen “Mama” Sun. Shrewd and observant, Eileen has built a new life for herself and her son in Los Angeles far from her past in Taiwan.Li’s (“Better Call Saul,” “Take The Night”) Bruce Sun came to the states as a kid with little memory of Taipei and no idea of his family’s past. When his infamous and respected brother shows up on his doorstep, Bruce is thrown into a world that he is vastly unprepared for.Kuan (“Fear The Night,” “This Is Us”) will play Alexis. Driven and ambitious, Alexis grew up with a strong sense of justice and work ethic which resulted in her becoming an assistant DA.Lee (“Neh,” “Dated”) will play TK, an aspiring gangster and Bruce’s best friend since childhood. He wishes he was tough, loyal, and smart — but he isn’t. But that doesn’t stop him from trying.Hewkin (“The Crown,” “Sex Education”) will play May/June. Zhang (“Eternals,” “The Gentleman”) will play Blood Boots. Yang (“Busy Tonight with Busy Philipps”) will play Xing. Hu (“The Boogeyman,” Bizaardvark”) will play Grace. To (“Easter Sunday,” “Parks & Recreation”) will play Mark.Byron Wu and Brad Falchuk are credited as co-creators on the series. Wu serves as writer and executive producer. Falchuk is the showrunner and executive producer via Brad Falchuk Teley-Vision, which is currently under an overall deal at Netflix. Kevin Tancharoen will direct and executive produce, with Mikkel Bondesen executive producing.
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LOS ANGELES (AP) — Partial list of nominees for the 2022 prime-time Emmy Awards, announced Tuesday by the Academy of Television Arts & Sciences. For the complete list, visit Emmys.com:Comedy Series: “Abbott Elementary”; “Barry”; “Curb Your Enthusiasm”; “Hacks”; “The Marvelous Mrs. Maisel”; “Only Murders in the Building”; “Ted Lasso”; “What We Do in the Shadows.”Actor, Comedy Series: Donald Glover, “Atlanta”; Bill Hader, “Barry”; Nicholas Holt, “The Great”; Jason Sudeikis, “Ted Lasso” Steve Martin, “Only Murders in the Building”; Martin Short, “Only Murders in the Building.”Actress, Comedy Series: Rachel Brosnahan, “The Marvelous Mrs. Maisel”; Quinta Brunson, “Abbott Elementary”; Kaley Cuoco, “The Flight Attendant”; Elle Fanning, “The Great”; Issa Rae, “Insecure”; Jean Smart, “Hacks.”Drama Series: “Better Call Saul”; “Euphoria”; “Ozark”; “Severance”; “Squid Game”; “Stranger Things”; “Succession”; “Yellowjackets.”Actor, Drama Series: Jason Bateman, “Ozark”; Brian Cox, “Succession”; Lee Jung-jae, “Squid Game”; Bob Odenkirk, “Better Call Saul”; Adam Scott, “Severance”; Jeremy Strong, “Succession.”Actress, Drama Series: Jodie Comer, “Killing Eve”; Laura Linney, “Ozark”; Melanie Lynskey, “Yellowjackets”; Sandra Oh, “Killing Eve”; Reese Witherspoon, “The Morning Show”; Zendaya, “Euphoria.”Limited or Anthology Series: “Dopesick”; “The Dropout”; “Inventing Anna”; “The White Lotus”; “Pam & Tommy.”Variety Talk Series: “The Daily Show with Trevor Noah”; “Jimmy Kimmel Live”; “Last Week Tonight with John Oliver”; “Late Night with Seth Meyers;” “The Late Show with Stephen Colbert.”Actor, Limited Series or TV Movie: Colin Firth, “The Staircase”; Andrew Garfield, “Under the Banner of Heaven”; Oscar Isaac, “Scenes from a Marriage”; Michael Keaton, “Dopesick”; Himesh Patel, “Station Eleven”; Sebastian Stan, “Pam & Tommy.”Actress, Limited Series or TV Movie: Toni Collette, “The Staircase”; Julia Garner, “Inventing Anna”; Lily James, “Pam & Tommy”; Sarah Paulson, “Impeachment: American Crime Story”; Margaret Qualley, “MAID”; Amanda Seyfried, “The Dropout.”Supporting Actor, Comedy Series: Anthony Carrigan, “Barry”; Brett Goldstein, “Ted Lasso”; Toheeb Jimoh, “Ted Lasso”; Nick Mohammed, “Ted Lasso”; Tony Shalhoub, “The Marvelous Mrs. Maisel”; Tyler James Williams, “Abbott Elementary”; Henry Winkler, “Barry”; Bowen Yang, “Saturday Night Live.”Supporting Actress, Comedy Series: Alex Borstein, “The Marvelous Mrs. Maisel”; Hannah Einbinder, “Hacks”; Janelle James, “Abbott Elementary”; Kate McKinnon, “Saturday Night Live”; Sarah Niles, “Ted Lasso”; Sheryl Lee Ralph, “Abbott Elementary”; Juno Temple, “Ted Lasso”; Hannah Waddingham, “Ted Lasso.”Guest Actor, Drama Series: Adrien Brody, “Succession”; James Cromwell, “Succession”; Colman Domingo, “Euphoria”; Arian Moayed, “Succession”; Tom Pelphrey, “Ozark”; Alexander Skarsgård, “Succession.”Guest Actress, Drama Series: Hope Davis, “Succession”; Marcia Gay Harden, “The Morning Show”; Martha Kelly, “Euphoria”; Sanaa Lathan, “Succession”; Harriet Walter, “Succession”; Lee You-mi, “Squid Game.”Supporting Actor, Drama Series: Nicholas Braun, “Succession”; Billy Crudup, “The Morning Show”; Kieran Culkin, “Succession”; Park Hae-soo, “Squid Game”; Matthew Macfadyen, “Succession”; John Turturro, “Severance”; Christopher Walken, “Severance”; Oh Yeong-su, “Squid Game.”Supporting Actress, Drama Series: Patricia Arquette, “Severance”; Julia Garner, “Ozark”; Jung Ho-yeon, “Squid Game”; Christina Ricci, “Yellowjackets”; Rhea Seehorn. “Better Call Saul”; J. Smith-Cameron, “Succession”; Sarah Snook, “Succession”; Sydney Sweeney, “Euphoria.”Supporting Actor, Limited Series or TV Movie: Murray Bartlett, “The White Lotus”; Jake Lacy, “The White Lotus”; Will Poulter, “Dopesick”; Seth Rogen, “Pam & Tommy”; Peter Skarsgård, “Dopesick”; Michael Stuhlbarg, “Dopesick”; Steve Zahn, “The White Lotus.”Supporting Actress, Limited Series or TV Movie: Connie Britton, “The White Lotus,” Jennifer Coolidge, “The White Lotus”; Alexandra Daddario, “The White Lotus”; Kaitlyn Dever, “Dopesick”; Natasha Rothwell, “The White Lotus”; Sydney Sweeney, “The White Lotus”; Mare Winningham, “Dopesick.”Television Movie: “Chip ’n’ Dale: Rescue Rangers”; “Ray Donovan: The Movie”; “Reno 911!: The Hunt For QAnon”; “The Survivor”; “Zoey’s Extraordinary Christmas.”Guest Actor, Comedy Series: Jerrod Carmichael, “Saturday Night Live”; Bill Hader, “Curb Your Enthusiasm”; James Lance, “Ted Lasso”; Nathan Lane, “Only Murders in the Building”; Christopher McDonald, “Hacks”; Sam Richardson, “Ted Lasso.”Guest Actress, Comedy Series: Jane Adams, “Hacks”; Harriet Sansom Harris, “Hacks”; Jane Lynch, “Only Murders in the Building”; Laurie Metcalf, “Hacks”; Kaitlin Olson, “Hacks”; Harriet Walter, “Ted Lasso.” Structured Reality Program: “Antiques Roadshow”; “Fixer Upper: Welcome Home”; “Love is Blind”; “Queer Eye”; “Shark Tank.”Unstructured Reality Program: “Below Deck Mediterranean”; “Cheer”; “Love on the Spectrum”; “RuPaul’s Drag Race Untucked”; “Selling Sunset.” Reality or Competition Program: “The Amazing Race”; “Lizzo’s Watch Out for the Big Grrrls”; “Nailed It!”; “RuPaul’s Drag Race”; “Top Chef”; “The Voice.”Variety Sketch Show: “A Black Lady Sketch Show”; “Saturday Night Live.”___For more on this year’s Emmy Awards, visit: www.apnews.com/EmmyAwards
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Andy Cohen and 'The Real Housewives' franchise cast on Bravo. NBCUniversal/Bravo It has been 16 years since Andy Cohen decided to take a risk on a new show idea at Bravo calling itself The Real Housewives of Orange County, but little did he know then the level of success and the ever-expanding Real Housewives franchise that would soon follow. “We didn’t even know what we were doing in 2006,” Andy tells me during our new Zoom conversation from his New York home. “We just believed in the women and we believed that we could create a reality soap opera. Certainly didn’t see then the incredible effect it has had on television, pop culture, and my own life.” Fast forward to today, the Emmy award winner has built a bonafide entertainment empire, as he continues on as executive producer for the multiple Real Housewives cities, which now include Beverly Hills, New York City, New Jersey, Atlanta, Potomac, Salt Lake City, Dallas, and Miami. Since 2009, Andy has also been the host and executive producer of his own late night interactive talk show Watch What Happens Live with Andy Cohen, not to mention his two channels on SiriusXM, as well as him being a bestselling author. With his ongoing experiences in business, I wondered how Andy might define what makes an effective businessperson in 2022.
“Someone who can build a team, communicate well, figure out what their goals are and how to manifest them. Know what their brand is and someone who can adapt - moving quickly as things happen.” When I followed up by asking Andy if he has noticed himself having to adapt as both his career and the world evolve, Andy responds with his Real Housewives franchise on the mind, “Constantly. We’re thrown curve balls left and right with our talent, sometimes. Things happen very quickly and fans are very quick to react to things. You have to pivot in those ways. You have to pivot when a show is not working and figure out how to fix it.” Andy Cohen with 'The Real Housewives of Beverly Hills' cast during a Season 11 reunion episode. NBCUniversal/Bravo Recently, the Bravo team went international with The Real Housewives, by introducing the world to The Real Housewives of Dubai. Following the extravagant lives of a new group of ladies living in the United Arab Emirates city, Andy says of audience feedback so far, “It has been pretty good, actually. People seem to be really enjoying the show. Certainly the way it’s produced, I think it’s emblematic of what the next wave of the Housewives will look like and what it can look like and it feels modern and refresh and interesting and exciting.” As Andy’s business life continues to see more and more growth, so has his life at home. In February 2020, Andy became a father, welcoming his son Ben into the world - and just this past April, his daughter Lucy arrived, both through a surrogate. When I asked Andy how fatherhood has been going for him so far, he appropriately responded like a parent by yawning when saying, “It’s exhausting, but it’s good. It’s really nice. It’s going to be great.” Andy Cohen's May 1st Instagram post of his son Ben meeting his daughter Lucy. @bravoandy With his many dedicated responsibilities these days, both personally and professionally, I wondered how Andy is able to make the time for everything going on in his world.
“I prioritize. I just look at what I have to do. I look at what my deadlines are. This morning, I got up, I took my daughter to the doctor, I came home, I screened an episode of Dubai. I took a shower, I taped an episode of Watch What Happens Live, I just took a 10-minute nap. So, on and on and on - I pivot every day.” Currently in its 19th season, Watch What Happens Live showcases Andy inviting Bravo stars, other celebrities, and politicians alike to speak openly with him on a variety of topics, often including the public through fan questions. So between the many seasons of The Real Housewives and Watch What Happens Live, what exactly keeps Andy motivated to want to keep going? WATCH WHAT HAPPENS LIVE WITH ANDY COHEN — Episode 16007 — Pictured: (l-r) Andy Cohen, Khloe ... [+] Kardashian, Kim Kardashian, Kourtney Kardashian — (Photo by: Charles Sykes/Bravo) Charles Sykes/Bravo “There are just different things that energize me and as [The Real Housewives] shows find their groove, I think Ultimate Girls Trip and Beverly Hills are so hot right now and Atlanta and Dubai, so that gives me the energy to go in there and do Watch What Happens Live and create moments. We’ve got BravoCon coming up later this year and we just make teeny little tweaks to our format all the time that excite me. We just added a ‘shotski’ siren to Watch What Happens Live to Wednesday nights and it’s fun. We’re just adding to the cocktail that is our show.” WATCH WHAT HAPPENS LIVE WITH ANDY COHEN — Episode 17043 — Pictured: (l-r) Andy Cohen, Hillary ... [+] Clinton, Dorinda Medley — (Photo by: Charles Sykes/Bravo) Charles Sykes/Bravo During a time where other late night hosts are taking a moment during their shows to express their concerns about about issues affecting our country and our world right now, I was curious how Andy finds balance in leading with his popular entertainment format, yet utilizing his elevated platform to speak out on topics that he feels are necessary to address. “I think when it’s something that’s super important to me, then I definitely speak up. I’m the only gay talk show host in late night, so for me, that’s something that I take seriously and when our rights are under attack, I definitely speak out and I’m grateful to have the platform at Bravo. Bravo has never once told me that I cannot say something or I need to tone it down, so I’m really grateful.” During our conversation, I chose to bring up with Andy the recent overturning of Roe v. Wade by the U.S. Supreme Court and asked him if he believes that we as a nation should be concerned about that decision.
“I do think we should be very concerned,” Andy continues. “Justice Thomas put in his judgment the other day that we should be looking at gay rights, gay marriage, and contraception - and given that Justice Kavanaugh and Amy Coney Barrett clearly lied under oath about their feelings about Roe v. Wade, I think anything is up for discussion. I think these are lunatics, frankly. They don’t honor the fact that church and state are separate - that was clear in their ruling, so I think we’re just getting started to look at the damage that this Supreme Court is going to do to all of us.”
Andy goes on to encourage the public to “be smart and vote” in the upcoming midterm elections as the best plan of action to make their voices heard in protecting their rights. As I began to conclude my conversation with Andy, I wondered if there are any new projects or other industries that he looks to have a hand in next. “Not really. I’m really focused on Watch What Happens Live. I’ve got 11 shows on the air right now that I’m working on, I have two radio channels at Sirius, I’m writing a book that hasn’t yet been announced. I’m good.” As we wrapped up, I asked Andy what professional advice he might have for other business-minded individuals who believe they have a great idea but simply do not know how to get it off the ground. “I would say always follow your passion and just don’t give up,” Andy continues. “If you think it’s a great idea, don’t give up. I also think you really need to be critical on yourself and figure out Is it a good idea? Is it something totally original? I think there are a lot of people who think you should do a reality show on X, Y, or Z, and a lot of times, it’s either something that has been thought of or it’s just not a good idea. So, I think that people need to be self-critical, but if they really believe in it, then they should go for it.”
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Television
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The 2022 Emmy Nominations have just been announced!
Melissa Fumero and J.B. Smoove along with the Television Academy announced the 74th Primetime Emmy nominations to honor the most popular TV shows which everyone has been binging over the past year.
HBO’s “Succession” racked up the most nominations with 25 followed by “Ted Lasso” and “The White Lotus” which each earned 20 noms. Hulu’s “Only Murders In The Building” and “Hacks” each got 17 nominations.
Some of the stars who are being honored with nominations this year reacted to the news but also some of people snubbed are shared their feelings.
Mandy Moore who has been starring on “This Is Us” since 2016 has never won an Emmy for her role and this year will be no different as she was shut out of a nomination. The show earned one nomination for original music and lyrics for a song that was co-written by Mandy’s husband Taylor Goldsmith. She shared her reaction to the news in a Tweet, writing, “So proud of @SiddKhoslaMusic and @dawestheband for their stunning song getting the recognition it deserves. No award can give or take away the legacy of what our show has meant to us and so many. Grateful. But I will take a “Danny” lol. #thisisus” So proud of @SiddKhoslaMusic and @dawestheband for their stunning song getting the recognition it deserves. No award can give or take away the legacy of what our show has meant to us and so many. Grateful. But I will take a “Danny” lol. #thisisus https://t.co/aygLZN09II
— Mandy Moore (@TheMandyMoore) July 12, 2022 Kaley Cuoco earned a nom for her role in HBO’s “Flight Attendant” and shared her excitement over the honors on Instagram, writing, “There are no words … thank you @televisionacad for this honor that I do not take lightly .. thank you to my entire flight crew @flightattendantonmax for the flight of a lifetime ✈️ and to share this moment with my ♥️ @tommypelphrey with his own deserved nomination… what a moment and we are so grateful.” Adrien Brody, who is nominated for Guest Actor in a Drama for “Succession”, “Thank you to the Television Academy for this incredible recognition and to HBO, Adam McKay and Kevin Messick for inviting me to be a part of such meaningful work. I am a huge fan of ‘Succession’ and beyond thrilled to have been included in such an extraordinary show. I’m grateful to share this honor with the brilliant cast and crew of ‘Succession’, and the fantastic writers who shaped the character, making him so fun to play. A special thank you and congratulations to Adam, Jesse, Brian, and Jeremy.”
Lizzo is also reacting to her Emmy nomination for her reality show, “Watch Out For The Big Grrrls.” She wrote on Instagram, “WATCH OUT FOR THE BIG GRRRLS IS EMMY NOMINATED🥹my grrrls🥹 we didn’t do this for awards, we did this for ourselves. For the lives we touched making this… To shake up the industry.. and show the world how BEAUTIFUL AND TALENTED WE AREEEEE! BIG GRRRLS ARE BOOKED, BLESSED AND BUSY 💅🏾💅🏾💅🏾 YOU BETTA WATCH OUT! Thank you @televisionacad we’ll be there with bells on!” “Squid Game” actor Lee Jung-Jae, earned a nom for the Outstanding Lead Actor in a Drama Series reacted to the news, “First, I would like to share my sincere gratitude. It is a tremendous honour to be nominated together with these brilliant actors. I would like to share this honour with the ‘Squid Game’ fans around the world, who showed us endless love and support, and the ‘Squid Game’ team, who worked very hard to make everything possible.”
Quinta Brunson earned an Emmy nom for Lead Actress in a Comedy Series & Outstanding Comedy Series for “Abbott Elementary”, reacted to the exciting news, “What an honour to be nominated by the Television Academy. Creating this show has been the greatest gift and to have it recognized in this way is the dream. It’s a joy we get to share with the amazing people who watched our first season. None of this would be possible without my incredible, supportive EPs Justin Halpern, Randall Einhorn & Patrick Schumacker, our incredible writers room, our insanely talented cast, and the hard-working teams at ABC and WBTV for helping to bring ‘Abbott Elementary’ to life. Lastly, and most importantly, I want to thank teachers. Thanks for being our inspiration.”
Bob Odenkirk who is up for Lead Actor in a Drama Series for “Better Call Saul” released a statement that read, “I am thrilled beyond words for this nomination. Yes, I’ve been nominated in this category before, but this is particularly special because of the intense experience of this final season of ‘Saul’ shooting, the amazing writing as Jimmy/Saul becomes yet ANOTHER iteration of himself, the wonderful work by my castmates, our amazing guest cast, and just the density of feelings in front of camera and behind in a momentous year.”
“I am especially thrilled for my scene partner and friend Rhea Seehorn whose outstanding, wonderful, multi-facted performance is rightly being celebrated. This show is one-of-a-kind and I’ll treasure each of these high points, there have been so many, and I’m thankful for everything.”
Alexandra Daddario, who is nominated for the Outstanding Supporting Actress In A Limited Or Anthology Series award for “The White Lotus” said in a statement, “It is such an honour to be nominated for my first Emmy! I just cried so much in front of a bunch of people! Thank you so much to the Television Academy for honouring not only myself, but my fellow cast mates and Mike White. I am so proud of this show and will be forever grateful to have had this opportunity and to work alongside such incredible people and to have been stranded at this resort together.”
The awards ceremony will be broadcasted on Monday, Sept. 12, airing live at 8 p.m. ET / 5 p.m. PT on NBC and Peacock.
Copyright © 2022 by NBC Universal, Inc. All Rights Reserved.This material may not be republished, broadcast, rewritten or redistributed.
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Television
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Stories are like recurring dreams. They bubble up from our unconscious, often appearing the same -- and yet, looking closer, you might find the details shift in every telling. If you like thinking about dreams, and stories, and you're into general ponderous musings about goth stuff, then hoo boy is The Sandman the show for you.As a long-gestating adaptation of a seminal comic book by Neil Gaiman, there's a huge weight of expectation among readers and fans, but the good news is this atmospheric and engaging series is the stuff that dreams are made of. If you've never read the comics, you're in for a treat as you come to the series unencumbered by your memories and vision of the original. If you have read the comics, well.... The original Sandman is such a multilayered and ambiguous story that every reader will have a unique relationship to it, and it'll be fascinating to see how each viewer responds to the TV version.Either way, Netflix's 10-episode series is a delicious, dark, funny melding of myth and magic in the modern world, filled with seductive and destructive supernatural beings in a richly layered realm of fears and fantasies.Streaming from Aug. 5, 2022, the series begins with a hubristic occultist trying to capture death. That isn't a metaphor: In this tale, there's an actual walking, talking figure who shuffles ill-fated humans off this mortal coil. This is a universe where abstract concepts -- death, desire, despair -- are embodied as stylishly dressed schemers squabbling with each other on assorted planes of reality. And it's one of these who accidentally ends up locked in the occultist's basement: a skinny, fiercely cheekboned chap named Morpheus. He's the lord of dreams, and while he's locked up for the best part of the 20th century his kingdom falls into ruins, unleashing dreams and nightmares alike into the human world.
The series intriguingly mixes the mundane with the mythical. The story unfolds in a world of cell phones and gas stations and spit-and-sawdust taverns -- mixed with an eyeless serial killer, foul-mouthed occult trouble-shooters and an actual, literal Lucifer. From the dream realm to Hell itself, the show's world(s) are so rich in detail that even the lesser characters sketch out a sense of an enigmatic larger universe, evoked by the merest scrap of dialogue or the briefest appearance.Though it's a fantastical story about a godlike mythical figure, reality-altering rubies and Death in a tank top, the core of The Sandman is the humanity of the people Morpheus encounters. From the premiere episode's father and son battling over their prisoner's fate, to a frankly mesmerizing midseason episode set entirely in an ill-fated diner, the show's characters are sketched with heartwarming hopes and heartbreaking fears. It's frustrating that the show's creators felt the need to open the series with a jarringly over-explanatory voiceover spelling out in eye-rolling detail what could've been teased and revealed through the show. I can't help but feel the hand of a Netflix executive in that decision, but if it makes the series more accessible to new viewers, then I probably shouldn't quibble. The cliffhanger for the first episode also suggests a traditional type of series -- the fantasy version of a procedural -- but that show never materializes. Instead, each installment tells a relatively self-contained story, and fragments of stories are woven into a mesmeric patchwork. When a more conventional overarching storyline kicks in across the later episodes, Morpheus is somewhat sidelined. But this more traditional story does give the show's dreamlike structure a little forward momentum, and also serves as a facade to smuggle in increasingly and delightfully weird stuff.Dream meets Desire as Tom Sturridge faces Mason Alexander Park in The Sandman. Netflix The listlessly whispering Tom Sturridge has a tough task playing the lead role of Morpheus, who's often a mere observer of events and is generally haughty, even cruel. But this fearsome figure is also enticingly vulnerable and has engaging moments of humanity (as in an early episode, when he asks when he could have commanded). He also has a very nice coat.It's also a tough job to play against such a weighty cast, all of whom sink their teeth into their multifaceted characters. There isn't a weak link among the cast, though Jenna Coleman and Patton Oswalt feel a bit out of place. Silky-voiced Boyd Holbrook leads the way as Morpheus' nightmarish creation The Corinthian, a seductive and sybaritic southern gent who can't stop cutting people's eyes out. Then there's David Thewlis, who follows his terrifying turn in Fargo's third season with yet another unnerving performance. Game of Thrones star Gwendoline Christie is an imperious Lucifer, while Vanesu Samunyai is the human heart of the later episodes. And among the supernatural stars attacking their roles with relish despite sadly limited screen time are Kirby Howell-Baptiste as an affable Death and Mason Alexander Park as purring, growling Desire.In some ways, adapting The Sandman is an impossible task (or, I dunno, a Sisyphean labor, if we're talking the language of Gaiman and his creations). Running from 1989 to 1996, the comic was created by Gaiman with artists Sam Kieth and Mike Dringenberg (and many others), and frequently told its story by playing with the form of the comics medium. Some of that stuff is simply impossible to re-create on television. So not everything will work in the TV version, at least not for some readers who have deep relationships with the source comics.But stories are like recurring dreams. The same preoccupations, the same fears, the same desires may continually force the same dream into our helpless sleeping mind. Yet the details may change -- and more importantly, we change every day, so the dream is never experienced the same way twice as we grow and learn. I confess it's been years since I read the comics, and I'd experience them totally differently now than I did as a callow youth. So a new adaptation of a beloved work of art is also a different thing, and we're different as we experience it.What I'm saying is, try and let go of the comics a bit when you watch the TV show, OK? For those new to The Sandman, your enjoyment will hinge on how you feel about airy philosophizing, Gaiman's combination of whimsy with jet-black humor, or Stephen Fry. But, following on from the gleefully wicked American Gods and the cheerfully cosy Good Omens, this long-gestating adaptation of The Sandman feels like a fitting translation of Gaiman's signature cocktail of unflinching humanity, atmospheric allusion, hilarious nastiness -- and most of all an underlying sense of aching hope and joy. Perhaps nothing could capture the magic of the iconic comic, but set your love for the books aside, like a half-remembered dream. As a dark and captivating fantasy TV series, The Sandman is a dream come true. Movies Coming in 2022 From Marvel, Netflix, DC and More See all photos 2022's Best TV Shows You Can't Miss on Netflix, HBO, Disney Plus and More See all photos
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Television
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Most of the “stay safe, stay home” trends from the past two years have burned brightly before falling out of favour. Banana bread once had a stranglehold on our Instagram feeds, but it’s been a long time between loaves. Puzzles, similarly, no longer dominate the Saturday evening agenda.But one pandemic-forged obsession appears to only be growing in demand: home organisation.“I have never been as busy as I am now,” says Adelaide-based professional organiser Sarah Shanahan.Organisation has become its own television genre. In Australia, there is Nine’s Space Invaders, led by home organiser Peter Walsh. In the US, HGTV’s Hot Mess House, hosted by “Clutterbug” Cassandra Aarssen, has just been renewed for a third season.Star organiser: Sarah Shanahan.But the biggest names belong to Netflix: Marie Kondo and The Home Edit’s Clea Shearer and Joanna Teplin. While Kondo’s method of keeping objects that spark joy was already popularised by her bestselling books, Shearer and Teplin have given millions a seductive glimpse into a different organising philosophy: a world of labelled canisters, drawer dividers and clear, acrylic drawers.These reality shows, punctuated by handy how-tos, allow audiences to take organisational fandom into their own hands (and store it neatly within rows of compact stacking tubs.However, as Shanahan notes, “just like anyone can mow the lawn, not everybody wants to”. And now, thanks to Shanahan and others like her, not everybody has to.“We are hiring new staff nearly every week to keep up with client inquiries,” says Amy Revell, co-owner and CEO of home organisation business The Art of Decluttering. The company’s team of 40 services “hundreds and hundreds of clients each year” nationally and its weekly podcast has had more than 3.3m listens to date.“In the last 12 months we’ve expanded to regional and rural areas, as well as in three capital cities,” Revell says.Even bathrooms need organising. The Art of Decluttering’s Amy Revell and Kirsty Farrugia at work. Photograph: The Art of DeclutteringMichael Cleghorn, CEO and founder of global trend forecasting agency MC&Co, says the pandemic forced us to confront a new home paradigm. “People sought comfort through control and order, emotionally,” he says. “Practical needs [also] became apparent through forced isolation.”Cleghorn forecasts the growing interest in home organisation will continue to maintain a “strong velocity”, noting it was also trending prior to the pandemic.A before and after slider of a teenager’s bedroom, arranged by a professional organiser.The bedroom of a Melbourne teenager who needed assistance to work out systems to keep her room tidy.According to Google Trends, spikes in search interest for home organisation coincided with Australia’s lockdowns, but “home organisation” and “pantry organisation” searches were already on the rise. There is also a passionate social media community, with TikTok’s ‘home organisation Australia’ tag boasting more than 420m views.As for Australia’s approach to interior organisation, Cleghorn cites a combination of influences from around the world, including the popularity of minimalist Scandinavian aesthetics.The US tends towards the accumulation of “things”, evident in the success of big box retailers such as The Container Store. “More gadgets, more problem solving, life-enhancing ‘stuff’ and larger suburban home footprints,” Cleghorn says. “Australia tends to be a blend of more European and US trends.”He also notes an increase in “the desire to store and organise in more sustainable materials, such as recycled boards, glass and plantation timbers,” reflecting a long-term trend of reducing personal impact on the environment.The Swedish retail giant Ikea is capitalising on this desire for eco-friendly solutions by increasing the number of decluttering products designed with recycled or sustainable materials.Before and after: a room organised by Sarah Shanahan. Photograph: Sarah ShanahanNot just for celebritiesAs our interest in storage sustainability changes, so too does the face of home organisation, which is no longer perceived as a folly only for affluent individuals and celebrities (hello Khloé Kardashian). Shanahan and Revell’s clientele is diverse – from parents juggling family life to bereaved caretakers, Airbnb managers, home movers and downsizers.Beck Quade, a Sydney-based business owner, first engaged home organisation services for an overseas move. “That whole part of moving is so stressful, particularly if you’re a busy parent or businessperson,” she says. “It’s worth it … just to take out all that stress and time. And they’re just better at it than me.”Quade has also sought professional organiser expertise at emotional junctions in her life, from recalibrating her house as her family expanded to packing up the home of her late mother-in-law. “Sometimes it’s just about having someone holding your hand throughout an otherwise stressful process.”A before and after slider of a garage organised by a professional decluttering team.A single mother in Melbourne had her garage decluttered by Amy Revell and her team.Revell and her colleagues are part of a growing cohort also offering services through the national disability insurance scheme (NDIS) for people living with physical disabilities or neurodiversities. “Whether you are living with or caring for someone with a disability, there can be additional hurdles to being able to maintain a safe, organised and clutter-free home,” she says.“We are passionate about helping people live their best lives, and our services through NDIS are part of this.”An organised home can also act as a form of self-care, a benefit that was reinforced during the pandemic. “Our physical surroundings have a significant impact on our mental health and emotional wellbeing,” says Geetu Vanjani, a counsellor at online therapy practice the Indigo Project. “Our external environment [gives] powerful sensory cues for our executive functioning and nervous system.”So will decluttering, efficiency and stackable storage continue to dictate the future of interior styling? Not entirely, Cleghorn believes. “There is always ying and yang,” he says.“As much as there is an obsession with … a more minimal approach to life and living, there is also an increased trend in maximalism and increased accessorising. More stuff, less organisation.” A new streaming series awaits.Home organisation philosophies, categorisedThe Home EditContain yourself: Joanna Teplin and Clea Shearer of The Home Edit. Photograph: Christopher Patey/NetflixWhere you’ve seen them: Netflix, bookstores, and most of all on Instagram.Philosophy: Edit, categorise, contain. In other words: you can have as much stuff as you want, as long as you’ve got the space to keep it all in clear, acrylic boxes.Cost: High – all those pretty containers stack up quickly.Effort: High at first, but relatively easy to maintain, thanks to the highly systematised categorising process (and all the boxes).Signature move: Sorting items in “rainbow order”.Marie KondoSparking joy: Marie Kondo. Photograph: Kit Karzen/NetflixWhere you’ve seen her: Netflix and on bestseller book lists.Philosophy: Does this item “spark joy”? Yes? Keep. No? Toss. Simple!Cost: Financially, low – the KonMari method steers clear of extra storage purchases. But emotionally, high – Kondo recommends keeping fewer than 30 books, one of many breakups guaranteed to bruise the heart.Effort: Initially high. The organising must happen all at once, rather than tidying over time, but the resulting minimalism promises effortless upkeep.Signature move: Category attack. Declutter by category rather than location, beginning with clothes and ending with sentimental items.Peter WalshDecluttering wizard Peter Walsh. Photograph: Peter Walsh/YouTubeWhere you’ve seen him: Nine’s Space Invaders and in bookstores.Philosophy: Decluttering is about feelings. Internal conflict resolution is required before spatial conflict resolution.Cost: Medium – clear containers are on the shopping list, but you might uncover forgotten gems ripe for resale.Effort: High (see below).Signature move: Take things offsite. By removing all clutter from its room of origin you can assess it with a fresh perspective, before sorting and storing.Susan PinskyWhere you’ve seen her: in bookstores and as a columnist for ADDitude Magazine, a publication for people living with ADD and ADHD.Philosophy: Ruthless efficiency. Judicious minimalism meets extreme practicality.Cost: Medium – you might require additional storage depending on your degree of ruthlessness.Effort: Adopting Pinsky’s merciless mindset can be tough, but once you’re on a roll it’s second nature.Signature move: “Would you buy this yourself today?” If the answer is no (sentimental bric-a-brac included), it’s out.Cassandra AarssenClutterbug: Cassandra Aarssen. Photograph: Clutterbug/YoutubeWhere you’ve seen her: HGTV’s Hot Mess House, and YouTube, where her videos attract millions of views.Philosophy: How you organise depends on one of four organisational styles, each named for an insect.Cost: It depends on your bug. For a ladybug a few baskets will do; a bee will have to shell out for beautiful, open shelving.Effort: Much like cost, that depends on you.Signature move: The Clutterbug quiz.
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Television
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Relatives say Sunday that Nichelle Nichols, who broke ground for Black women acting on television as the beautiful, no-nonsense communications officer Lt. Nyota Uhura on the original “Star Trek” TV series, has died at the age of 89Nichelle Nichols, who broke barriers for Black women in Hollywood when she played communications officer Lt. Uhura on the original “Star Trek” television series, has died at the age of 89. Her son Kyle Johnson said Nichols died Saturday in Silver City, New Mexico.“Last night, my mother, Nichelle Nichols, succumbed to natural causes and passed away. Her light however, like the ancient galaxies now being seen for the first time, will remain for us and future generations to enjoy, learn from, and draw inspiration,” Johnson wrote on her official Facebook page Sunday. “Hers was a life well lived and as such a model for us all."Her role in the 1966-69 series as Lt. Uhura earned Nichols a lifelong position of honor with the series’ rabid fans, known as Trekkers and Trekkies. It also earned her accolades for breaking stereotypes that had limited Black women to acting roles as servants and included an interracial onscreen kiss with co-star William Shatner that was unheard of at the time. She often recalled how the Rev. Martin Luther King Jr. was a fan of the show and praised her role and personally encouraged her to stay with the series. Like other original cast members, Nichols also appeared in six big-screen spinoffs starting in 1979 with “Star Trek: The Motion Picture” and frequented “Star Trek” fan conventions. She also served for many years as a NASA recruiter, helping bring minorities and women into the astronaut corps.More recently, she had a recurring role on television’s “Heroes,” playing the great-aunt of a young boy with mystical powers.
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There’s a curious mutation spreading around the entertainment industry, altering form and tampering with time. TV series, it seems, keep turning into movies. They’re probably not patient zero, but the showrunners of Game of Thrones are undoubtedly superspreaders for this current wave, having ignited controversy by describing their show as “a 73-hour movie” back in 2017. Soon, the TV landscape was swarming with series rebranded as films of varying yet uniformly hefty length. The idiom was repurposed frequently enough to reach “bane of all existence” status for TV critics, and to inspire a Shouts and Murmurs piece in the New Yorker. Now, to quote a show that ignited a powder keg of debate over the difference between cinema and television not so long ago, “It is happening again.”Miles Millar and Alfred Gough, co-creators of the upcoming Addams Family reboot Wednesday for Netflix, uttered the magic words in an interview with Vanity Fair earlier this week, stating that “the ambition of the show was to make it an eight-hour Tim Burton movie.” (Burton is on board as executive producer and director for four of the eight episodes.) They’ve dusted off the old soundbite during a period of increased critique for it, with The Boys head honcho Eric Kripke having recently thrown down the gauntlet on the matter. Of TV directors who claim to have conceived their series as a manner of movie, he said: “Fuck you! No you’re not! Make a TV show. You’re in the entertainment business.” In Olivier Assayas’s new miniseries reimagining his 1996 showbiz satire Irma Vep, the director of the show within the show invokes the “eight-hour movie” adage in an interview as if to poke fun at the phrase’s inescapability. Speaking with me at Cannes earlier this year, he confirmed that he doesn’t share the mindset, and that this line shares the soupçon of caricature accenting the rest of the series.To understand the cause for all the fuss originating from a seemingly matter-of-fact figure of speech requires an awareness of the connotations and biases tacitly coded in the TV-to-movie pivot. When the makers of TV liken their work to a movie, they’re inviting a host of associations set by the praise for 00s classics like The Sopranos or The Wire that emphasized their “cinematic” qualities: ambition of scale, long-game storytelling, technical sophistication with the camera. When writers made this comparison, it scanned as insight; coming from the mouths of directors, it sounds more like image control, a broader assurance that the series in question is accomplished enough to stand comparison to the big boys of the silver screen. It’s a method of pre-emptively classing up the joint, and of distancing TV from a perceived dinkiness seen as inseparable from the character of the medium.A still from Irma Vep. Photograph: HBOAnd so one starts to see the condescension in this line of thinking that alienates anybody invested in respect and appreciation for TV. Even if the “X-hour movie” line hadn’t been used as an excuse for plodding episode-by-episode plotting with flagrant disregard for the subtle art of pacing, it would still be fundamentally inaccurate. Using one entire season to tell an overarching story broken up into segments isn’t fitting cinema into the mold of TV, but the very definition of TV itself. Those writers subscribing to that flawed philosophy haven’t rejected serialization, just resolved to be bad at it. Every great TV show has found a way to tell stories contained within the space of an episode that nonetheless coalesce into a larger narrative structure. Streaming allows us to eliminate the time between installments, and too many have taken that as implicit permission to abandon the building blocks of the art.The quasi-meme of the “X-hour movie” betrays a confused idea about dignity and creative validity, as inferiority-complexed directors imagine they’ll be taken more seriously if they cast their lot with the cinema. (Note that the franchise managers of the Marvel Cinematic Universe hesitate to bill their product as being like a TV show, even as they force serial storytelling and drain the polished grandeur from cinema.) This amounts to a sort of self-fulfilling prophecy, in that TV will never gain in stature until those making it wear their format with pride. Everyone would do well to embrace the qualities unique to their chosen field as advantages to be worked with, not limitations to be overcome. Until they do, there’s a simple way to expose the absurdity of TV wrapping itself in film’s clothing: next time you hear someone puff up a show’s air of prestige in this way, instead picture the most embarrassing, amateurish, contemptible movie you’ve ever seen. (I like to go with The Oogieloves in the Big Balloon Adventure.) Let its example be a lesson – that words have meanings, that form cannot be synonymous with quality, and that there are far worse things to be than TV.
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David Zaslav arrives for the Time 100 Gala celebrating Time magazine's 100 most influential people people in the world in New York, U.S., June 8, 2022. REUTERS/Caitlin OchsRegister now for FREE unlimited access to Reuters.comAug 4 (Reuters) - Warner Bros Discovery Inc (WBD.O) is expected to discuss the new streaming strategy for the merged company on Thursday when it reports second-quarter earnings, four sources familiar with the plans told Reuters.The company is likely to provide additional details about its plans to bring together the HBO Max service's collection of dramas, comedies, movies with the reality programs of Discovery+. The pricing and the name for the new streaming service are still being debated internally, according to two sources familiar with the discussions. The name and the pricing are unlikely to be announced on Thursday.Warner Bros Discovery also is considering free, ad-supported services that would exist alongside its subscription service, though no announcement is planned. One source said among the ideas being discussed is a service built on Warner Bros' library of classic movies, which currently attract little notice inside HBO Max.Register now for FREE unlimited access to Reuters.comThe plans are the culmination of CEO David Zaslav and his team's examination of WarnerMedia's film, television, digital and gaming businesses since the deal closed on April 8. The executives were seeking to understand how these units work and how best to combine WarnerMedia's operations with those of Discovery, said one executive familiar with the process.Areas of overlap - such as the unscripted television unit behind such HBO Max reality shows as "FBoy Island" and "The Hype" - are likely to be eliminated, given Discovery's strength in the television genre, said the executive, who spoke on condition of anonymity.Layoffs are expected in the coming months, two of the sources said, as Zaslav looks to cut costs and deliver the $3 billion in savings he promised investors once the merger closed.The company's famously frugal CEO, David Zaslav, also has evaluated executive compensation and put talent pacts under a microscope. One such deal that received scrutiny was the $250 million agreement WarnerMedia struck in 2019 to become the exclusive home of filmmaker J.J. Abrams and his production company, Bad Robot. It walked away from "Demimonde," a science fiction series for HBO with an estimated $200 million budget.For help in evaluating its motion picture business, Zaslav hired former Warner Bros studio president Alan Horn, who oversaw the "Harry Potter" and "Lord of the Rings" franchises, as a consultant to help shape strategy.Warner Bros Discovery is pivoting away form expensive, direct-to-streaming movies like "Batgirl," a $90 million movie based on the DC Comics character and featured "In the Heights" star Leslie Grace and Michael Keaton as Batman.The film was scheduled for HBO Max later this year. But the studio scrapped the film after negative feedback from test screenings suggested it needed more work - an added expense the studio was unwilling to incur, according to one source with knowledge of the decision.In the future, big-budget movies will enjoy a traditional theatrical run before reaching the streaming service, said one person familiar with Zaslav's thinking, marking a big change from the previous regime.Analysts expect Warner Bros Discovery to report second- quarter revenue of $11.84 billion and per-share earnings of 1 cent, according to Refinitiv data.Register now for FREE unlimited access to Reuters.comReporting by Dawn Chmielewski in Los Angeles; Editing by Kenneth Li, Matthew Lewis and Stephen CoatesOur Standards: The Thomson Reuters Trust Principles.
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Singer Matt Goss has been announced as the eighth contestant to be taking part in this year's Strictly Come Dancing.Goss said he was "extremely nervous and excited, but I'm optimistic because I'm very supple from the knees down".He joins Kym Marsh, Will Mellor, Ellie Simmonds, Jayde Adams, Kaye Adams, Tyler West and Richie Anderson on the line-up.The dancing competition is set to return to BBC One in September.Goss enjoyed huge success in the band Bros alongside his brother Luke and Craig Logan, with their debut album Push going platinum seven times following its release in 1988.He's enjoyed solo success since with a longstanding residency in Las Vegas and the 2018 Bros documentary, After the Screaming Stops, won a Bafta and a National Television award.Image caption, Strictly judges L-R: Craig Revel Horwood, Motsi Mabuse, Shirley Ballas and Anton Du BekeCraig Revel Horwood, Motsi Mabuse and head judge Shirley Ballas will all return to the Strictly judging panel this year. They will be joined once again by Anton Du Beke, who has now permanently taken over from Bruno Tonioli.More contestants will be announced in the coming days. The celebrities confirmed to take part so far include:Ellie SimmondsImage caption, Ellie Simmonds said she was excited to be taking part in the long-running dancing showParalympic swimming gold medallist Ellie Simmonds was the youngest British athlete at the 2008 Summer Paralympics in Beijing at the age of 13 - and was named BBC Young Sports Personality of the Year the same year. Simmonds said she was "bursting with excitement" about joining the show but also admitted she was "petrified".Speaking to Radio 5 Live's Sunday Breakfast, Simmonds said: "I'm so excited, I just want to enjoy every second and try out the sequins and costumes. "I'll be the first dwarf doing this show and I just want to show how positive it is - being different is okay."She said while it would be "tough" - admitting she would be living off coffee once training begins - it was a "once-in-a-lifetime opportunity". During the 2008 competition, she won gold medals in the 100m and 400m freestyle events. Simmonds won two golds at London 2012 and another at Rio 2016. She went on to present for BBC Sport after retiring from competitive swimming in 2020 and has also made documentaries, including Ellie Simmonds: A World without Dwarfism?Kym MarshImage caption, Marsh appeared in Coronation Street and was previously a member of pop group Hear'SayActress and TV presenter Marsh currently hosts BBC One's Morning Live and has appeared in Coronation Street and The Syndicate."I'm nervous but I'm really looking forward to it," she told BBC Breakfast on Thursday.In the early noughties, Marsh was a member of pop group Hear'Say, who were created on talent show Popstars. "It's been a long time since I've been on stage, performing in that kind of way, so it's going to be really tricky, but I'm up for the challenge," she said about joining Strictly.Asked how she would deal with criticism from the judges, she joked: "Listen, I was judged by Nasty Nigel in Popstars, he was the villain back in the day, so I think I'll be fine with it.Will MellorMedia caption, Watch: "Excited is one word for it, terrified is another" - Mellor on being in Strictly line-upMellor is known for appearing in Hollyoaks, Coronation Street, Casualty and Two Pints of Lager and a Packet of Crisps.The actor said he was "honestly so chuffed to be taking part" in Strictly Come Dancing."It's getting a bit frightening now," Mellor told BBC Breakfast about taking part in the show.Asked if he could dance well, he replied: "It depends what you call well. I dance in the kitchen or at parties like anybody does, but nothing at all like I'm doing here, I'm way out of my comfort zone."He explained: "My mindset completely changed a while back, and I just thought, I've got to start doing things that frighten me. "I lost my dad in 2020 and from then I just thought, I've just got to grab life. I've got to create new memories."Mellor reached number five in the UK singles chart with When I Need You in 1998. He recently toured the UK with a live version of the popular podcast he co-hosts with Ralf Little, Two Pints with Will and Ralf.Richie AndersonImage caption, Anderson, who reads the travel on Radio 2, described Strictly as the "ultimate feel-good show"Richie Anderson reads the travel on several shows across BBC Radio 2, and has previously helped cover the Eurovision Song Contest and The Queen's Platinum Jubilee celebrations for the station. He also covers stories for The One Show. The presenter said joining Strictly was a "dream come true", adding that he "cannot wait to get in those sparkles and sequins"."Strictly is the ultimate feel-good show, as soon as I hear that iconic theme tune it's just pure escapism," Anderson said. "I'm going to have to cancel my legendary Strictly launch night kitchen party that I throw every year," he added, joking: "I'm sure my friends and family will understand."Anderson will become the third celebrity contestant to compete as part of a same-sex couple, following Nicola Adams and John Whaite.He said: "I remember watching Nicola Adams do it a couple years ago and John Whaite last year, and I remember just thinking - me growing up when I was coming to terms with what I am or what I'm not - it would have been amazing for me to see something like John and Johannes and Nicola and Katya on such a big show." Kaye Adams Image caption, Radio and TV presenter Kaye Adams is one of the main anchors of ITV's Loose WomenKaye Adams, 59, is a broadcaster known for presenting ITV's Loose Women. She said: "I said I wanted to make the last year of my fifties memorable and I can't think of a better way of doing it than showing the world my two left feet. Pray for me!"As well as presenting on the ITV topical discussion show, she also hosts the morning show on BBC Radio Scotland. She started her career as a news journalist presenting programmes for various TV channels, including STV, the BBC and Channel 5.This year she also started her popular podcast, How To Be 60 with Kaye Adams. Jayde AdamsImage caption, Jayde Adams is best known as a comedianThe comedian was announced as the fifth contestant to be taking part."I cannot begin to express the emotions I am feeling," she said in a statement. "This means so much to me and my family."Jayde Adams, who is currently performing at the Edinburgh Festival Fringe, has won several comedy awards and is also an actor.She said she had been a "massive fan" of the show for years. "I've always watched it, apart from a brief hiatus in 2011 as I was relentlessly gigging every weekend (to try and get on Strictly)," she said."I feel like I'm watching myself in a dream and I can't believe I've manifested this. Holding this in has been torture for me!"Tyler WestWest, who hosts afternoon shows on radio station Kiss, was the seventh celebrity to be announced and said he was "so gassed to be joining the Strictly family"."It's going to be one crazy incredible journey which will no doubt be so far outside my comfort zone," West said. "It's a show that means so much to me and my family and I can't wait to seriously shake a leg on that shiny dance floor… with a side of sequins."West was nominated for best new presenter at the 2020 Arias, an awards ceremony which recognises talent in the radio industry.He began his broadcasting career in children's television, presenting various programming across CBBC, and has hosted MTV News, HQ Trivia and the red carpet live show at the 2020 Bafta Awards. Last year, he launched his first BBC Three series, co-hosting Flat Out Fabulous as well as becoming the host of The MTV Movie Show.
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Something a bit different this week: a spirited debate between Guide regular Hannah J Davies and myself about the return of Big Brother, which is coming to ITV next year. Hannah is thrilled about the revival of one of the great reality shows, I think it should have remained dead and buried. Who’s right? Don’t phone in, it’s just for fun ...Sign up for the Guide to get the best pop-culture journalism direct to your inbox.All hail Big Brother’s return!Approximately every eight weeks, I will be staring into the middle distance, when I remember one specific TV moment which will never, ever not be funny to me.The moment is from Celebrity Big Brother 17, broadcast in the UK in January 2016. US reality personality Tiffany Pollard breaks down in hysterics as misunderstanding abounds around the death of someone called David. The David who is actually dead is the former husband of another housemate, Angie Bowie. The David she thinks is dead is David Gest, Liza Minelli’s former husband … and a fellow contestant on the series.What ensues is a maelstrom of chaos, mistaken identity and pathetic hilarity that makes Shakespeare look one-dimensional, as the likes of former EastEnder Danniella Westbrook and crooner Darren Day try to figure out who is dead and who is alive.While Celebrity Big Brother was, by the time it ended in 2018, a horrible show in so many ways, it could also occasionally still be the funniest, most surreal thing on television. But when that techno soundtrack and the iconic eye logo popped up in the ad break of Love Island (but of course) on Monday night, announcing the return of Big Brother to TV, it instantly took me back to a simpler time.I wasn’t thinking of “David’s dead” or TOWIE’s Gemma Collins calling people who used hair straighteners “weirdos” or George Galloway imitating a cat – I was thinking about the simple pleasure of the original Big Brother as a format, a petri dish for all the weird and wonderful and problematic things that people do when they’re locked in a house together for several weeks with no contact with the outside world and a fridge full of booze. I was thinking of the show that laid the foundations for Love Island, The Circle, and so many others besides – and how completely genius it is to resurrect it as the world seemingly crumbles.And why, you may be asking, would that be such a great move exactly? Isn’t reality TV a toxic mess? Haven’t you just watched Luca sulking like a five-year-old in a Spanish villa for two months? Didn’t you write in this very newsletter about the manufactured dramas of shows like Selling Sunset?The answer to all the above is yes, and yet, if done correctly and with a dose of both diversity and normality, Big Brother could be the antidote to many of the genre’s current issues. Everybody on reality TV nowadays seems to be an influencer or a nepo baby or – at the very least – harbouring a pathological need to become extremely famous extremely quickly. What was so refreshing about this year’s Love Island winners, Ekin-Su and Davide, was that they had a genuine “nation’s sweethearts” feel to them. Sure, they’re hot, but they also seem like you could take them to Wetherspoon’s for a pitcher deal. After a couple of years spent primarily inside, god knows who will be volunteering themselves up to enter the Big Brother house. But, when they do, they could make reality TV feel like the smart social experiment it once was, instead of the cruel and callous race to the bottom it often is today. Perhaps, just perhaps it could happen; after all ITV2 is reportedly working on a “middle aged Love Island” where offspring will pair up their parents and send them off on dates. To quote former Big Brother winner Anthony Hutton: “You don’t want loads of almost famous people … I want to see Frank from Wigan!” Hannah J DaviesThe Big Brother house should stay closedAn empty Big Brother house in 2013. Photograph: Channel 5/PAThe year 2000. Big Brother launches on Channel 4, to no little fanfare. It feels like a major moment. Nothing had ever been attempted to this scale on British TV before. 11 people stuck together in a one-storey house somewhere in east London, building alliances, rivalries, romances together, before being slowly winnowed down by the watching public, until one of them is declared the winner. It’s a dynamite premise: innovative, immersive, cruel, though with the slightest hint of a worthy social experiment at its core. Everyone is watching it, even the people declaring it a new nadir for British society. A new era for TV – the reality TV era – is ushered in.Fast forward to 2017 and, 19 seasons (plus 22 celebrity editions) later, Channel 5 – responsible for such landmark TV as Naked Jungle, Touch the Truck and approximately 382 shows about lambing in Yorkshire – decides that Big Brother is beneath them, and cancels it. No one seems remotely surprised or bothered. The intervening 17 years has seen the show grow coarser, crueller and more stupid. It had moved further away from its original premise – the fig leaf of social experiment long since having fluttered away – and had been reduced to endless stunts (fake evictions, secret second houses and the like) and increasing levels of savageness meted out to its contestants. It has inspired bullying, tabloid viciousness and a truly hideous racism scandal. Its ratings are in the gutter too. Now seems a good time for everyone to cut their losses.2022. Surprise! ITV2 announce that they are reviving Big Brother after five years away. Five years seems a suboptimal time to relaunch a series; recent enough for everyone to remember why it was binned in the first place, and not long enough for the warm glow of nostalgia to kick in. Buried in the press release trumpeting the show’s return is the fact that it will air for “up to six weeks”, a hint that maybe the ITV bosses aren’t viewing this as a surefire ratings hit but rather a gamble that might end with them pulling the plug early.Big Brother won’t arrive on our screens as some returning hero, but instead as a space filler while Love Island isn’t on. Love Island has, in 2022, not just eaten Big Brother’s lunch but found space for its breakfast and dinner too. It is the buffer T-1000 to BB’s creaking Schwarzenegger. It has extracted all the most compelling elements of its predecessor – the bickering, the booting out, the sex – and condensed it into a glistening, lean, irresistible package. Next to that Big Brother is likely to resemble a wobbling dad bod.Reality TV has changed dramatically since Big Brother dominated the genre. Contestants have become dramatically more savvy, and self-aware, conscious of their confected role in the product. Audiences too have become savvier too, more media-literate in their understanding of how these series are put together. Perhaps Big Brother, with its primary appeal of people-watching, will serve as a welcome antidote to this artfully manufactured era of reality TV. More likely though is that it will do what it did in its later years, layering on twists and stunts in an attempt to keep up with its younger reality brethren until it becomes utterly incoherent.Big Brother also returns to a reality TV landscape that has been altered in another way too, with an increased focusing on safeguarding contestants. While reality TV is still problematic in so many ways, the wild west days of early Big Brother, where no one gave enough attention to the effects of plonking a load of people into an enclosed space and pointing cameras at them, have largely gone. Among other things, reality TV is now more careful with alcohol, whereas Big Brother was awash with the stuff. Can BB recapture the voyeuristic thrills of its early years, while still toeing the line of today’s TV standards? I sincerely doubt it. Gwilym MumfordIf you want to read the complete version of this newsletter please subscribe to receive The Guide in your inbox every Friday.
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EastEnders actress Rose Ayling-Ellis is set to leave the BBC show, it has been announced. The Strictly Come Dancing champion has said she will "treasure" her time on the hit soap, and she is "excited" for viewers to see her character's exit storyline.
The 27-year-old, who plays Frankie Lewis, made history as the first deaf actor to play a regular character on the show.Since joining in 2020, she has been involved in a number of big storylines, including Frankie discovering her dad is Danny Dyer's character Mick Carter, who was abused as a child."It's been incredibly special to be EastEnders' first regular deaf actor," Ayling-Ellis said.
"I have loved my time on the show and Frankie has been such an awesome character to play; however now feels like the right time for me to move on, and I am excited and ready for new challenges."I will always treasure my time on the show and all the incredible people I have worked with, who have supported my growth as an actor these last two years and given me so many amazing memories." More on Eastenders EastEnders star Samantha Womack reveals she has breast cancer in Olivia Newton-John tribute Jade Goody's son Bobby Brazier 'really excited' to land role in EastEnders EastEnders and Desmond's star Mona Hammond dies aged 91 She made the comments in a farewell post on Instagram, which was accompanied by photos of her in Albert Square, and with co-stars Danny Dyer, Linda Henry, Charlie Brooks, Kellie Bright and Jane Slaughter.Talking about how her character will leave the show, Ayling-Ellis said the storyline is a "really important one that will hit home for lots of people". Instagram Due to your consent preferences, you’re not able to view this. Open Privacy Options She has already filmed her final scenes and will leave this autumn, the BBC said.Executive producer Chris Clenshaw said the EastEnders team are "incredibly proud" of everything Ayling-Ellis has achieved, describing her as a "trailblazer."He added: "I have only had the pleasure to work with Rose for a short time, but she has always been an incredible asset to EastEnders; not just as a phenomenal actor, but as an amazing company member too."Where else has Ayling Ellis achieved success? Image: Rose Ayling-Ellis and Giovanni Pernice The actress won Strictly's glitterball trophy last year alongside professional partner Giovanni Pernice, marking a historic win on the BBC One show as she became the first deaf contestant to take part.The pair later won the must-see moment award at the BAFTAs for their silent dance.Later this month, Ayling-Ellis will deliver the Alternative MacTaggart lecture at the Edinburgh Television Festival, where she will discuss her experiences as a deaf actress and life in the TV industry as a young person with a disability.Ayling-Ellis, who has been deaf since birth, has been a pioneer for the deaf community, including campaigning for British Sign Language (BSL) to be recognised as an official language.Earlier this week, she unveiled the first Barbie with behind-the-ear hearing aids as part of the Rose, Barbie and Friends campaign.She also recently became the first celebrity to sign a CBeebies bedtime story.
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In 2002, a 20-year-old waitress stepped into an audition room and sang before a panel of judges. It was the inaugural season of American Idol: The Search for a Superstar, the talent competition series that would become lasting appointment viewing, go on to inspire shows like America’s Got Talent and The Voice, and make celebrities out of contestants including Kelly Clarkson—the contender from Texas who was crowned the winner later that first year. Originally a spin-off of the 2001 British series Pop Idol, American Idol, which wrapped its 20th season in May, made it seem possible that anyone with the right amount of talent could end up on television—and maybe even get a record deal. For eight consecutive years, the series was the most watched prime-time program in the U.S. as it catapulted the careers of musicians like Clarkson, Carrie Underwood, Jennifer Hudson, Jordin Sparks, and Chris Daughtry. Viewers flocked to the show not only to vote for their favorite contestants, but also to watch the banter between the celebrity judges. The original trio, present for the show’s first eight seasons, included producer and musician Randy Jackson, choreographer and singer Paula Abdul, and producer and executive Simon Cowell (who would go on to discover and sign a flurry of successful bands through other reality television programming, like One Direction on The X Factor). After a two-year hiatus, from 2016 to 2018, the series moved from Fox to ABC, where judges Katy Perry, Lionel Richie, and Luke Bryan now continue the legacy. But it was the first season of American Idol that cemented the series’ burgeoning grip on viewers and the music industry alike; “A Moment Like This,” the single Clarkson performed on the season finale, skyrocketed to the top of the U.S. Hot 100 chart, breaking the 38-year-old record for the biggest leap on the chart that was previously held by the Beatles. —Annabel Gutterman Contact us at letters@time.com.
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Channel 4 is marking its 40th birthday with a musical about Prince Andrew and a programme about unusually large penises.The broadcaster announced that it would air a satirical musical about the life of the Queen’s second son, who had to step back from public life due to his association with the paedophile Jeffrey Epstein.As part of a season of programmes designed to hark back to Channel 4’s “radical, irreverent and iconoclastic roots”, it has also commissioned a documentary about people who struggle with their penis size.Other new shows will include a documentary about a woman who fled the Taliban and is now a successful porn performer, a show in which Jimmy Carr explores “cancel culture”, and a revival of Ben Elton’s 1980s comedy show Friday Night Live.The Prince Andrew musical has been written by the comedian Kieran Hodgson, who stars as the royal who paid a multimillion-pound financial settlement over a claim from Virginia Giuffre, who accused him of sexual assault in a US civil case. The Duke of York denies the claims.The show promises to explore the “key events, relationships, and controversies of Andrew’s life”, including his Newsnight interview with Emily Maitlis. It is one of a number of television programmes about the prince in the works, with Maitlis and the former BBC producer Sam MacAlister working on rival shows about his very public downfall – hastened by the decision to give a tell-all interview in which he claimed he could not sweat.Channel 4 has repeatedly said its unique status as a publicly owned broadcaster enables it to make programmes that for-profit broadcasters could not afford to take. It also recently recorded strong financial results. Despite this, Boris Johnson’s government has pressed ahead with plans to sell the channel – which often annoys Conservative MPs with its current affairs coverage – arguing that it would thrive in the private sector.Liz Truss, the favourite to be the next prime minister, has indicated that she intends to proceed with the sale, which could be completed next year. This means the latest programme announcements could be among the final shows commissioned under Channel 4’s existing operating model.The new line-up could be seen as either purposefully designed to wind up the Conservative politicians who are planning to privatise Channel 4 – or a sign of a midlife crisis.Politicians scrutinising the case for privatisation are likely to reference Too Large for Love, the documentary that talks to the “hidden minority of men who have an extra-large penis” and meets individuals whose “extra-large penises are ruining their lives”.Channel 4’s programme boss, Ian Katz, said the new commissions were “a collection of irreverent, thought-provoking and hugely entertaining shows that no other broadcaster would air”.He added: “If we must age, we plan to do it disgracefully.”
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The revival of the smash hit 2000s series was canceled by MTV after only two seasons in January. Fans of "The Hills: New Beginnings" may still be bummed that MTV pulled the plug on the revival after only two seasons back in January, but cast-member Brody Jenner said he was actually pretty "stoked" when it happened. "To be honest, yeah. It just wasn't the same experience. It was very stressful," he told People on Tuesday. "There was a lot of manipulation involved. It was just a lot." Getty Spencer Pratt Says He Told Brody Jenner to Date Lauren Conrad on The Hills, Talks Regret Over Sex Tape Storyline View Story He also suggested that the cast was sold one version of the show when it was initially pitched to them to come back, but things then took a big turn which left him with a sour feeling. "They had told us in the beginning that, 'Hey, we're going to do a new 'Hills,' and we want you guys to be on, but we're going to hire a new, younger cast,'" Jenner shared. If that sounds familiar, it's because that's what MTV says they're now doing in a new reboot of the show, this time set to feature a new and more diverse cast. But according to Jenner, that cast was supposed to co-exist alongside the OG gang. "I was like, 'Oh, that's great.' They're going to hire a new, younger cast," Jenner said. "'You guys will come in as the OGs. It's not going to be focused and centered around you guys.'" MTV Buckhead Shore Cast On How Show Compares to OG Series & Spinoffs, Reveals Who Is the Biggest Pot-Stirrer (Exclusive) View Story Obviously, as fans of the show know, that's not how things went at all as the new show was absolutely and only focused on the original cast-members that returned and their merry band of dysfunctional friends -- if we can use that word. Jenner went so far as to say that the cast had even helped MTV out with the younger cast idea by suggesting "a bunch of different younger people, but the network wasn't interested. MTV did not respond to People's request for comment on Jenner's claims. Jenner said that "there was so much pressure" on the OG cast to drive storylines. "I'm like, 'Dude, I'm f------ 37 years old," Jenner said. "I don't go out to nightclubs every night and go hunting for chicks in nightclubs. That's just not me anymore." That's why he and the rest of the cast were hopeful that they'd be joined by new, fresh, younger faces. Does that mean they'll tune in to the new reboot that will only be those younger faces? Getty Spencer Pratt Trolls 'Hot Garbage' OG The Hills Cast, ‘Manifesting’ His Involvement in New Series View Story While we don't know the answer to that, we do know that Jenner is looking forward to tuning in to his own younger face, alongside the rest of the OG gang, as part of a new project. Jenner is partnering with Audrina Patridge and Frankie Delgado to launch "Was It Real? The Hills Rewatch" podcast, premiering with two episodes on July 12. Fans may recall that the show was famously pseudo-real at best before that kind of became the industry standard for reality television. More than just a rehashing of old episodes, the crew is promising new insights and behind-the-scenes stories. And they'll be joined by fellow cast members, producers and other celebrity fans along the way as they hope to navigate through all six seasons. Don't look for seasons "seven" and "eight," though. Jenner says they have no intention of exploring "New Beginnings." "We don't need to talk about the new seasons," he told People. "That s--- was so whack!"
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Gretchen Mol and Rosie O'Donnell also star in the reimagining of Paul Schrader's 1980 film. Sex sells, but murder is where the real money is.
Jon Bernthal stars as Julian Kaye, an ex-escort who sets out to exonerate himself after serving 15 years for a murder charge for the death of his former client. Kaye finds former lover Michelle (Gretchen Mol) for answers, while Detective Sunday (Rosie O’Donnell) tries to piece together what really happened at the crime scene.
The Showtime series reimagines the Kaye character originated by Richard Gere in Paul Schrader’s 1980 film “American Gigolo.”
The drama also stars Lizzie Brocheré as Isabelle, the heiress to a ring of sex workers; Gabriel LaBelle as Johnny, a younger version of Julian; Leland Orser as Richard Stratton, a self-made tech billionaire; and guest star Wayne Brady as Julian’s best friend and mentor, Lorenzo. Lead star Bernthal previously told GQ that he was even surprised to be cast in the lead role for the upcoming series. “I do not believe that I possess any kind of natural sex appeal,” Bernthal said. “I’ve always looked at myself as this weird-looking guy.” The “We Own This City” star continued, “It’s crazy to me, but it scares me — and that’s why I’m gonna see it through.” Original “American Gigolo” director Schrader slammed the television series in a Facebook post confirming that he was not involved in the production. “Some years ago I received a call from Paramount asking about remaking ‘American Gigolo’ as a series,” the “Taxi Driver” writer penned. “I replied that I thought it was a terrible idea–times had changed, internet porn had redefined male sex work, viruses, etc. I couldn’t imagine Julian Kay working a Hen Party. (Scorsese and I had fought off similar attempts to redo ‘Taxi Driver’ for years.) I thought that was the end of it.”
Schrader continued, “Then came another call saying Jerry Bruckheimer and Paramount had the rights to redo ‘AG’ without my consent. I said I would think about how such a show could be structured. No, the caller explained, they did not want my involvement. Here were my options: (1) take $50G and not be involved (2) take $0 and not be involved (3) threaten an expensive and futile lawsuit and not be involved. I took the $50G.”
The “Card Counter” director concluded, “I’m a great fan of John Bernthal and wish Gretchen Mol the best. I don’t plan to watch the Showtime series. I don’t think I could be objective about it and, even if I could, it’s too much agita.”
“American Gigolo” was originally helmed by “Ray Donovan” showrunner David Hollander before he parted ways with the series amid an ongoing misconduct investigation. Hollander wrote and directed the pilot for the new series, which is produced by Paramount TV Studios with Jerry Bruckheimer Television. The 10-episode series has filmed seven episodes thus far before Hollander was let go. Executive producer David Bar Katz later exited the series three weeks after Showtime and Hollander split. Nikki Toscano snow serves as showrunner and executive producer. “American Gigolo” premieres September 9 on Showtime.
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Television
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LOS ANGELES — Roger E. Mosley, best known for his role as the helicopter pilot Theodore “T.C.” Calvin in the CBS television series “Magnum P.I.,” died early Sunday morning. He was 83 years old. No further details about Mosley’s death were available.Mosley’s daughter confirmed the news of his death through a tribute post on her Facebook.“Roger E. Mosley, my father, your friend, your ‘coach Mosley’ your ‘TC’ from Magnum P.I., passed away at 1:17am,” she wrote. “He was surrounded by family as he transcended peacefully. We could never mourn such an amazing man. He would hate any crying done in his name. It is time to celebrate the legacy he left for us all. I love you daddy. You loved me too. My heart is heavy but I am strong. I will care for mommy, your love of almost 60 years. You raised me well and she is in good hands. Rest easy.”The actor was well-known for his role alongside Tom Selleck in the original 1980s series “Magnum P.I.” In total, Mosley starred in 158 episodes and made a cameo in the show’s rebooted 2018 CBS series as the barber to the character he originated, T.C.Born in Los Angeles on Dec. 18, 1938, Mosley was raised in Watts and was a student at Jordan High School. In 1971, he got his start in screen acting with playing small roles in “Cannon” and “Longstreet.” He went on to play Monk in “Terminal Island,” alongside Phyllis Davis and his soon-to-be co-star Selleck.After a number of roles in the late 1970s, Mosley began his time on “Magnum, P.I.” as Theodore “T.C.” Calvin, a helicopter pilot who operated a tourist charter business called “Island Hoppers.” His character often appeared alongside Orville “Rick” Wright, played by Lawrence Francis Manetti. Mosley also directed and wrote an episode of the original series.In addition to “Magnum, P.I.,” Mosley also made appearances on the shows “Love Boat,” “Night Gallery,” “Sanford and Son,” “Kung Fu,” “Kojak,” “McCloud,” “The Rockford Files,” “The Life and Times of Grizzly Adams,” “Starsky and Hutch,” “You Take the Kids,” “Night Court,” “Hangin’ With Mr. Cooper,” “Walker,” “Texas Ranger,” “Rude Awakening,” “Las Vegas” and “Fact Checkers Unit.”On the film side, Mosley is credited for his work on Blaxploitation films such as “The Mack,” “Hit Man,” “Sweet Jesus,” “Preacherman,” “Darktown Strutters” and “The River Niger.” He also played one of the main roles in the 1979 TV film “The Jericho Mile,” which was the feature debut of Michael Mann.Mosley is survived by his partner, Toni Laudermick, and three children.
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Television
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Kaye Adams has been announced as the fourth contestant to sign up to Strictly Come Dancing 2022.The Scottish TV star, 59, made the exciting announcement live on Friday's Loose Women on ITV after keeping it a secret from her co-stars.It comes as Richie Anderson was announced as the third celebrity confirmed for this year's Strictly Come Dancing, and he will be part of an all-male partnership. It's official! Kaye Adams has been announced as the fourth contestant to sign up to Strictly Come Dancing 2022Kaye stunned her fellow panelists Denise Welch, Carol McGiffin and Sunetra Sarker, as well as Nadia Sawalha who appeared via video link, with the news towards the end of the show.Kaye follows in the footsteps of fellow Loose Women stars Judi Love, Ruth Langsford and Christine Lampard who have all taken part in Strictly.A source previously told The Sun of Kaye's upcoming Strictly stint: 'Kaye is a classic Strictly signing. She ticks so many boxes.'She's been keeping it a closely guarded secret for some time.'Even her own co-stars have been kept in the dark.' Congratulations: It comes as Richie Anderson was announced as the third celebrity confirmed for this year's Strictly Come Dancing , and he will be part of an all-male partnershipMeanwhile, BBC Radio 2 DJ Richie, 34, revealed he will be joining the 2022 series during his radio show on Friday, and joins Coronation Street stars Will Mellor and Kym Marsh in the current line-up.The former Sunday League footballer - who went viral in 2018 when he came out as gay to his teammates at Coombs Wood F.C in an emotional documentary - said that it's a 'massive honour' to be part of the show's all-male partnership. He said in a release: 'This is a dream come true! I cannot wait to get in those sparkles and sequins and shimmy across the most famous dance floor in the world! Strictly is the ultimate feel good show, as soon as I hear that iconic theme tune it’s just pure escapism. Huge news: The Scottish TV star, 59, made the exciting announcement live on Friday's Loose Women on ITV after keeping it a secret from her co-stars Leading the way: Kaye follows in the footsteps of fellow Loose Women stars Judi Love, Ruth Langsford and Christine Lampard who have all taken part in StrictlyAt last! The first two stars for Strictly Come Dancing were announced on Thursday, with actor Will Mellor (right) and soap favourite Kym Marsh (left) joining the lineup'I’m going to have to cancel my legendary 'Strictly' launch night kitchen party that I throw every year, I’m sure my friends and family will understand.'He added: 'It’s also a massive honour to be part of an all-male dance partnership, it’s so important we have that inclusion on such a huge show.'Last year's series saw Great British Bake Off star John Waite form the show's first all-male partnership with pro Johannes Radebe - with the couple reaching the final. The year before saw the show's first ever same-sex pairing as boxer Nicola Adams was paired up with Katya Jones - however the duo had to withdraw from the competition in week three after Katya caught Covid. Chuffed: The former Sunday League footballer said that it's a 'massive honour' to be part of the show's all-male partnershipIn 2018, Richie famously came out as gay to his Sunday league football teammates during a feature for The One Show exploring homophobia in the sport.The team knew Richie was filming a piece for the daily BBC One programme, but it wasn’t until he sat them down in the locker room after the match that they discovered he was looking into the issues around being gay in grassroots football.'One of the big issues we’ve looked at this week, erm, it’s really close to my heart, is homophobia in football,' Richie began. Candid: In 2018, Richie famously came out as gay to his Sunday league football teammates during a feature for The One Show exploring homophobia in the sport'The reason why that means a lot to me is – I’m a gay footballer. So I just wanted to be open and honest with you lot. It’s just been class.'This is really hard for me to do...' he added, before his teammates began to applaud him. Richie went on to say he was 'So, so relieved. I can’t even tell you.' He continued: 'I expected it as they’re a good bunch of lads. It probably helped that I scored as well, but I’m so relieved. 'The main thing is, I hope there’s people watching this that are in the same boat I was in, and they’re thinking, "You know what? I can do that as well."' Talented: Last year's series saw Great British Bake Off star John Waite form the show's first all-male partnership with pro Johannes Radebe - with the couple reaching the final Groundbreaking: 2020 saw the show's first ever same-sex pairing with boxer Nicola Adams and Katya Jones - however the duo had to withdraw after Katya caught CovidOn Thursday, the first two stars for Strictly were announced, with actor Will and soap favourite Kym joining the lineup.The Coronation Street actress and the Two Pints Of Lager and A Packet Of Crisps star, both 46, were unveiled on Thursday's BBC Breakfast, with Kym revealing she's wanted to join the show for 'a number of years.'She said: 'I've considered doing Strictly for years but the timings never worked out. I'm so delighted that this year they have! 'I'm a huge fan of the show and can't believe I'm going to go from watching at home in my pyjamas to actually dancing in front of the judges in a glittery dress, it's unreal!' Speaking on Breakfast, Kym admitted she hadn't told her Morning Live co-host Gethin Jones about taking part in the show, despite hm previously taking part in 2007.She said: 'I was joking with him and I said ''were you on Strictly because you've never mentioned it!'' I think he was always asking me if I was going to do it, and he kept going on about it again over the next few months, and of course I've not spoken to him and I'll probably get a message later saying ''you never told me!'' Here she is! Former Coronation Street star Kym was unveiled as the second contestant on Thursday's BBC Breakfast Soap favourite: Kym is best known for playing Michelle Connor on Coronation Street from 2006 to 2019Speaking via. Zoom, Kym revealed that her parents were both hiding behind a curtain while she took part in the interview, and they were even more excited to see her take to the dancefloor.The actress, who rose to fame as a star of the band Hearsay, added she's open to learning the new dance styles, as they will be a stark contrast to her pop star days. She continued: 'I'm just very keen to learn watching it, I've done dancing before when I was a little girl, and when I was in Hearsay, my husband is very excited about me being able to teach him, so we can do it when we go to the balls.'Any of them really, just to learn how to dance properly would be brilliant.'Asked whether she'll fear the harsh critiques of Craig Revel Horwood and the rest of the judging panel, Kym added: 'I was judged by Nasty Nigel in Popstars don't forget that, he was the villain back in the day!'These are the people I truly respect, this is what they do, I'm just going to have to suck it up I guess, you've just to take it on the chin.' Determined: Asked whether she'll fear the harsh critiques of Craig Revel Horwood and the rest of the judging panel, Kym added: 'I was judged by Nasty Nigel in Popstars don't forget that'Kym is best known for playing Michelle Connor in Coronation Street from 2006 to 2019, and since October 2020 has co-hosted BBC's Morning Live.It is set to be a busy year for Kym as she also set to film Waterloo Road at the end of the year, joining the school drama as mother-of-two Nicky Walters.Kym's unveiling came after fellow Corrie star Will was unveiled as the first contestant earlier in the show, with the actor saying he's signed up to bring some joy to his mother after a 'tough time' for his family. He said: 'I'm honestly so chuffed to be taking part in Strictly Come Dancing this year! Not going to lie, it's totally out of my comfort zone and I know it will be a huge challenge but that's what life is all about.'This is also my Mum's favourite show and she's had a really tough few years so I'm doing this is for her as well. Bring it on!' First big star! Kym's unveiling came after fellow Corrie star Will was unveiled as the first contestant earlier in the showFollowing a series of clues alluding to his previous acting roles, Will was unveiled as the first Strictly star during the Breakfast show, and said he agreed to join the show after vowing to 'grab life' following his father's death in 2020.He told Naga Munchetty and Charlie Stayt: 'Excited is one word for it, terrified is another, that's one of the reasons I'm doing it, it's stepping out of my comfort zone.'When I said yes to doing it, it was a long way away, but it's going a bit closer it starts settling in and it gets a bit frightening now.' Tragic: He said he signed up for the show to bring some joy for his mum, after his beloved father Bill passed away from cancer in 2020Will added that he has already told his two children he would be joining the show, adding he wanted their blessing to take part over fears he could embarrass them.He added: 'I had to tell my kids, because I had to ask if it was alright, they're 18 and 14, I'm not going to do anything they find mortifying, they're OK. It's something that I've never done before.'Will also revealed that he decided to join the show after vowing to 'grab life and create new memories,' and said he wanted to bring some positivity for his mother following his dad's death in 2020, two weeks after being diagnosed with cancer. Blast from the past! Will starred in the BBC comedy Two Pings Of Lager And A Packet Of Crisps from 2001 to 2011 Sinister: He also played the villains drug lord Harvey Gaskell on Coronation Street last year'I lost my dad in 2020, and from then I thought I've just got to grab life and do things and create new memories, and that'sone of the reasons I said yes.'Because she's had such a tough time of it I wanted to give her something to look forward to, she lost my dad and her brother and brother-in-law and sister in a year and it was a really tough time for the family. I think mentally it will be good for me as well.'While he is best known for playing Gaz Wilkinson on the BBC comedy Two Pints Of Lager And A Packet Of Crisps, Will has also had roles in Holby City, Broadchurch and more recently, drug lord boss Harvey Gaskell in 2021. Ready to dance? Following the announcement, Will was in high spirits as he exited the BBC Breakfast studios Dance it out! He showed off some of his best moves as he stepped out in Media City Salford Return: It comes after the launch date for this year's Strictly was revealed as Wednesday September 7 (Claudia Winkleman and Tess Daly pictured)It comes after the launch date for this year's Strictly was revealed as Wednesday September 7, when the series will film a pre-recorded launch show which sees this year's celebrity contestants paired up with their professional partners.Strictly bosses released a statement confirming the date while inviting fans to apply for tickets, with launch set to air on BBC One later that month.They wrote: 'Dust off your dancing shoes, Strictly Come Dancing is back!'The stunning 20th series returns, bringing glamour and show-stopping dancing back to Saturday nights on BBC One – and we're extremely excited to be able to welcome an audience back to the studio for this year's shows.'Hosted by the very talented and glamorous Tess Daly and Claudia Winkleman, the show will once again come live from Elstree Film and Television Studios.'Registration is now open to be part of the exciting Launch Show, which is recording in advance of this year's live shows on Wednesday, September 7.' Show: The series will film a pre-recorded launch show on this date, meaning viewers will likely see the celebrity contestants paired up with their partners the weekend of September 10 (L-R Shirley Ballas, Anton Du Beke, Craig Revel Horwood and Motsi Mabuse)To mark the BBC's 100th anniversary, the professional dancers will be putting on a special group routine like they have never done before.In another statement, Strictly bosses said fans can enter a draw to watch a recording of the special performance take place on August 24. They said: 'Strictly Come Dancing is celebrating 100 years of the BBC! The professional dancers will be throwing a party like only they know how, with a group number full of all the usual sparkle and glamour. 'There may well be a surprise or two as well, with special guests and fun tributes to some of your favourite BBC shows.' Show: To mark the BBC's 100th anniversary, the professional dancers will be putting on a special group routine like they have never done beforeJudges Shirley Ballas, Craig Revel Horwood, Motsi Mabuse and Anton Du Beke have all been confirmed to return.Meanwhile, four new pro dancers have joined the line-up, which means that 20 professionals in total are ready to bring their skills to the BBC show's dancefloor later this year - the show's biggest dancer line-up in history.The four new world class dancers completing this year's professional troupe are European cup winner Vito Coppola, Chinese National Champion Carlos Gu, former Under 21 British National Champion Lauren Oakley and Latin dance champion Michelle Tsiakkas. A statement said: 'Registration is now open to be part of the exciting Launch Show, which is recording in advance of this year's live shows on Wednesday, September 7'They join the professional dancers already revealed for the upcoming series: Dianne Buswell, Nadiya Bychkova, Graziano Di Prima, Amy Dowden, Karen Hauer, Katya Jones, Neil Jones, Nikita Kuzmin, Cameron Lombard, Gorka Marquez, Luba Mushtuk, Giovanni Pernice, Jowita Przystal, Johannes Radebe, Kai Widdrington and Nancy Xu.Show favourites Alijaz Skorjanec and Oti Mabuse both quit Strictly Come Dancing earlier this year.Not every pro dancer will be paired with a celebrity with four traditionally performing only in the pro routines. New faces: Strictly Come Dancing will have its biggest professional dancer line-up in history when it returns this autumn for its 20th series with four new pros joining the show STRICTLY COME DANCING 2022: WHO ARE THE CONTESTANTS? KYM MARSHAge: 46Profession: Coronation Street star and presenterKym says: 'I'm so delighted that this year they have! I'm a huge fan of the show and can't believe I'm going to go from watching at home in my pyjamas to actually dancing in front of the judges in a glittery dress.'RICHIE ANDERSON Age: 34Profession: Radio presenter Richie says: 'This is a dream come true! I cannot wait to get in those sparkles and sequins and shimmy across the most famous dance floor in the world!' WILL MELLORAge: 46Profession: ActorWill says: 'I know it will be a huge challenge but that's what life is all about. This is also my Mum's favourite show and she's had a really tough few years so I'm doing this is for her as well. Bring it on!'
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Television
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What more is there to say about Lucille Ball and Desi Arnaz that hasn’t already been said? The marriage between the two comedians played out on one of the most popular television shows of all time, “I Love Lucy,” which continues to influence sitcoms to this day. And their presence in American culture has barely waned in the years since their deaths. A scripted movie about their marriage, “Being the Ricardos,” came out just last year! So the entire crafts team behind Amy Poehler’s Emmy-nominated Amazon documentary “Lucy and Desi” knew that they had their work cut out for them.
From a narrative perspective, they had to tell a new story about Lucy and Desi that deepened fans’ understanding of the sitcom stars while respecting their legacies. And on the technical side, the team had to use their skills to elevate often-spotty 20th century footage to the level of clarity that contemporary viewers have come to expect. No easy task, but suffice it to say they pulled it off. The film’s editor Robert Martinez, composer David Schwartz, and supervising sound editor Anthony Vanchure sat down with IndieWire’s Kristen Lopez about the process of documenting one of Hollywood’s most iconic power couples. When they began working on the project, the team understood that most audience members would have at least a surface-level familiarity with the subject matter, given the outsized influence that “I Love Lucy” had on American pop culture. That came with pros and cons, as they had to reckon not only with the real Lucille Ball and Desi Arnaz, but with the public’s perceptions of them as well. They also had to ensure that their own creative contributions to the project were serving the specific narrative the film set out to tell above all else.
For example, many fans have noticed that the film’s theme music, composed by Schwartz, resembles the theme song from “I Love Lucy.” The composer explained how he struck a balance between his subconscious nostalgia for the iconic show and the need to ensure that the documentary could stand on its own.
“I don’t think I ever consciously said ‘let’s make it sound like the ‘I Love Lucy’ score,'” Schwartz said. “But it seeps in there.” He added that when he played an early draft of the theme for Poehler, she encouraged him to tone down the similarities even more. “She did like it, but there were ‘buts’ in there,” he said. “I think she wanted more on the drama side and less on the light side. And I liked that, so we started going more in that direction.”
Balancing clarity with authenticity was a constant struggle for the crafts team. Vanchure spoke about how much of the existing audio footage of Desi Arnaz was “really rough” due to a combination of old technology and his accent getting thicker as he aged. Vanchure frequently found himself torn between difficult audio and his desire for clarity and aversion to subtitles. Still, as easy as it would have been to scrap some of that footage, the team pulled through because that accent was an essential part of who Desi was. “He had an accent, which is kind of a testament to his roots,” Martinez said, adding that performing with an accent was “a choice to keep that part of your homeland, part of your culture. Desi never lost that.”
One angle that the entire team was particularly interested in was telling the story of Desi Arnaz as a person separate from Ball. Martinez and Poehler took extra care to show him as more than Ricky Ricardo, highlighting the pain that he endured when their business struggled.
“Trauma wasn’t a thing that people talked about back then,” he said. “Especially with men, and especially in the Latin culture there’s an element of machismo and not talking about that sort of stuff. And I think, where we are now, we can talk about those things. It’s still tough, but giving sort of relevance to his journey and losing it all and having to reinvent yourself. It’s a very American story, in that way.”
That was just one of many ways that the team found themselves learning more about one of the most public marriages of the 20th century as they got deeper into working on the film. Crafts team members said they left with a deeper appreciation not only of Lucy and Desi as people, but of the impact that they had on the entertainment world at large.
“The overall perspective of this movie was really stunning,” Schwartz said. “The innovations are incredible. They changed television. They changed the way it’s shot, they created reruns, they shot on film, and so many more. And they were one of the big studios that was producing all these other super well-known shows.”
“I knew they were hard workers,” Vanchure said. “But just seeing the footage of everything they did… it just puts Lucy in a new light to me.”
Much of that new perspective was made possible by Amy Poehler, whose involvement attracted most of the crafts team to the project and who crafted the narrative they used to tell Lucy and Desi’s life stories. The whole team had praise for her work as a director.
“There’s so much that she’s done in her career that makes her a good candidate to be a documentary director,” Martinez said. “Her coming from improv training and being on ‘SNL’ and these sorts of things, she’s not precious with everything. It’s about the full piece, and she doesn’t get caught up in the weeds on things. Very quick to keep moving, and doesn’t slow the process down. She’s a very decisive storyteller, and for a documentary that’s very helpful because the story is always changing.”
Still, while Poehler’s name might generate the most attention, everyone who worked on “Lucy and Desi” emphasized that the project was a team effort. The film’s six Emmy nominations reflect that, and getting to experience this together makes the awards run even more special for the crafts team. “I’m most grateful that everyone is represented,” Martinez said. “Six nominations is a big number and everything. But us, who worked on the project, we all put faces to those numbers. So it’s kind of the best case scenario that all of our pool is represented and we can all be there and lose to The Beatles.”
IndieWire’s Consider This Conversations brought together Emmy nominated cast and creative team members from five of television’s most prestigious shows to discuss some of the best art and craft of TV production of 2022. In addition to “Lucy and Desi,” other featured shows include Amazon’s “Marvelous Mrs. Maisel”, as well as Netflix’s “Stranger Things,” VH1’s ”RuPaul’s Drag Race,” and National Geographic’s “Life Below Zero.” Follow them all here. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television
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A one-minute video advert about a new recruitment drive, which will be shown in cinemas, on television and online, shows a dystopian future where a robot soldier scouts the terrain of a battlefieldThe British Army's latest recruitment advertising campaign featuring robotsThe British Army is launching a new recruitment drive to attract thousands more troops - by arguing that robots will never take over the job of war-fighting. The campaign called Nothing Can Do What A Soldier Can Do suggests that while new technologies are being used by troops in battle, the future of defending the UK will be run by soldiers. A one-minute video advert, which will be shown in cinemas, on television and online, shows a dystopian future where a robot soldier scouts the terrain of a battlefield. The ending shows that while technology is important, only soldiers can make instinctive decisions on the ground in a conflict zone. As part of the drive, striking images of soldiers and robots will be displayed on billboards. The campaign is the sixth of the “This is Belonging” series developed by recruitment giant Capita and the British Army. The original form of the famous 1914 British recruiting poster designed by Alfred Leete (
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Alamy Stock Photo) Colonel Nick Mackenzie, assistant director of recruiting, said: “Like previous recruitment campaigns, Nothing Can Do What A Soldier Can Do aims to dispel one of the many myths that surround the British Army. “This time, looking at the British Army of the future and the role of soldiers within it. “We want to tell future recruits that, no matter what technological advancements we make, it is the judgment, intelligence and even the wit of our soldiers that is indispensable to the future of the Army. “We hope the campaign will lead to potential applicants seeing the Army as an exciting place they can learn and grow, and be valued as an integral part in our future.” Richard Holroyd, managing director of Capita Defence, Fire and Security, said: “While we live more of our lives online and increasingly in augmented realities, it’s easy to believe that the future of any armed force is now about mass robotic units managed by unfeeling AI. “As a former soldier, I know that will simply never be the case. Technology must work alongside the human ingenuity of soldiers and personnel - the army of the future still needs you.” Read More Read More
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Television
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You might have thought that reality television hit its all-time undignified motherlode with The Masked Singer; a series in which various fading yet thirsty celebrities had to perform dress-up karaoke in the vain hope that someone – anyone – would remember who they were. It was thrillingly desperate stuff, but the good news is that the reality television industrial complex has just uncovered a brand new strata of desperation. It comes to us in the form of ABC’s new series Claim to Fame.Because Claim to Fame doesn’t actually feature any celebrities. Instead, its stars all happen to be made up of a far worse demographic: people related to celebrities. They’re all siblings, or children, or grandchildren of very famous people, and the trick of the show is making us (and the other contestants) try to figure out the identity of their better-known relative.It’s a historically grubby realm. This is Frank Sinatra Jr territory. It’s Chet Hanks, or Frank Stallone, or most of the Baldwin brothers, or whoever Hulk Hogan’s daughter is. It’s designed to draw out everyone’s worst impulses about privilege and nepotism. A different version of this show would have hammered this angle a lot harder, using it as a conveyor belt of out-of-touch rich kids who have never actively had to try very hard at anything to receive far more than the rest of us.Happily, at least based on the first episode, Claim to Fame avoids this route. Nevertheless, it still carries an element of low-level tragedy. All of these people, to some extent, have lived their lives in the shadow of a celebrity. They have forever been defined by their proximity to stardom – everyone they have ever met over the course of their entire lives has inevitably asked them about their famous relative – and their participation on the show only makes it worse. This was meant to be their chance to shine, their one opportunity to prove to the world that they were more than just a neglected strand on a family tree, and yet here they are, pimping out their family connections on what basically amounts to a parlour game.And it’s not like the show tries to hide this. Everything about Claim to Fame seems designed to frame the contestants as second class citizens. They all stay together, Big Brother-style, in a house that is at one point described as “legendary”, even though it is literally just Katy Perry’s old home. And the first task of the series involves forcing the contestants to take part in a talent show, which feels absurdly cruel. There they are, related to people who’ve utilised a combination of skill and hard work to make millions of dollars, and the best thing they’re able to show us is how they can make basic cocktails or miss easy basketball shots. It’s grim viewing. Photograph: John Fleenor/ABCHowever, once this scorn service has been shoved aside, Claim to Fame does actually start to get genuinely interesting. Because none of the contestants know who any of the other contestants are, and uncovering their true identities is the only way that they’ll win the grand prize. As such, they all quickly topple into outright paranoia. They lie, they cross-examine, they constantly scribble clues in their notebooks. They don’t get a moment’s peace. It’s a bit like being on a murder mystery night except, instead of being murdered, the victim has got a 1970s action star as a grandfather.The level of gamesmanship that this prompts in the contestants is ridiculous. For instance, one woman is instantly recognisable, thanks to her strong physical resemblance to her sister, a very famous athlete. The obvious thing to do would be to out her at the end of the first episode for an easy win. But the other contestants all decide to keep her in their back pocket instead, picking off other less recognisable participants so they can use her as a get out of jail free card when they need it most. She now has to spend the entire series as a dead woman walking, all thanks to a crazed determination of a person who – if I had to guess – is probably Zendaya’s cousin or something. It’s an absolutely psychopathic way to live your life. It’s brilliant.Annoyingly, I am already fully invested in Claim to Fame. There’s an argument to call it an important social experiment about the cost of fame on the people around you, but I won’t. It’s a bunch of also-rans going nuts in Katy Perry’s house. Sometimes that’s all you need. Claim to Fame is on ABC on Mondays with a UK date to be announced
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Television
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From "Pose" to "Orange is the New Black," here are our picks for the best LGBTQ+ shows of the 21st century. Queer representation on the small screen has certainly come a long way over the past two decades, not only in terms of quality but also quantity. Back when I was a baby queer in the early 2000s, “The L Word” was pretty much all I had to see parts of my experience on TV, save for the rare gay subplots of popular teen shows — never forget Marissa’s brief but extremely hot dalliance with Olivia Wilde on “The O.C.” The stereotyped gays of “Sex and the City” and “Will and Grace” were replaced over the years by more fleshed out and nuanced queer characters across the LGBTQ+ spectrum, and, finally, we’ve seen some actually well-written trans characters played by trans performers. Its mostly been in the latter half of the 2010s and early 2020s that we’ve really seen a rise in more dynamic and diverse LGBTQ+ storytelling, with shows hosting largely queer and trans writers rooms (as they always should have), history-making series, and ones that finally put queer and trans folks of color behind the camera and in the showrunner’s seat. Such a variety of beloved shows thankfully made selecting the best ones of the 21st century a fairly easy task, but one that still comes with some caveats. While the industry has made great progress, there’s tremendous work to still be be done — for one, we need more series with transmasculine and non-binary characters (leads, please and thank you!), shows that represent non-able-bodied folks in the community, more racially diverse casts and writers rooms (on shows that don’t get canceled right away) and generally just more.
It’s also hard to look back on the past couple decades and find many queer shows free of flaws. Queer and trans lives are, obviously, rich with nuance and so multitidinous that any attempt to depict them for mainstream audiences will typically fall short in some capacity. There’s also the fact that many of the excellent shows we have seen with authentic LGBTQ+ narratives have often not gotten the same multi-season commitments that hetero-centric series do from their networks (you’ll sadly find many examples below).
But even so, there is plenty to celebrate from the past 22 years of television. From series that have given us hot queer sex scenes to ones that have depicted painfully poignant yet vital pieces of queer history, and especially the ones that have given us romances we’ll continue swooning over for years, there’s a lot of queer TV to love. Below, in no particular order, are 10 series worth watching.
1. “Veneno”
“Veneno” isn’t just one of the best LGBTQ+ shows, but one of the best damn series of the past few years, period. The Spanish limited series from creators Javier Ambrossi and Javier Calvo chronicles the life and death of one of the most famous trans women in Spain, Cristina Ortiz Rodríguez, better known as “La Veneno,” a sex worker who skyrocketed to superstardom in the ‘90s after appearing on a late-night talk show. “Veneno” is a show bursting with sizzling energy, bold color, and larger-than-life extravagance — a fitting approach to depict the life of a woman who lived on her own principles, often struggling to just survive. The HBO Max series jumps through time to not only tell Cristina’s life story, but parallels it with the story of Valeria (Lola Rodríguez), a young trans woman and journalist writing a book on Cristina’s life. “Veneno” also does what so few series and films have failed to: casts multiple actors to depict a trans character at various stages of their life and transition. JEDET, Daniela Santiago, and Isabel Torres portray Cristina across three different eras of her life, each giving such moving performances it’s tough to choose a favorite. It’s a shame more people haven’t raved about “Veneno,” a show that should be hailed for its thrilling and sensitive take on both the messy and intimate details of a trans icon’s life.
2. “Work In Progress”
Queers In Crisis Going to Therapy is essentially “Work In Progress”. The short-lived series from Abby McEnany is that underdog show that, despite critical acclaim, not enough people watched (hence why Showtime canceled it after only two excellent seasons), but was a rare gem that found humor in the exhausting nightmare that is just trying to get through life.
Playing a version of herself, McEnany stars as Abby, a “fat queer dyke” who’s struggling with depression, obsessive compulsion, and suicidal ideation. Dark-sounding, but “Work Is Progress” also gets credit as a show that’s consistently made viewers laugh the hardest while also deftly tackling topics around mental health. It unpacks the anxiety of moving through the world as a gender non-comforming person, it understands the exclusionary nature of many queer communities under the LGBTQ umbrella, it gets the impossibility of finding a good therapist, and it portrays a tender relationship between two non-cis people (the other played by Theo Germaine) that is so refreshingly and honestly queer. The fact that another wonderful queer show produced by Lilly Wachowski was cut short too soon will forever remain heartbreaking, but at least we got 18 episodes we can revisit again and again.
“Sense8”Murray Close / Netflix
3. “Sense8”
If there was an award for the Queerest Show of the 21st Century it would undoubtedly go to the wacky, the wild, and the unabashedly horny “Sense8.” This bold sci-fi fever dream from the minds of Lana and Lilly Wachowski and J. Michael Staczynski is the one show that comes to mind when one thinks of what television should look like when it celebrates the multifaceted beauty, and at times struggle, of loving and being loved as a queer person.
Beyond giving us a trio of queer orgies, “Sense8” gave us so many different variations of what being queer can look like. Lito and Hernando’s love story explores the pressures of coming out as a gay celebrity in a hypermasculine industry — and eventually introduces a poly triad with Dani. Nomi and Amanita are the sweet yet fierce lesbian activist couple, with Nomi’s arc alone giving us much-needed representation of a fearless trans woman fighting her oppressors in a sci-fi universe. There’s Kala, Rajan, and Wolfgang’s surprisingly exploration of a sexual poly dynamic. But beyond all that, “Sense8” at its core is a show about love and the many types of intimacy that bind us together, be it romantic, sexual, and/or emotional. It’s a show that uses the sci-fi notion of a cluster to explore the significance of queer community, chosen family, and untraditional, non-heteronormative forms of connection. It simply doesn’t get queerer than a finale ending with a used rainbow strap on after a slow-motion orgy.
4. “The L Word”
For better or for worse, “The L Word” was the lesbian bible of the 2000s. Ilene Chaiken’s series brought so many elements inherent to lesbian culture to the screen for the first time, and that alone makes it deserving of joining this list. It showcased gay women starting a family, navigating fidelity, embracing desire, stirring up endless drama, U-Hauling, dating their exes and their exes’ exes, and most importantly, sex. “The L Word” was a treasure trove of hot sex scenes in almost every location and dramatic scenario you could ask for, and every queer certainly has their favorite (for this one, CeCe Peniston’s “Finally” will never not trigger joyous memories of Alice and Dana’s long-awaited hookup).
As much as “The L Word” gave the lesbian community a show to call their own, it was also a deeply flawed series in many ways, from its very white, cis, and privileged lens on queer female culture (not all lesbians are bougie skinny white women living in Hollywood!) to its cruel treatment of transmasculine identity and a healthy topping of cringy stereotypes. Thankfully the recent “Generation Q” has made efforts to atone for past sins by featuring a more racially diverse and gender inclusive cast (and writer’s room) that attempts to depict a broader and more authentic queer world. Most queer media of the early 21st Century is imperfect, but “The L Word” has both defined a culture and learned from its mistakes to better represent one.
5. “Pose”
“Pose” gifted us so many magnificent firsts. It was the first series to star five trans lead actors, as well as the show that made M.J. Rodriguez the first trans performer to win a Golden Globe. But beyond those historical accolades, “Pose” was also a show that depicted something incredibly rare and authentic on television for the first time: the intimate experience of moving through the world as Black trans women and Black queer HIV-positive men. Over the show’s three seasons we’ve seen so many beautiful and harrowing slices of these realities, from Blanca’s HIV diagnosis to Elektra’s painful backstory to Pray Tell’s heartbreaking death, and so many more moments big and small.
“Pose” has also done what so few series have in acknowledging queer and trans history and those that came before us. Throughout its run the series paid homage to and kept the memories of many real-life women from “Paris is Burning” alive, from episodes that allude to the skeleton in Dorian Corey’s closet, Venus Xtravaganza’s death, and Octavia St. Laurent’s modeling career. Though “Pose” was never shy when it came to the extreme melodrama, it should be remembered most for its most down-to-earth moments. It was a series that was as eager to showcase the opulence and joy of being seen and loved, as it was unafraid to dive into the more painful parts of surviving as a queer or trans person of color in this country. It was honest and real, and you can’t ask for much more than that.
JoJo Whilden
6. “Orange Is the New Black”
Back in 2013, Jenji Kohan gave us the most fun and deliciously melodramatic show about queer women since “The L Word.” Piper Chapman and Alex Vause’s seasons-long love affair was the initial gay crux of the series, and the type of messy relationship you get a thrill from rooting for like the urge to get back with your toxic ex. But “Orange Is the New Black” also gave us a sea of queer romances across Litchfield, and a ton of queer sex scenes. There was Nicky Nichols and Morello’s romance across the series, Nicky’s endless hookups, Poussey’s unreciprocated love for Taystee, as well as Poussey and Brooke’s sweet romance, and the endlessly horny Big Boo. And of course “Orange” broke ground with Laverne Cox’s Sophia Bursett, a character I’m grateful existed for bringing the reality of incarcerated trans women to the screen, but who, over the course of seven seasons, never got nearly enough screen time.
7. “Transparent”
While the memory of “Transparent” has been tainted by the allegations of sexual harassment experienced by multiple trans women, and the unsavory fact that its trans protagonist was in fact played by a straight cis man ( the same man accused of said harassment), it still remains one of the most groundbreaking shows of its time for trans storytelling. As entertaining as the Pfefferman family drama could be, “Transparent” shined the most when it broke away from their day-to-day lives to spotlight its trans supporting cast.
There was Shea’s (Trace Lysette) “I’m not your adventure” episode, which touched on the difficulties of dating as a trans women, disclosing HIV status, and sex work. Ian Harvie’s Dale hilariously burst the bubble of Ali’s hyper-masc expectations of trans men early in Season 1. Hari Neff’s guest spot in Season 2 brought the 1930s history of Magnus Hirschfeld and the first trans clinic to the screen. And of course there’s every scene-stealing moment from the wonderful Alexandra Billings, whose Davina finally got her own origin story in the fourth season.
Like many shows on this list, “Transparent” certainly wasn’t without its flaws — no one show can fully speak for a community — and we can and should look back to critique its missteps. But at the time it undoubtedly gave mainstream audiences an introduction to various aspects of trans lives with both humor and sensitivity. 8. “Her Story”
Unlike most series on this list, “Her Story” didn’t debut with A-list names, a large production budget, or even on a network. The 2016 Emmy-nominated web series from Jen Richards and Laura Zak was crowdfunded and released straight to YouTube for anyone to watch for free, and six years later it remains one of the very best and most earnest shows about the romantic lives of trans women. It follows Violet (co-creator Richards), a waitress who begins falling for a queer woman (Zak’s queer journalist Allie) while stuck in an abusive relationship with a man, and Angelica Ross’ Paige, a lawyer who we watch navigate the difficulties of dating and disclosing her transness to new partners. In just six episodes, all clocking in around nine minutes, “Her Story” packs in more authentic storytelling about relationships than most major series accomplish in a full season. It’s a gem of a show not enough people have seen, and the only shame is we never got more of it.
9. “Vida”
Tanya Saracho’s “Vida” suffered the same fate as many excellent queer shows on this list — getting canceled by its network far earlier than it deserved. But its three seasons gave audiences some of the most heartfelt, the most full of life, and the sexiest episodes about Latinx queer women. The dramedy, which came from an all-Latinx writers room, explored gentrification in the Los Angeles neighborhood of Boyle Heights through the eyes of two sisters, the high-strung Emma and the free-spirited Lyn (Melissa Barrera), who return home after the death of their mother. At its core, “Vida” was a series about family and community, and the complexities that come with confronting old wounds and learning to grow through them. But it also was the rare show that represented Latinx queer women as they beautifully owned their sexuality and desires.
10. “Sex Education”
Yes, I’m aware that technically “Sex Education” isn’t a queer show. But if you were to ask, what’s a show about young people that brazenly tackles sex and relationships with wit and maturity while representing various LGBTQ identities? It’s undoubtedly “Sex Ed,” one of the queerest non-queer shows there is right now.
Ncuti Gatwa’s Eric may fall into the frustrating Netflix gay best friend role, but “Sex Ed” has continued to explore his identity in various ways, from learning to embrace his queerness in his religious home to the messy arc of dating Adam, his former bully who’s learning to reckon with his own internatalized homophobia. There’s Ola discovering her pansexuality and, in season 3, navigating role-playing and communicating sexual desires with Lily. The latest season also introduced two non-binary characters, Dua Saleh’s Cal and Robyn Holdaway’s Layla, and began to broach on the subject of dysphoria and sex as a young non-cis character. There’s even a whole damn episode about anal douching; I mean, how much more queer do you want it? Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television
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Cinematographers Petr Hlinomaz and Fred Murphy tell IndieWire about how their compositions and lens choices help create terror on "Evil." Robert and Michelle King’s supernatural procedural series “Evil” has long been one of the most terrifying shows on television and streaming (it premiered on CBS before migrating to its current home on Paramount+), as well as one of the most profoundly philosophical.
The two aspects are inextricably linked, as the questions the series asks about faith, reason and whether evil comes from outside of us or within are explored via stories showcasing monsters both paranormal and human. Finding a visual corollary for the show’s ongoing tension between the pragmatic and the spiritual while sustaining its eerie, dread-inducing atmosphere is the job of cinematographers Fred Murphy and Petr Hlinomaz, whose bold approach to lenses and composition has turned “Evil” into not only one of the most thoughtful and frightening series on the air but one of the most visually striking. One thing that immediately sets “Evil” apart from most other shows is the vertical nature of its compositions, in which Murphy and Hlinomaz exploit the top and bottom of the image in a manner reminiscent of “Night of the Hunter” and “Ida,” two of the series’ main influences. “There’s a fair amount of room at the top of the frame that ties in with the spiritual theme,” Murphy told IndieWire. “There’s this idea that we’re always looking up, that there’s something above us. The idea is that we’re ‘leaving space for the angels,’ as the director of ‘Ida’ put it.”
In the visual language of “Evil,” the space above the characters isn’t just for the angels, however; there’s often a sense that what is unknown and lurking in the shadows is a threat rather than a comfort, with the abstraction of the frames creating a sense of mystery that plays off the characters’ doubts and fears.
“Evil”Elizabeth Fisher/Paramount+
Often in “Evil,” the characters struggle with what is actually happening and what’s imagined, and the audience is invited to share their tenuous grip on reality through an impeccably modulated visual style that rides a delicate line between realism and the supernatural.
In the most ordinary everyday sequences, something always feels just a little off, while even the most outrageous scenes involving demons have some grounding in reality.
In terms of the cinematography, the unique sensations the show creates for the viewer are largely the result of Murphy and Hlinomaz’s philosophy regarding lenses.
“We tend to shoot on extremely wide lenses,” Murphy said. “When we start a scene, Petr and I immediately slap on a 12 or a 15mm lens. We don’t even ask. When it’s not a wide-angle lens it’s a relatively long lens. We’re either shooting around a 15mm or 100mm to 135mm, not much in between.”
While the filmmakers occasionally punctuate their scenes with long lens close-ups to striking effect, the majority of scenes are shot wide, which creates unsettling distortion effects while also conveying a dynamic sense of space in which the viewer gets a sense of just how many areas there are in which evil can hide. The impact is terrific, but not easy for the cinematographers. “It’s much harder to light because you have so much room to work in,” Hlinomaz told IndieWire. “If you’re on a 75mm 15 feet away you see so little of the set that you can put light pretty much anywhere, but if you’re on an 18mm wide and close you see a huge amount of the set.”
The sharp, precise look of “Evil” is partly due to the cinematographers’ preference of prime lenses over zooms, which Murphy says have multiple benefits.
“We have a zoom, but we rarely use it,” he said. “Primes look better, but they also force you to consider what you’re doing and why. Changing lenses always takes a little longer than people think, but it makes you understand why you’re using a 15mm, as opposed to all of a sudden zooming out to 15mm, zooming back to 20mm, and fishing around. It forces you to use the lens correctly and think about the kind of space you’re trying to create.” Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television
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Netflix and the other leading streaming services represented a record-breaking 34.8% share of total television consumption in the U.S. last month.A scene from the fourth season of Netflix's "Stranger Things."NetflixAug. 18, 2022, 2:42 PM UTCThe day has come.The leading streaming services drew more viewers than cable TV for the first time in July, according to a report released Thursday by the media firm Nielsen.It's a milestone that has been anticipated by media analysts for years as consumers have been cutting the cord in droves and moving to internet-powered services.Streaming represented a record-breaking 34.8% share of total television consumption in the U.S. last month, exceeding cable (34.4%) and broadcast (21.6%), according to The Gauge, Nielsen's monthly overview of viewership trends.The aggregate use of streaming apps has overtaken broadcast in the past, but July's numbers are the first time streaming viewership has also exceeded cable viewing, according to Nielsen.American audiences watched an average of 190.9 billion minutes of streamed content a week in July, Nielsen's research showed — eclipsing the average 169.9 billion minutes that viewers watched during the early pandemic lockdown period in April 2020.The new research arrives as leading entertainment companies like Disney reorient their strategies around direct-to-consumer streaming platforms, investing less heavily in linear programming.But the report also comes at an inflection point for the streaming market, which has started to show some signs that the days of seemingly limitless growth are nearing an end.In May, Netflix reported its first subscriber loss in a decade. HBO Max, among legacy media's most successful forays into streaming, recently went through a round of layoffs ahead of a planned merger with Discovery's streaming app. Last week, Disney lowered long-term forecasts for its streaming operation.Netflix nonetheless made up the biggest share of viewing for a streaming platform, with an 8% slice of the pie, according to Nielsen, thanks in part to the success of the fourth season of "Stranger Things." The popular science fiction series captured nearly 18 billion viewing minutes.But other leading digital distributors each notched record-high shares in July. YouTube reached a 7.3% share. Hulu, powered in part by the acclaimed shows "Only Murders in the Building" and "The Bear," hit 3.6%. Prime Video, boosted by the new action series "The Terminal List" and new episodes of "The Boys," netted 3%.Daniel Arkin is a national reporter at NBC News. He specializes in popular culture and the entertainment industry, particularly film and television.
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NEWYou can now listen to Fox News articles! HBO Max is axing about 200 episodes of "Sesame Street" from its streaming platform.Warner Bros. Discovery recently became the new owners of HBO Max, which could tie into the reasoning behind the content purge. On Friday, the streaming service listed 456 "Sesame Street" episodes available compared to about 650 they had previously.HBO Max only showcases episodes from seasons 1, 5 and 7, as well as the recent seasons 39-52. HBO Max has removed nearly 200 episodes of "Sesame Street" from the streaming platform. (Getty Images)"‘Sesame Street’ is and has always been an important part of television culture and a crown jewel of our preschool offering," an HBO Max spokesperson said in a statement to Variety. "We are committed to continuing to bring ‘Sesame Street’ into families’ homes," the statement read.‘SESAME STREET’ DEBUTS ASIAN AMERICAN MUPPETThe upcoming 53rd season will be available on the streaming service, the outlet reported.HBO and "Sesame Street" joined forces in 2015, which gave the streaming service priority to air all new episodes first, before it can be seen on the show’s longtime home, PBS. This agreement is effective until 2025. This image released by HBO shows the cast of the popular children's show "Sesame Street." (HBO via AP)The "Sesame Street" cut comes after HBO made an announcement on Wednesday saying that at least 36 additional shows will be leaving the platform this week. CLICK HERE TO SIGN UP FOR THE ENTERTAINMENT NEWSLETTERThat includes 20 HBO original shows, as well as "Generation," "Infinity Train," and earlier this month, all eight of the "Harry Potter" films were axed.Warner Bros. Discovery shared the removal of the shows comes with the new pending contract with Discovery+. Ernie, a muppet from the popular children's series "Sesame Street," appears with new character Ji-Young, the first Asian American muppet, on the set of the long-running children's program in New York on Nov. 1, 2021. (AP Photo/Noreen Nasir)CLICK HERE TO GET THE FOX NEWS APP"As we work toward bringing our content catalogs together under one platform, we will be making changes to the content offering available on both HBO Max and Discovery+," the company said in a statement. "That will include the removal of some content from both platforms." Janelle Ash is an entertainment writer for Fox News Digital.
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'They need to cast her in the next 50 Shades movie!' Love Island fans forced to turn their TVs DOWN over Ekin-Su's sexual moans during Davide massageLatest news and updates on all of your favourite Love Island contestants Published: 03:50 EDT, 27 July 2022 | Updated: 04:17 EDT, 27 July 2022 Love Island fans were forced to turn their television sets down on Wednesday to erase the sounds of Ekin-Su Cülcüloğlu's sexual moaning.The actress, 27, and her fellow ladies were treated to a massage from their boys during a morning of pampering, but it appeared that Ekin-Su enjoyed her full body rub from Davide Sanclimenti a little too much.Fans were left embarrassed as Ekin-Su moaned and groaned while Davide worked his magic, with one remarking that she needed to be 'cast in the next 50 Shades movie.' Carried away: Love Island fans were forced to turn their television sets down on Wednesday to erase the sounds of Ekin-Su Cülcüloğlu's sexual moaningEkin-Su took her place on the sun-loungers alongside Indiyah and Danica, with their gents applying cream to their feet before moving up to the rest of their body. But the beauty's enjoyment of her message not only raised eyes in the villa, but those at home with many left awkward while watching, leaving them reaching for the mute button.Taking to Twitter, one person remarked: 'ekin-su moaning on my tv was not what i expected for 9:20pm on a tuesday.'While another tweeted: 'They need to cast Ekin in the next 50 Shades movie!!!! Move over Dakota Johnson.' Loving it: The actress, 27, and her fellow ladies were treated to a massage from their boys during a morning of pampering, but it appeared that Ekin-Su enjoyed her full body rub from Davide Sanclimenti a little too muchA third wrote: 'ekin-su moaning with my parents in the other room girl stop.''Thanks ekin su just had to scramble to turn the tv down' shared a fourth watcher.'The way my aunt came in the room when ekin-su started moaning on volume 100. never muted the tv so fast' said a fifth.With another adding: 'Ekin god sake I had to turn my tv down before people think I’m watching something else.' Too loud: Fans were left embarrassed as Ekin-Su moaned and groaned while Davide worked his magic, with one remarking that she needed to be 'cast in the next 50 Shades movie' Uh oh! Ekin-Su's very loud appreciation appreciation of Davide's massage skills left people at home red-facedPrior to their intimate moment during the spa day, Davide and Ekin-Su continued their argument from the previous night, with Ekin-Su saying in the Beach Hut: 'I've had enough of this man, he's chatting about going out and saying he's going to be wild. It's not funny, he needs to apologize.'But they were unable to stay mad each other for long, and soon had the giggles and made up again.As Ekin-Su said: 'It's hard to say mad at the king of carbonara'. Oh dear: The beauty's enjoyment of her message not only raised eyes in the villa, but those at home with many left awkward while watching, leaving them reaching for the mute buttonElsewhere, Dami Hope and Indiyah Polack, Paige Thorne and Adam Collard and Danica Taylor and Jamie Allan found themselves in the bottom three couples on Tuesday night's episode.The three vulnerable couples face being dumped from the villa, with the final decision being left on a cliffhanger.Love Island continues Wednesday at 9pm on ITV2 and ITV Hub.LOVE ISLAND 2022: MEET THE CONTESTANTS Name: Paige ThorneAge: 24Location: SwanseaOccupation: ParamedicWho is their type on paper? 'In Swansea there is just no-one I can find. 'I haven't got to swipe. So, hopefully they can just come to me now!'I came out of a relationship and I was just so done with guys. Then I was like, 'Ok, I'm bored now' Name: Indiyah PolackAge: 23Location: LondonOccupation: Hotel waitressWho is their type on paper? 'It's quite hard to date without being influenced by social media and stuff like that.'Love Island is a great place to get to know someone one-on-one. 'I don't think I have ever been out with two guys who are quite the same.'Name: Tasha GhouriAge: 23Location: ThirskOccupation: Model and dancerWho is their type on paper? 'My dating life has been a shambles.'This is an opportunity for me to find 'the one' and have a great summer at the same time. 'I'm definitely ready for a relationship. I'm 23 now so I'm ready to get to know someone and travel with them.'Name: Gemma OwenAge: 19Location: ChesterOccupation: International Dressage Rider and Business OwnerWho is their type on paper? 'I am open to finding love, I'm wanting to have a really fun summer. 'I would say I'm fun, flirty and fiery. I think I'm good at giving advice, I'm a good person to talk to, I'm very honest. 'If I want the same guy, I'd do it but in a nice respectful way.Name: Andrew Le PageAge: 27Location: GuernseyOccupation: Real Estate AgentWho is their type on paper? 'When I'm with someone I'm very loyal.'I'm a good boyfriend as when I'm with someone I'm all for them.'I'm actually single for once, so I thought why not? This is the best time to give it a go.' Name: Ekin-Su CülcüloğluAge: 27Location: EssexOccupation: ActressWho is their type on paper? 'I'm quite picky and I'm not just looking for looks, I'm looking for brains! 'I'm looking for someone with intelligence, someone who can have good chats. Nothing like cockiness!' Name: Dami HopeAge: 26Location: DublinOccupation: Senior MicrobiologistWho is their type on paper? 'I will be talking to different girls, it might not go well with some.'When I'm actually in a relationship, I think it's a star sign thing.'I'm an Aries but I'm very passionate - I always used to put that person first. I'm really good at being in a team'. Name: Davide SanclimentiAge: 27Location: Rome (lives in Manchester)Occupation: Business ownerWho is their type on paper? 'A lot of English girls actually love me.'They love to be around me and I love to be around them. I want to find my soulmate.'Find my person so I can actually build something in the future, grow with them, be a family. ' Name: Luca BishAge: 23Location: Brighton Occupation: FishmongerWho is their type on paper? 'I prefer to meet girls out and about. I think when you go looking for it, it's not as easy though, it's like you're too desperate for it.'If I think you're the one or I like you, I'll take you out on a date but other than that, if we talk and I don't like where it's going - then I won't be throwing out dates.'Name: Danica TaylorAge: 21Location: LeicesterOccupation: DancerWho is their type on paper? 'I am the type of girlfriend that I want to do so much with you – deep conversations, silly activities.'If you say let's go canoeing all day even though I am quite a glam girl, I am down for it.'Name: Jamie AllenAge: 27Location: PrestonOccupation: FootballerWhat can you bring to the villa? 'I shoot, I usually score, if I want something, I'll go and get it.'I play football every single day and in terms of stepping on people's toes we are all in there for the same reason so I wouldn't have a problem upsetting a few people.'Name: Adam CollardAge: 26Location: NewcastleOccupation: Personal trainer Why Love Island and why now? 'I'm going to ruffle a few feathers when I go in.' Advertisement
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LOS ANGELES — “Jeopardy!” is giving itself two answers to the question of who gets to host the quiz show — Mayim Bialik and Ken Jennings.Bialik and Jennings have been serving as rotating hosts since Mike Richards exited the show amid controversy after a short tenure as the late Alex Trebek’s replacement.Executive producer Michael Davies said in an announcement posted online Wednesday that deals were signed with Bialik and Jennings “to be the hosts of Jeopardy! moving forward.”“In Mayim and Ken, we have two outstanding hosts at the beginning of their Jeopardy! hosting careers who connect with their own unique fanbases, new fans, and the traditional Jeopardy! viewer,” Davies said in the statement.Jennings, an all-time “Jeopardy!” champion, and actor Bialik (“Call Me Kat,” “The Big Bang Theory”) were among the guest hosts who filled in after Trebek’s death from cancer in 2020. While the stints were seen as tryouts, the job unexpectedly went to then-executive producer Richards last summer.At the same time, Bialik was given a role by “Jeopardy!” studio Sony as emcee for the show’s prime-time and spinoff series, including a new college championship. It was viewed in part as an effort to placate fans who complained that the succession of guest hosts seemed like a publicity stunt and that the job was Richards’ all along.But Richards was quickly gone from the show following a report of his past unguarded and offensive comments on a podcast. Jennings and Bialik stepped in to share hosting duties as their schedules allowed.Davies laid out details of how the job-sharing plan would work when the show begins its new season in September.Jennings, who is also a “Jeopardy!” consulting producer, will kick off the season and host the Tournament of Champions with past winners including Amy Schneider, Matt Amodio, Mattea Roach and Ryan Long. During that period, Bialik will host “Celebrity Jeopardy!” on ABC in prime time.“When she takes over from Ken in January, the current plan is to have her host a couple of new tournaments as well as the Jeopardy! National College Championship” and whatever else her commitment to “Call Me Kat” will allow for with “Jeopardy!” Davies said.“We know you value consistency, so we will not flip flop the hosts constantly and will keep you informed about the hosting schedule,” he said.“Jeopardy!” had enjoyed remarkable stability under Trebek, who hosted the show for 37 seasons. Davies said that Bialik and Jennings “love and and respect this institution of a television program.”
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Television
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NEWYou can now listen to Fox News articles! Angelica Huston, Raul Julia, Christina Ricci and Jimmy Workman famously portrayed The Addams Family, the macabre clan created by cartoonist Charles Addams in his 1960s comics, which have inspired iterations in movies, TV series, video games and a musical over the years. Huston, Julia, Ricci and Workman starred as the main members of the eccentric brood in Barry Sonnenfeld’s 1991 film "The Addams Family" and its 1993 sequel "Addams Family Values".On Tuesday, Netflix released first look images of the new Addams Family in Tim Burton’s upcoming television series "Wednesday", starring Catherine Zeta-Jones, Luis Guzmán, Jenna Ortega and Isaac Ordonez.Zeta-Jones and Guzmán will take on Huston and Julia’s roles as Addams Family matriarch and patriarch. Ortega will portray daughter Wednesday and Ordonez will play son Pugsley.JOHNNY DEPP ‘EXPLAINED HOMOSEXUALITY’ TO CHRISTINA RICCI WHEN SHE WAS NINE YEARS OLDOrtega’s titular character will take center stage in the show, which follows the morbid teenager as she navigates life at a boarding school for outcasts, the Nevermore Academy.Burton will make his television directorial debut with the eight-episode horror comedy series that is set to premiere on Netflix in late 2022."Wednesday" was created by Miles Millar and Alfred Gough (Smallville), with Burton serving as an executive producer and director of four episodes.JENNA ORTEGA SPORTS ‘I DO CARE’ JACKET TO AWARDS SHOW, PROTESTS MELANIA TRUMPIn an interview with Vanity Fair, Millar explained that he and Gough wanted to ensure that the show "didn’t feel like a remake or a reboot." He told the outlet that they envisioned the series as "an eight-hour Tim Burton movie.""It’s something that lives within the Venn diagram of what happened before, but it’s its own thing," Millar told the outlet. "It’s not trying to be the movies or the ’60s TV show. That was very important to us and very important to Tim."Other "Wednesday" cast members include Gwendoline Christie, Hunter Doohan, Joy Sunday, Emma Myers, Percy Hynes White, Riki Lindhome, Jamie McShane, Moosa Mostafa, Georgie Farmer and Naomi Ogawa.Ricci will also make an appearance in the series though the details of her role have not been revealed.CLICK HERE TO SIGN UP FOR THE ENTERTAINMENT NEWSLETTER Christina Ricci dangling meat in a scene from the film 'Addams Family Values', 1993. (Photo by Paramount/Getty Images)At the age of 11, Ricci made her career breakthrough with her memorable turn as Wednesday. Ortega, who first rose to fame as a child star in "Jane the Virgin" and "Stuck in the Middle," will play the family’s deadpan daughter in the re-imagined series. Luis Guzmán as Gomez Addams, Jenna Ortega as Wednesday Addams, Catherine Zeta-Jones as Morticia Adams. (Courtesy Of Netflix © 2022)Huston and Julia portrayed the eerie, passionate couple Morticia and Gomez in Sonnenfeld’s film series. Veteran actors Zeta-Jones and Guzmán will assume their roles in "Wednesday." Anjelica Huston is kissed by Raul Julia in a scene from the film 'The Addams Family', 1991. (Photo by Orion/Getty Images)Retired child actor Workman made his acting debut as Morticia and Gomez’ son and Wednesday’s younger brother Pugsley in "The Addams Family."In the series, Ordonez – from "A Wrinkle In Time" – will play Pugsley in a recurring role. CLICK HERE TO GET THE FOX NEWS APP The thing crawling on Jimmy Workman and Carel Struycken in a scene from the film 'The Addams Family', 1991. ( Orion/Getty Images)Netflix also debuted the official teaser for the new series. In the two-minute clip, Wednesday is expelled from her high school after taking violent revenge on a group of jocks who bullied Pugsley. She is then escorted by her parents to their alma mater, the Nevermore Academy, which Gomez assures her is a "magical place". "Finally you will be around peers who understand you," Morticia adds in the trailer released on Wednesday. "You might even make some friends."Over a montage of ghoulish scenes from the show, Wednesday narrates, "Little did I know I’d be stepping into a nightmare — full of mystery, mayhem and murder." "I think I’m going to love it here." Ashley Hume is an entertainment writer for Fox News Digital.
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Television
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A scene from Netflix's "Stranger Things".Source: NetflixCould Netflix ditch its binge-release model? Stranger things have happened.The all-at-once release strategy for television shows is a bedrock of Netflix's strategy. The first seven episodes of "Stranger Things," which all premiered on May 27, broke records. It was the biggest premiere weekend ever for an English-language TV show on the service with nearly 287 million hours watched.Despite the success of its marquee series, however, Netflix is struggling to jumpstart subscriber growth. So its binge strategy is facing new scrutiny as the company looks for ways to better retain its subscriber base."With Netflix, or anyone, never say never," said Peter Csathy, founder and chairman of advisory firm Creatv Media. "Just like they said 'no way, no advertising,' don't assume that binge viewing is forever." He added: "Binge viewing is on the table."Investors are questioning Netflix's ability to address subscriber losses and growing competition in the streaming space. The streamer's stock plummeted over the past year from $700 per share to around $160. The company reported a loss of 200,000 global subscribers during its first quarter earnings report in April. It also warned of deepening trouble ahead, forecasting it would lose around 2 million global paid subscribers during the second quarter.Now, Netflix is reconsidering several core tenets that once made it the king of the nascent streaming world. Co-CEO Reed Hastings said the company is exploring lower-priced, ad-supported tiers in a bid to bring in new subscribers after years of resisting advertisements on the platform.Those familiar with the streaming space suggest more changes could come, including a stronger focus on franchise content and even a change to staggered releases of new episodic content.Netflix has toyed with different release models, mostly due to pandemic-related delays in production, and noted that splitting seasons into two parts can be a "satisfying long binge experience" for subscribers. Still, the company has made no indication that it will transition away from releasing all episodes of scripted series at once. Instead, decisions will be made on a case-by-case basis.Netflix declined to comment."When Netflix started it really had the field to itself," said Robert Thompson, a professor at Syracuse University and a pop culture expert. "One of the reasons they started binging was to get people talking and to really launch their new original programming. They succeeded in that. Now, however, it's a very different case."Netflix no longer has licensed content like "The Office" or "Friends," which kept subscribers coming back month after month to watch on repeat. Instead, it has several high profile shows, like "Stranger Things," "Bridgerton" and "The Witcher" — as well as an expansive library of series that haven't reached the same level of prestige or popularity.Thompson noted that all shows released on streaming services eventually become bingeable. It is how they are first introduced to audiences that the platforms control.To binge or not to binge"Releasing all at once, the Netflix model, increases the binge value," said Nick Cicero, vice president of strategy at data analytics company Conviva. "This allows customers to consume at their own pace, but relies on a deep catalog.""The flip side," he said, "is week over week, which is designed to bring people back and give them something to look forward to. It's a very different model of marketing."On services such as Disney+, HBO Max and Hulu, individual episode releases keep audiences hooked over the course of several weeks, meaning less churn on a month-to-month basis. Meanwhile, Netflix subscribers can watch a full season of a show they are interested in and then leave the service at the end of the month.In this photo illustration the Netflix logo seen displayed on a smartphone screen, with graphic representation of the stock market in the background.Sopa Images | Lightrocket | Getty ImagesStringing content throughout the year allows services like Disney to entice subscribers to stay each month but also persuade them to pay for an annual subscription up front. The company's Disney+ platform utilizes its two biggest franchises — Star Wars and Marvel — to keep subscribers coming back.The company released "The Book of Boba Fett," which ran from late December 2021 until early February. Then added "Moon Knight" in late March, which ran until early May. Then in late May, it released "Obi-Wan Kenobi," which will continue through late June. "Ms. Marvel" arrived early June and will run through late July. August has the release of "She-Hulk," which carries episodes through October, and then "Andor," which will wrap its first season in November.Then in December, Disney+ will release the "Guardians of the Galaxy" Christmas special. In staggering these releases, the company can entice Star Wars fans and Marvel fans to stick with the service long term."With Netflix, it is super easy to join for three-to-six months and then leave for three-to-six months," said Michael Pachter, analyst at Wedbush. "Once 'Stranger Things' is over and 'Ozark' is over, what now?"In recent years, Netflix has experimented with weekly releases for some reality shows, but has not tried this strategy with scripted series."We fundamentally believe that we want to give our members the choice in how they view," Peter Friedlander, Netflix's head of scripted series for U.S. and Canada, said earlier this month. "And so giving them that option on these scripted series to watch as much as they want to watch when they watch it, is still fundamental to what we want to provide."Netflix has, however, dabbled in splitting seasons in half or in parts in order to spread them out. The fourth and final season of "Ozark" was segmented in two, and so was the latest season of "Stranger Things." The final two episodes of "Stranger Things" season four, including its 2.5-hour finale, will start streaming July 1."Splitting the seasons actually had a practical reason before, which was the Covid delays and all those projects that kind of led us to splitting some of the seasons," co-CEO Ted Sarandos said during the company's first quarter earnings call in April. "But what we found is that fans kind of like both.""So being able to split it gives them a really satisfying binge experience for those people who want that really satisfying long binge experience," he said. "And then being able to deliver a follow-up season in a few months versus, in some cases, the new season of 'Stranger Things' is coming nearly three years after the last one or more than two anyway."Netflix has long held to its all-at-once model because of its subscribers, which it says want more control over when and how they watch content. Shows like "Maid," "Inventing Anna," "The Lincoln Lawyer" and "Squid Game" all held top 10 spots on the streaming service for weeks, showing that Netflix shows can have longevity of viewing on the service as word of mouth travels to new audiences.Still, Netflix can learn a lot from staggered releases of "Ozark" and "Stranger Things" to determine whether there are other scripted series that would benefit from this strategy.Pachter suggested that Netflix could take a cue from Amazon and release three episodes a week."It's absolutely OK to say, 'We are the disruptor, but there are things our competitors are doing that we admire and we respect them and we think they are doing it right,'" Pachter said. "It's not a cop out."Franchise feverNetflix's all-at-once release strategy may set it apart from other streaming services, but it also means that it has to increase it output of content to fill the gaps between series. Instead of having, say, 30 shows spread throughout the year, it needs 300, Pachter said."Netflix's data dump means that they have to do more content to minimize churn," he said. "I think that they will be far more successful if they focus on more quality than more quantity."For years, the streaming service used licensing agreements with networks and studios to pad its library with long-running and popular series like "Parks and Recreation," "Schitt's Creek," "Mad Men," and a suite of Marvel-based superhero shows.Those contracts have ended and the shows are now on other streamers. In another blow, Netflix is about to lose 12 seasons of CBS' "Criminal Minds" at the end of month. "New Girl," another staple in Netflix's collection, is expected to depart the platform in 2023."Breaking Bad," "Grey's Anatomy," "NCIS" and "Supernatural" are sticking around for now.These kinds of series, which have a number of seasons or dozens of episodes, have been a major driver of viewing traffic on the streaming service for years. Now, Netflix is more reliant on its own original content, leaning heavily on content creator deals and surprise hits like "Squid Game" and "Love is Blind.""Netflix has a lot of content, but the iconic evergreen content has not caught up to the catalogs to the other streaming services that are out there," Cicero said.Relatively new streamers like Disney and NBCUniversal's Peacock have decades of legacy content to fill their libraries with. It's why Netflix made an agreement to be the first streaming space for new Sony releases back in 2021.It's also why Creatv's Csathy believes Netflix should focus on developing franchises or buying the rights to already established franchises."Rather than throwing all the titles against the wall to see what sticks with consumers, focus on franchises and name brands," Csathy said. "The smartest bets are those that have name recognition and built-in audiences.""Wall Street will reward those that come out with a public strategy of less is more," he added.Still, there are those that don't think Netflix will be so quick to overhaul its established strategy."I think people tend to forget within our industry is that this isn't a one size fits all," said Dan Rayburn, a media and streaming analyst. "I don't think Netflix will say no more binge watching."Instead, Rayburn foresees the streaming continuing to try new models, like its plans for adding an ad-supported plan to its platform.He noted that the stark stock reaction is a result of Netflix deriving all of its revenue from streaming. This means that when a show doesn't perform well or the service sees a slowdown in subscriber growth, there is an immediate reaction.At the end of the day, streaming analysts say content spending will not go down, even with ongoing economic pressures, such as inflation and higher interest rates, and a potential recession on the horizon. Competition in the streaming space will continue to drive these companies to create and distribute more content."Where the dollars go will be reallocated is the question," Csathy said. "For Netflix, I think 'less is more' is a strategy that pays off for them."Disclosure: Comcast is the parent company of NBCUniversal and CNBC.
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Television
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Like many of the best animated series, Smiling Friends revels in adult darkness while looking like it was made for kids. Even its name could sound creepy or wholesome depending on your mood.The Adult Swim show, which is airing a special episode tonight, follows two Smiling Friends employees—sunny Pim and cynical Charlie—who, at the behest of their boss, Mr. Boss, are given a simple task: Make clients smile. The pair seem to have no training, and often encounter bleak circumstances: In the pilot, they attempt to cheer up a man who constantly holds a gun to his temple. By the show’s seventh episode, a rival company, Frowning Friends, has set up shop across the street. (“I get it Pim, they’re the bizarro versions of us, but what’s the endgame? It’s just pissing me off now,” complains Charlie). It’s much easier to make people frown than it is to make them smile, and the new outfit draws a crowd, promising to reveal “the brutal cruelties of reality.” Frowning Friends’ grotesqueries, however, turn out to be stock footage of military marches and burning trees. “Is this really supposed to be …” Charlie says. “I’ve seen way worse on the internet.”To be sure, much of Smiling Friends’ darkness, and humor, comes from the internet. Animators Zach Hadel and Michael Cusack say that the show, and that joke specifically, are throwbacks to a time when the web felt unfiltered—when it felt scary and chaotic and thrilling. Smiling Friends is steeped in early and mid-aughts internet animation and humor, a time when colorful cartoons about bopping badgers spread like wildfire and kids had to install the latest version of Flash Player to keep up. When being 12 years old, says Hadel, meant going to your friend’s house and having them show you the worst video they could possibly find. When kids crowded around a computer and beat up a digital George W. Bush, and braved shock sites like Meatspin, Lemon Party, and Rotten.com, the gore site that hosted pictures of dead people. “Rotten.com was the first website I went on,” Cusack says over Zoom. “I must have been seven years old or something—that’s fucked. It’s not good. Or is it? Maybe it is?”Both Cusack and Hadel grew up in this era, and it’s also when they learned to animate. Cusack, the younger of the two, started making cartoons as a kid, but in his early twenties he began watching YouTube tutorials on animation and uploading shorts to the site; he’s produced his own show, YOLO Crystal Fantasy, and a parody episode of Rick and Morty. Meanwhile, Hadel, known online as Psychicpebbles (and the world’s strongest gamer), was building a following with viral Skyrim animations, the web cartoon Hellbenders, and video game Let’s Plays.“He’d been animating for much longer than me and was a bigger personality on YouTube for animation,” Cusack says. “But we both had a similar goal to do TV. So we just teamed up and would work together and come up with projects, and Smiling Friends was one of them.”Like so many artists, Hadel got started on Newgrounds, a haven for games and animation. For occasional visitors, Newgrounds was infamous for animated celebrity deaths and violent stick figures, but insiders knew where to find the good stuff. If the internet back then was a Wild West, Flash Player was the six-shooter, and Newgrounds the saloon. “At some point, I started seeing stuff get uploaded there that was on par with what was on television and even better in terms of the quality,” Hadel says. This friendly “cold war” between animators was inspiring. It was incredible to see whole cartoons—the music, voicing, writing, and animation—completed by one person. “I remember being as excited for a Tomorrow’s Nobodies episode as I was for Family Guy episodes,” says Cusack. What excited him was that both were equally important in his 14-year-old mind, but “one cost millions of dollars and one cost literally zero!”If you pay attention to the show’s guest voices, you’d see this influence. Sick Animation’s Marc M. plays the boss, and superstar of the Flash-era David Firth voices a lovelorn shrimp. Some shows would go for Hollywood actors, explains Cusack, but they go for internet people. They want to bring together more extremely online guests next season, but Cusack smartly cuts Hadel off before he can tell me who.Like Flash cartoons, Smiling Friends episodes are short, about 11 minutes, and meant to be watched and rewatched. These aren’t “high IQ episodes,” explains Hadel, who says he slept during art class. They feel rambling and improvised. They aim to entertain rather than educate, unlike some shows that meditate on their dark subject matter in a philosophical or therapeutic way. It’s easy to detect shades of early South Park, another program that could look like a kids’ show to a glancing parent but was decidedly not. They’re just trying to have fun with the darkness. “In this world, we can have the Newgrounds humor, but it doesn’t feel dark, it doesn’t feel scary,” Hadel says. “It’s got a colorful gloss over it. It’s like getting the best of both worlds.”The pair use Adobe Animate, the software formerly known as Flash, and there are moments where you see aesthetic similarities to mid-aughts animation, like a person’s head casually being stomped into bloody lo-res goo in a grimy hallway background. At one point, a pair of characters, “the Fun Twins,” scream and dance about the screen. Hadel cites what he calls “spam cartoons”—those overly loud, flashy animations that used to crash desktops—for the show’s intentionally abrasive sequences.Juxtaposing stuff like this against more sophisticated animation was a big deal for the duo. The show features a mix of species—the boss is a thin-limbed human; Pim and Charlie are lavender and yellow blobs—as well as animation styles. At one point there’s even a full-on 3D alien, 3D Squelton. “Even the idea of a 3D character coexisting in the same world as a 2D character, and 2D characters who don’t look necessarily like they’re from the same place,” says Hadel. “I would say even that is influenced by the idea of having a website where you’ve got an infinite amount of unique art styles.”Even the show’s style of humor can feel like internet trolling. This weekend’s special, which begins and ends in an airport, thumbs its nose at the audience, or at least at the format of specials. That’s the point. “We hope people will realize that they’re getting the rug pulled out from under them, and enjoy it for the reason they didn’t think they would enjoy it,” says Hadel. “But also, if you don’t enjoy it, that’s kind of funny.”Both creators admit their nostalgia for that era of the web, back when Newgrounds’ motto was still “The problems of the future, today,” and when things felt chaotic and amateur rather than clean and businesslike. Back then, Hadel says, the only rules were those dictated by the forums you were on, and there wasn’t as much “cynical corporate stuff masquerading as amateur.”It’s true that, back then, our minds seemed like glass, liable to shatter at a visit to the wrong website. Like Charlie, it’s harder to shock people now. They’re burned out and cynical. Perhaps they just grew up. Still, Smiling Friends is a reminder of a simpler web, back when the “brutal cruelties of reality” were the gore JPEGs that lived on Rotten.com. Now things are cleaner, but a different kind of horror prevails, and feels inescapable. Just log on to social media. It would be easy to say that Cusack and Hadel’s trick is just tapping into collective nostalgia for Flash, but it’s more than that. It’s tapping into an internet that no longer exists.
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Television
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LOS ANGELES (AP) — “Succession” received a leading 25 Emmy nominations Tuesday, but the satirical drama about the rich and ruthless has a landmark rival in “Squid Game,” the first non-English language series to vie for television’s top honor.“Squid Game,” a South Korea-set drama in which the poor are fodder for brutal games, earned a best drama nomination and 13 other bids for September’s Emmy Awards. “Succession” captured the best drama trophy and eight other awards when it last vied for Emmys, in 2020.The nominees for best drama series are: “Better Call Saul”; “Euphoria”; “Ozark”; “Severance”; “Squid Game”; “Stranger Things”; “Succession”; “Yellowjackets.”The nominees for best comedy series are: “Abbott Elementary”; “Barry”; “Curb Your Enthusiasm”; “Hacks”; “The Marvelous Mrs. Maisel”; “Only Murders in the Building”; “Ted Lasso” and “What We Do in the Shadows.”The nominees for best comedy series actress are: Rachel Brosnahan, “The Marvelous Mrs. Maisel”; Quinta Brunson, “Abbott Elementary”; Kaley Cuoco, “The Flight Attendant”; Elle Fanning, “The Great”; Issa Rae, “Insecure”; Jean Smart, “Hacks.” The nominees for actor in a comedy series are: Donald Glover, “Atlanta”; Bill Hader, “Barry”; Bill Hader, “Barry”; Nicholas Holt, “The Great”; Jason Sudeikis, “Ted Lasso” Steve Martin, “Only Murders in the Building”; Martin Short, “Only Murders in the Building.”The nominees for drama series actor are: Jason Bateman, “Ozark”; Brian Cox, “Succession”; Lee Jung-jae, “Squid Game”; Bob Odenkirk, “Better Call Saul”; Adam Scott, “Severance” and Jeremy Strong, “Succession.”The best drama series actress nominees are: Jodie Comer, “Killing Eve”; Laura Linney, “Ozark”; Melanie Lynskey, “Yellowjackets”; Sandra Oh, “Killing Eve”; Reese Witherspoon, “The Morning Show” and Zendaya, “Euphoria.”The limited series nominees are: “Dopesick”; “The Dropout”; “Inventing Anna”; “The White Lotus”; “Pam & Tommy.”The nominees for variety talk series are: “The Daily Show with Trevor Noah”; “Jimmy Kimmel Live”; “Last Week Tonight with John Oliver”; “Late Night with Seth Meyers” and “The Late Show with Stephen Colbert.”Television Academy President Frank Scherma kicked off the nomination announcement by saying that a record number of shows had been submitted, which reflects that series production was an all-time high after being drastically reduced during the pandemic. The Emmys once were dominated by broadcast networks and then cable, with the rise of streaming services changing the balance of power and perhaps the awards themselves. Netflix’s “Squid Game” joining the Emmy mix is the result of streaming’s global marketplace focus.“The Crown,” which dominated the 2021 drama awards, wasn’t televised within the eligibility period and is sitting this year out.The Emmy ceremony is set for Sept. 12 and will air on NBC, with a host yet to be announced.___For more on this year’s Emmy Awards, visit: www.apnews.com/EmmyAwards
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Television
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Gretchen Mol and Rosie O'Donnell also star in the reimagining of Paul Schrader's 1980 film. Sex sells, but murder is where the real money is.
Jon Bernthal stars as Julian Kaye, an ex-escort who sets out to exonerate himself after serving 15 years for a murder charge for the death of his former client. Kaye finds former lover Michelle (Gretchen Mol) for answers, while Detective Sunday (Rosie O’Donnell) tries to piece together what really happened at the crime scene.
The Showtime series reimagines the Kaye character originated by Richard Gere in Paul Schrader’s 1980 film “American Gigolo.”
The drama also stars Lizzie Brocheré as Isabelle, the heiress to a ring of sex workers; Gabriel LaBelle as Johnny, a younger version of Julian; Leland Orser as Richard Stratton, a self-made tech billionaire; and guest star Wayne Brady as Julian’s best friend and mentor, Lorenzo. Lead star Bernthal previously told GQ that he was even surprised to be cast in the lead role for the upcoming series. “I do not believe that I possess any kind of natural sex appeal,” Bernthal said. “I’ve always looked at myself as this weird-looking guy.”
The “We Own This City” star continued, “It’s crazy to me, but it scares me — and that’s why I’m gonna see it through.”
Original “American Gigolo” director Schrader slammed the television series in a Facebook post confirming that he was not involved in the production.
“Some years ago I received a call from Paramount asking about remaking ‘American Gigolo’ as a series,” the “Taxi Driver” writer penned. “I replied that I thought it was a terrible idea–times had changed, internet porn had redefined male sex work, viruses, etc. I couldn’t imagine Julian Kay working a Hen Party. (Scorsese and I had fought off similar attempts to redo ‘Taxi Driver’ for years.) I thought that was the end of it.”
Schrader continued, “Then came another call saying Jerry Bruckheimer and Paramount had the rights to redo ‘AG’ without my consent. I said I would think about how such a show could be structured. No, the caller explained, they did not want my involvement. Here were my options: (1) take $50G and not be involved (2) take $0 and not be involved (3) threaten an expensive and futile lawsuit and not be involved. I took the $50G.”
The “Card Counter” director concluded, “I’m a great fan of John Bernthal and wish Gretchen Mol the best. I don’t plan to watch the Showtime series. I don’t think I could be objective about it and, even if I could, it’s too much agita.”
“American Gigolo” was originally helmed by “Ray Donovan” showrunner David Hollander before he parted ways with the series amid an ongoing misconduct investigation. Hollander wrote and directed the pilot for the new series, which is produced by Paramount TV Studios with Jerry Bruckheimer Television. The 10-episode series has filmed seven episodes thus far before Hollander was let go. Executive producer David Bar Katz later exited the series three weeks after Showtime and Hollander split. Nikki Toscano snow serves as showrunner and executive producer. “American Gigolo” premieres September 9 on Showtime.
Check out the trailer below. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television
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The new Awards team will handle publicity, creative, and media for film and episodic content across all labels in Disney Studios Content. Disney announced Monday that the company has formed a new Awards team to handle film and episodic content across all labels in Disney Studios Content. The news comes just one day before the 2022 Primetime Emmy nominations are announced.
Led by René Ridinger, the new VP, Awards, the team encompasses publicity, creative, and media for awards campaigns for projects produced by Disney Live Action, Disney Animation, Pixar Animation, Marvel Studios, Lucasfilm, 20th Century Studios, and more. The only exception will be Searchlight Pictures, which will remain in-house at Searchlight.
The new group will work under Michelle Sewell, EVP, Global Publicity, as part of the marketing team led by Disney Studios President of Marketing Asad Ayaz. In addition to Ridinger is Nikki Adler, who serves as Director, Awards, and Samy Gaballa, who will be Creative Arts Director. Ridinger, a seasoned film and TV PR and awards executive, most recently led documentary publicity at Netflix, where she oversaw campaigns for “American Factory” and “My Octopus Teacher,” which won the Oscar for Best Documentary Feature in back-to-back years. On the TV side, she worked on the campaign for “Tiger King,” which received six Emmy nominations, and “The Andy Warhol Diaries” and “jeen-yuhs: A Kanye Trilogy,” two major hopefuls for Outstanding Documentary or Nonfiction Series. Ridinger is a member of the Academy of Motion Picture Arts and Sciences as well as the Academy of Television Arts Sciences and sits on the advisory board of the SXSW Film Festival. Additionally, she is a guest lecturer at USC Annenberg School for Communications and Journalism. At Disney she will focus on strategy and talent relations, working closely with internal executives and marketing and publicity teams. Meanwhile Adler most recently worked at Strategy PR where she led campaigns for studio clients including Disney Studios Content, Amazon Studios, Focus Features, Hulu, Apple TV+ and Sony Pictures on titles such as “West Side Story” and Best Picture winner “CODA.” At Disney she will oversee awards publicity, guild, and event strategy. Gaballa, a 20-year Disney veteran, will spearhead all awards-related creative.
Both Ridinger and Gaballa officially start their new roles on July 18. Adler joined the company in June. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television
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Maya Rudolph as billionaire Molly Novak on the new Apple TV+ comedy series 'Loot' Apple TV+ You most likely know her from either her memorable comedy sketches throughout her seven seasons as a cast member on Saturday Night Live, co-starring in the $288 million dollar worldwide box office hit Bridesmaids, or from her Emmy-winning voice work on the animated series Big Mouth - but now, actress Maya Rudolph is taking center stage as the empowering lead on the new Apple TV+ series Loot. “I definitely feel like this is a great time and place for me,” the Loot star and executive producer tells me during our recent Zoom conversation. “I don’t know if I would’ve been the center of a show five years ago, ten years ago. I don’t know!” Rudolph, 49, plays billionaire Molly Novak on Loot, a middle-aged woman who decides to no longer rest solely on her wildly luxurious lifestyle but instead, use her massive fortune for good when she realizes she owns a charity foundation. These major life decisions come after Molly learns that her longtime husband (played spot-on by Adam Scott) she helped build a fortune with is having an affair with a woman half his age. Throughout this 10-episode series, Molly strives to become more selfless in finding her true purpose, as she comes to realize what life is like for those less privileged than her. “I really like the idea of seeing someone I can relate to in terms of a woman my age in a transitional period of her life,” Rudolph continues. “I think there’s no question that the element of her being a billionaire was exciting too because the minute we started talking about that idea, I thought This is going to big and this is going to be fun and I feel like it can go anywhere, truly. You can see this character anywhere - and within that, you are also dealing with the emotional, real human element of someone having to change their life and what that means and what they’re doing that they might not want to do. I think those paired together are actually a really nice combination because we’re not just seeing extreme wealth, we’re seeing growth as a human.” Rudolph’s character is supported well by a diverse group of witty, multi-layered characters that have a priceless effect on Molly’s growth. Michaela Jaé Rodriguez, Joel Kim Booster, Ron Funches, and Nat Faxon each bring their own comedic chops and dramatic vulnerability effectively to the screen beside Rudolph. (From far right to left) Maya Rudolph, Michaela Jaé Rodriguez, Joel Kim Booster, Ron Funches, and ... [+] Nat Faxon in 'Loot' Apple TV+ Rudolph’s character Molly is also not the only character evolving on this new Loot series. Fresh off of her historic Golden Globe win earlier this year for her outstanding lead actress performance on the critically-acclaimed series Pose, Rodriguez plays Sofia on Loot, the initially tough-as-nails executive director of Molly’s foundation. Rodriguez says she has learned quite a few things from her new character. “Something that just actually hit me now is she has taught me how to have a bit more fun and loosen up a bit,” says Rodriguez. “I look at Sofia and I’m like Yeah, MJ. You like to work like her - you’re not Sofia but you do like to work like her and you do like the work, but you got to go out and travel and go to a party and dance a little bit. So I think that’s what I learned from her.”
Following his leading role in the new Fire Island film, Booster plays Nicholas, Molly’s closest friend and reliable assistant on Loot. When speaking about Rudolph’s leadership abilities on this project, Booster says, “I think Maya has a really difficult job of really setting the tone from the start of shooting. She wears a lot of different hats on the show and I think somebody else in that position might’ve really swallowed up the show and made it all about them, but she gave us so much room and such a great platform to play with each other and really never made it about anything but making the best show possible. That was really remarkable and a mark of an amazing leader.”
Funches, who plays Molly’s cousin Howard on Loot and works at her foundation, adds on about the qualities Rudolph has brought to set by saying, “My favorite type of leader is someone who leads by example by showing you what you should you do if you want to make it to the levels that she has and just being open to everything.” Joel Kim Booster, Maya Rudolph, and Ron Funches in 'Loot' Apple TV+ Also working at Molly’s foundation on Loot is Arthur, played by Faxon in a character filled with sweet humor and a comfortable sense simplicity that seems to intrigue Molly on more than just a professional level. When I asked Faxon what it means to have video streaming giant Apple TV+ taking on this Universal Television produced Loot series, he says, “I think it’s really exciting to be a part of, to be honest. It’s opened up a lot of opportunities for actors. Especially a place like Apple TV+ to give people the freedom and the creative license to create their vision without sort of too much oversight and control and micro-management. Alan Yang and Matt Hubbard who created the show, it felt like they were really excited about the freedoms that they had, to do what they wanted and to really put it into action.”
Booster adds to Faxon’s comments saying, “Apple is not making a ton of content, you know? It’s cool to be chosen in that way. Apple is ‘that girl’ right now! They’re making really amazing stuff and people are talking about it and it’s really cool to be a part of that family.” Michaela Jaé Rodriguez and Maya Rudolph in 'Loot' Apple TV+ Taking on these main female characters positioned in executive roles on Loot, I wondered how Rodriguez and Rudolph might say Hollywood is doing these days in telling more authentic stories about women in charge. Rodriguez says, “As women, we haven’t in a long time gotten to be in a position like this where we are like really seen. Two leading strong women and taking it on together and showing that women can do this around the world, no matter what. I do think there’s more work that we can do for women to be seen in this light, but we’re making great strides with this show, I’ll tell you that much, so I feel great.”
Rudolph wraps up our conversation with how her dedicated film and television roles throughout her career so far have brought her to this moment with Loot. “I feel like what’s led me here is based on my own career so far and that’s always been kind of being who I am and what’s nice is I feel like people are catching up with me. Kind of all one-in-the-same but I love embracing it. I love that because I feel like it’s the world that I’m seeing and I’m glad other people are seeing that, too.”
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Television
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House of the Dragon, HBO Max's Game of Thrones prequel, premiered last night to a positive reception, but it's still too soon to know whether it will be enough to sweeten the bitter taste left by the ending of the original series. The much derided ending to Game of Thrones could have been avoided if HBO had listened to original creator George R.R. Martin, who said he wanted the show to run for "10 seasons at least and maybe 12, 13," Martin told The Wall Street Journal in an article that appeared on Sunday."I had no contribution to the later seasons except, you know, inventing the world, the story and all the characters," said Martin. "I believe I have more influence now than I did on the original show."Game of Thrones was a record-setter for television, becoming the most in-demand show in the world and winning the most Emmy awards for a drama series. For HBO executives, it also has the unfortunate record of being the most pirated TV show. The hype and fanfare that built up throughout the first six seasons was blunted by awkward storytelling in the final two. The rushed final seasons rank as the worst in the series. Season eight even led to a Change.org petition demanding HBO remake the final season. In the wake of the bitterness many fans felt toward Game of Thrones and its showrunners, David Benioff and D.B. Weiss, after the final seasons, the chief content officer of HBO and HBO, Max Casey Bloys, seems relieved to have ceded more creative control to Martin. Bloys told the Journal: "You can't do better than the person who invented the world."
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Television
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“Put this on novice level for me,” Aida Osman jokes when she joins a call with me to discuss her new series, Rap Sh!t, in which she stars alongside Florida rapper KaMillion. It’s the 25-year-old actor and rapper’s first time doing press in a serious way for the new HBO Max series, produced by Issa Rae, along with Yung Miami and JT of City Girls.On Rap Sh!t, which comes out July 21, Osman plays Shawna, a rapper who works the front desk of a Miami hotel by day and pens rhymes by night at home—behind the privacy of a mask and a stage name. Until one day, she and her estranged high school friend, Mia (KaMillion), are goofing around on Instagram Live and come up with a little ditty on the spot. “Seduce and Scheme” becomes something of a hot girl anthem, eventually bringing them to the top of the streaming charts. Years ago, Osman wrote her own pilot that was, funnily enough, also about a couple of young Black girls who form a rap duo. She had never acted professionally before Rap Sh!t; she was first hired to be a writer for the show. (When she was asked to audition for the role of Shawna, she figured she’d never get the job. “I never considered acting to be a reality of mine,” she tells me.) On top of that, Osman was a musician before she even considered becoming a writer. “Sometimes you can’t fight how cosmic shit is,” Osman says. “Rap Sh!t feels like I had a conversation with god and crafted the exact show that would’ve been perfect for me to do as my first television [project]. I’ve been a musician, rapper, songwriter, and certified goofer my whole life.” Growing up in Nebraska, she and her brother (who passed away in 2017) communicated mostly through Tigrinya music from Eritrea. “All my family lives in Africa, still. A lot of them are refugees living in Sweden and Italy, some are in Canada,” Osman says. “I’m the only American-born child, along with my brother, and my brother was epileptic and autistic. He was totally nonverbal. So the only bonding time I had with him was, like, jumping around.”She started playing the drums, joined show choir, and performed in high school musicals. After college, her irreverent social media presence and a co-hosting gig on pop culture podcast, Keep It, landed Osman in the writers rooms for Big Mouth and Betty, before she was hired to write for Rap Sh!t. “I’m doing so much more reflection and remembering who I was in high school, and that person is always in me. I’m a weird Black girl from Nebraska,” Osman says. “I’m still the kid who got kicked out of pep band rehearsals for giggling, I’m still the kid who got kicked out of show choir rehearsal for making blowjob jokes. And now I’m just making a career out of giggling and blowjob jokes and music.”Writing on Rap Sh!t proved to be the perfect path for Osman to transition into starring on the show. “We’re writing this 23-year-old, college-educated Black girl who wants to explore all sides of herself, is very career-driven, is goofy, is aloof, is sweet—sometimes to a fault,” she says of Shawna. “I was giving her so many of my own personal stories—experiences I’ve had with shitty producers, moments I’ve had backstage at shows with rappers. She was becoming me because I was the only 23-year-old musician in the writer’s room. I figured if I was going to ever be an actress and capitalize on my own perspective, I was gonna have to write it.”As for the rapping requirement of the gig, she had recorded some stuff with friends for fun, or posted clips on Twitter, but had never laid down tracks in a professional capacity before joining Rap Sh!t and working with writers like PineappleCITI and producers like Danja. Being incredibly vulnerable on screen, appearing in nude scenes, and rapping about scamming dudes could be tough territory for an actor of any experience level, let alone someone who just started. “It’s complicated,” Osman says. “I’m excited to meet who I am when the show comes out. I’m learning a lot about myself. I had to learn how to pretend to masturbate in front of Issa Rae. So no one can hurt me.”Aida Osman attends the red carpet premiere of Rap Sh!t at Hammer Museum on July 13, 2022 in Los Angeles.Photo by Tommaso Boddi/FilmMagicAnd speaking of Rae, one has to wonder if the woman who revolutionized the Internet-to-TV pipeline with Awkward Black Girl and Insecure is the best boss any first-time actress could ask for after being scouted from the Internet. “She’s gonna be so mad I said this, but that’s TV’s Beyoncé,” Osman says with a laugh. “That’s TV’s Beyoncé, TV’s Rihanna, TV’s everything. She’s talented and respected and knowledgeable and funny and the most perceptive and quick-witted person I’ve had the honor of observing. I feel like I’m getting a crash course in how to be a dope Black woman in the industry.”If Rap Sh!t is the first time you’re seeing Osman, rest assured, it certainly will not be the last. She tells me about filming with Random Acts of Flyness creator Terence Nance and Ramy Youssef, and that she just wrapped Tayarisha Poe’s The Young Wife, with Kiersey Clemons and Leon Bridges, before ticking off work from the minds of Michaela Coel, Donald Glover, and Phoebe Waller-Bridge as inspirations for the type of writing she’d like to pursue in the future. “I’m grappling with that feeling of surrender and allowing audiences to perceive you and your art however it’s packaged. But also, fuck that—please like me,” Osman says, semi-jokingly. “Please be motivated and inspired to produce your own tracks and write your own music and explore different avenues. We all have different modes of artistic expression in us. We’re all creative people and we’ve all sacrificed creativity to pursue jobs and survival. And if Rap Sh!t does anything, I hope it encourages you to revisit some dusty dreams that are still alive and well.”
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Television
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The new comedy from the "Veep" creator will follow the embattled crew of a dysfunctional superhero movie franchise. Armando IannucciJoel C Ryan/Invision/AP Armando Iannucci is returning to HBO once again.
The network has ordered a pilot for “The Franchise,” a new satire which will see the “Veep” creator turn his eye for institutional dysfunction toward an industry that has no shortage of it: Hollywood. The series will follow the behind-the-scenes drama on the set of a “dysfunctional, nonsensical, joyous hellscape of franchise superhero movie-making,” as the cast and crew of a fictional franchise wonder if their jobs have any meaning, per the announcement.
The script was written by Jon Brown and Keith Akushie, with Iannucci collaborating with them on the pilot story. Iannucci will serve as an executive producer alongside Sam Mendes, who is also directing the pilot. Pippa Harris, Nicolas Brown, and Julie Pastor are also producing.
The pairing of Iannucci and Mendes is an exciting one for fans of British film and television. The two have never collaborated before, but have emerged as two of the most distinctive artists that the U.K. has produced this century. While comedy may not appear to be in Mendes’ wheelhouse, he has found great success with dark satire through films like “American Beauty.” He also has experience working on some of the biggest blockbusters in the world, having directed the James Bond movies “Skyfall” and “Spectre.” Perhaps his experiences directing that franchise will inspire his work on “The Franchise.” Iannucci is best known for his political satires, often (though not always) utilizing a mockumentary format. He ruthlessly mocked the inner workings of the British government with the BBC Four series “The Thick of It,” before finding even bigger success with a similar formula on the American political satire “Veep.” The Julia Louis-Dreyfus-led series won 17 Emmys throughout its seven-season run on HBO, with many lamenting how painfully accurate its predictions about American politics eventually became.
In the years since “Veep,” Armando Iannucci wrote and directed the films “The Death of Stalin” and “The Personal History of David Copperfield.” He also created the sci-fi series “Avenue 5” for HBO, which has been renewed for a second and final season.
No information about the cast or potential premiere date of “The Franchise” has been released. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television
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NEWYou can now listen to Fox News articles! Terry Crews and "Tales of the Walking Dead" co-creator Channing Powell are excited about the new anthology series despite negative reviews of the first episode released on Sunday. ‘Tales’ follows various new and old characters from the original "Walking Dead" series as they try to survive in the zombie-ridden universe. "Well, we were hoping to make six little movies," Powell said during an interview with Deadline. "We kind of came into it thinking, okay, we’re creating six different pilots, and they can all have a different tone."The first episode of the anthology, which premiered last week on AMC+ and AMC television on Sunday night, follows the characters of Joe and Evie (played by Crews and Olivia Munn) in the aftermath of the original show's zombie apocalypse. Directed by Ron Underwood and written by Maya Goldsmith and Ben Sokolowski, it received mix reviews upon its release. Yet Crews and Powell are still excited about where the series is headed. "It’s almost like six movies, but this is the thing for me and what I love, and the fact that I don’t die," Crews told Deadline as he described his hopes season 1. "It’s the fact that they did a brilliant job of establishing me in the world, and we all know, if you ever watch Walking Dead, that if anything ends hopeful, all of a sudden there’s going to be a twist." Actor Terry Crews stars in the first episode of the "Walking Dead" spinoff series alongside Olivia Munn. (Reuters)TERRY CREWS FACES CRITICISM OVER ‘BLACK SUPREMACY’ TWEETCrews added, "There are really, really dark times ahead, and that’s what I’m waiting to really portray, and I think this whole episode does a beautiful job of establishing us, and now it’s time to put us in the fire."Meanwhile, Powell added he wouldn't be opposed to casting Crews and Munn again the roles of Evie and Joe in potential future seasons. "I am, you know, I’m not opposed to it. That was the intention. I really liked their chemistry together," the "Tales" co-creator told Deadline. "I thought if it works out between them and we get a second, third, or fourth season, or you know, people love these characters, I’d love to keep the door open to explore more of their story together."CLICK HERE TO SIGN UP FOR THE ENTERTAINMENT NEWSLETTERReactions to the series premiere have not been entirely positive from critics. In a review of the spinoff series, Hollywood Reporter said it was "underwhelming" before adding "Tales of the Walking Dead promises a refreshing change of pace, serving up bite-size, standalone tales of less than an hour each, with very little prior knowledge of the "Walking Dead" shows required. But even without seasons of narrative baggage, most of its tales remain too mired in the same ideas to forge truly new territory. It’s an occasionally diverting genre exercise, but hardly essential viewing in its own right." The show's Rotten Tomatoes audience score currently stands at 50%. CLICK HERE TO GET THE FOX NEWS APP
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Television
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Netflix's hit show The Crown has become well known for bending facts to suit its narrative, and for it's wild and at times inaccurate portrayal of members of the royal family. And now even Prince Charles has spoken out about his depiction on screen in the drama, telling Scottish politicians he is 'nowhere near' his portrayal on the show. Scottish Labour leader Anas Sarwar has revealed that Charles gave his opinion to MSPs when he attended the state opening of the Scottish Parliament last October.Normal protocol is that politicians should not disclose what royals say to them.However, speaking at an Edinburgh Fringe event, he said that when Charles met MSPs at a multi-faith ceremony in Edinburgh before the state opening, 'he came over and went, 'Hello, nice to meet you all. I'm nowhere near how they portray me on Netflix'. Netflix's hit show The Crown has become well known for bending facts to suit its narrative, and for it's wild and at times inaccurate portrayal of members of the royal family - and a politician has now revealed how Prince Charles introduced himself by saying he is 'nowhere near' how he is portrayed on the show The fourth series wrongly suggests the affair between Charles and Camilla continued throughout his marriage to Diana. In fact, Charles had virtually no contact with Camilla for the first five years of his marriage in 1981Mr Sarwar added: 'I thought that was a really interesting way of how you describe yourself.' He then told the audience at the Gilded Balloon: 'I'm going to be in so much trouble for this because I don't think you are meant to tell private conversations!' Clarence House declined to comment.The royal was played by Josh O'Connor in the fourth season of the drama, with critics at the time saying the portrayal of Prince Charles' marriage to Diana was 'distorted' and that viewers were misled into believing its fictionalised account of events.The series wrongly suggests the affair between Charles and Camilla continued throughout his marriage to Diana. In fact, Charles had virtually no contact with Camilla for the first five years of his marriage in 1981.In a fabricated scene in the first episode of series four, Lord Mountbatten writes to warn Charles he is in danger of bringing ‘ruin and disappointment’ to the family before the two have a huge argument. Here, FEMAIL reveals how the outrageous portrayal of the royal in the series... Elsewhere in the show, the royal is portrayed as arguing with his mentor and father figure Lord Mountbatten shortly before his death - in a scene which is widely regarded as fictional, but portrayed to viewers as fact THE CROWN'S PORTRAYAL: Charles was cold and cruel to Diana, cheated with Camilla before the wedding and there was never any break in their relationshipPrior to flying off on his royal tour for six weeks before their wedding, Charles bids a rather short farewell to his fiancée at a rainy Heathrow airport, telling her casually the time will 'fly by' - though she is not so sure. He then pecks her on the cheek before boarding.Diana later calls her friends in anguish, telling them she hasn't heard from him in three weeks.After receiving a card from Camilla Parker Bowles, the two women meet for lunch at Ménage a trois at The Wolseley. It's an awkward encounter, with Camilla showing off how much she knows about the Prince of Wales' character and quirks, such as the fact he doesn't eat lunch or garlic, has a soft boiled egg with everything and loves the colour green - all of which Diana has no idea about.Camilla reveals she and the prince call each other Fred and Gladys; Diana then later finds drawings of a bracelet Charles is having made, with the initials F and G engraved. Throughout series four of the programme, Charles was portrayed as cold and cruel to Princess Diana and never particularly committed to her Meanwhile the programme also indicates Charles cheated with Camilla before the wedding and there was never any break in their relationship (pictured, Emerald Fennel as Camilla with Emma Corrin as Diana) When Charles arrives home from the tour he doesn't come straight home to his bride-to-be; instead he drives to Gloucestershire, where he spends the night with Camilla before travelling to St Paul's Cathedral for his wedding rehearsal. There he reunites with a furious Diana.He tells her it's 'over' between him and Camilla, that the bracelet was a 'souvenir', and presents her with a signet ring engraved with the Prince of Wales insignia - for 'the future Princess of Wales'. THE CROWN'S CLAIMS: Prince Charles regularly called Camilla during the early years of his marriage to Diana While enjoying lunch with the Queen, Prince Charles speaks with her about his relationship with Camilla.The Queen challenges Prince Charles on his choice of Gloucester because his home is 'only a 15 minute drive from Camilla'. He insists he 'just hunts with Camilla and talk on the telephone...when I need cheering up.'The facts: Prince Charles had almost no contact with Camilla at all for the first five years, with the resumption of contact believed to have been in 1986.By this time the marriage had, as the Prince himself famously put it in a TV documentary, 'irretrievably broken down'. The facts: Charles and Camilla's relationship was friendly but he did not sleep with her the night before the weddingThe Prince of Wales did go on a tour of the US, Venezuela, New Zealand and Australia before the wedding, but not until a month after their engagement - and it only lasted five weeks.Their farewell at the airport was reportedly 'tender and tearful', according to press reports, and Junor believes the suggestion Charles didn't call his bride-to-be was a dramatic device to highlight how busy he was - something Diana 'resented' because she 'hated being alone' and couldn't understand why his work took precedence.Diana and Camilla did go for lunch together, and as far as Camilla was concerned it was 'friendly' and a genuine attempt to strike up a rapport, Junor said.However, Diana's account of the meeting in Diana: Her True Story is less favourable, believing Camilla used it as an opportunity to scope out the competition and ask leading questions that might help her continue to see Charles.According to Junor, Charles did give Camilla a bracelet with their nicknames inscribed during a final lunch with his ex. Diana reportedly found the actual bracelet itself in Michael Colborne's office, along with a load of other jewellery Charles had ordered as presents for a collection of women with whom he'd enjoyed dalliances, to thank them for their companionship over the years.'All the jewellery had been delivered to the office that Diana was sharing with Colborne and put on his desk,' Junor told History Extra. 'Colborne was called away to a meeting down the corridor. He left the package of jewellery on his desk and when he came back he met Diana storming out of the office. He quickly realised she had unpacked the boxes, discovered the bracelet and flown into a jealous rage.'Junor refutes the suggestion that Charles and Camilla spent the night together before his wedding, or that the pair never stopped seeing each other, claiming it's 'highly unlikely' because Camilla had already stepped 'right back', so he wouldn't have needed to end it face to face.'I think it is absolutely untrue that she and Charles slept together just before the wedding. They are both decent, honourable people,' she said.Royal photographer Arthur Edwards also refuted the suggestion that Charles was cruel to Diana and strayed the night before his wedding. Writing in The Sun, he said: 'That he made love to Camilla on the night before his wedding to Diana — absolutely not true. He said privately, 'What sort of a man do you think I am?''I don't believe Charles phoned Camilla while his wife waited on the Tarmac to see him off on a foreign engagement. The Prince is not a cruel man.'THE CROWN'S PORTRAYAL: Charles didn't love Diana and their wedding nearly didn't happen A tearful Diana tries to phone the Queen to call off the wedding the night before, claiming it will be 'a disaster for everyone' if it goes aheadA tearful Diana tries to phone the Queen to call off the wedding the night before, claiming it will be 'a disaster for everyone' if it goes ahead. When she is denied access to the monarch, Diana is seen childishly kicking bouquets of flowers in her bedroom and later breaking out into a wild interpretative dance during a solo ballet practice.Following Diana and Charles' tense exchange at the wedding rehearsal, Princess Margaret urges the Queen to step in and stop the nuptials, claiming Charles is still in love with Camilla.'How many times can this family make the same mistake? Forbidding marriages that should be allowed, forcing others that shouldn't, and paying the consequences each time,' she says. 'This is madness. We can stop them now, before they tie the knot. Not just for the sake of the monarchy but for them as human beings. We have to stop them now.'Philip argues that Charles will come to love Diana the older and 'more confident and beautiful' she gets, while the Queen Mother makes the rather outrageous suggestion he 'juggle them both' in the meantime.When the Queen encourages her son to go ahead with the wedding, Charles is seen with tears in his eyes as he dejectedly peers out of the window watching fireworks going off in Hyde Park.The facts: It's very unlikely Diana turned to the Queen for help or that the royals would have intervened to stop the weddingJunor claims she wasn't aware of such an attempt on Diana's part to cancel the wedding, especially given her relationship with the Queen at that stage.She also said she'd be 'very surprised' if Princess Margaret did try to step in and put a stop to things, and suggested it was a dramatic tool to highlight the fact her own love match was prevented.After the bracelet saga, Diana reportedly confided in her sisters about off the wedding, but they said it was too late to back out.Meanwhile Charles told friends he was in a 'confused and anxious state of mind' hours before tying the knot, according to Ingrid Seward.She said: 'Prince Charles kept saying, "I want to do the right thing by my country. I want to do the right thing by my family." [But] in his heart, I think he knew that they just had nothing in common.'THE CROWN'S PORTRAYAL: Prince Charles verbally abused a heavily pregnant Diana and called her 'pathetic' before complaining about her to the Queen Retreating to her room: When the Queen comes to Highgrove to visit, Prince Charles is seen banging on the door of Princess Diana's bedroom. Inside a pregnant Princess Diana could be seen laying on her bed while watching television, and turns the volume up on the screen as Prince Charles shouts through the door that she is 'pathetic' Elsewhere, Prince Charles and Camilla were depicted as having explosive fights in which the Prince of Wales told her she 'didn't care' When the Queen comes to Highgrove to visit, Prince Charles is seen banging on the door of Princess Diana's bedroom.He shouts at her: 'Might I remind you she is not just your mother-in-law, but also the Queen of this country.'Inside a pregnant Princess Diana could be seen laying on her bed while watching television, and turns the volume up on the screen as Prince Charles shouts through the door that she is 'pathetic'.He later tells the Queen Diana is 'not having an easy time of it' and adds: 'You're two very different women.'He describes Diana as 'intellectually incurious' and bemoans the fact she has been 'withdrawing again, locking herself in her room watching endless hours of television'.Prince Charles said: 'I tried to give her tutorials on Shakespeare and poetry...she shows no interest. Just talks endlessly about missing London.'The Queen tells him to 'worry less about his own happiness and more about the wellbeing of the mother of your future child.'The facts: The couple had difficulties, but it's unlikely Charles turned to the QueenDiana's first pregnancy was a challenging time for the couple and the expectant mother was deeply unhappy.In Andrew Morton's 1992 biography, the princess said: 'I had told Charles I felt so desperate and I was crying my eyes out. 'He said I was crying wolf. 'I'm not going to listen,' he said. 'You're always doing this to me. I'm going riding now.'Penny Junor wrote: 'Apart from being in charge of decorating Highgrove and later their apartment at Kensington Palace, there wasn't much left for Diana to do to feel part of it all.'Yet it seems highly unlikely that Charles confided in his mother that Princess Diana was so unhappy.As Junor writes in her biography of Camilla Parker Bowles: 'Not even after the Queen found Diana at the bottom of the stairs after her fall, mercifully unharmed, did he take the opportunity to confide in his mother.'Meanwhile Bedell Smith, in her biography of the prince, said the Queen would not interfere with her children's marriages, writing: 'The Queen's natural reticence and sense of propriety prevented her from intervening to correct Diana, much less to ask her, or Charles for that matter, about the princess's upset.'THE CROWN'S PORTRAYAL: PRINCE CHARLES FOUGHT WITH 'FATHER FIGURE' LORD MOUNTBATTEN AND CALLED HIM A TRAITOR BEFORE HIS DEATH Heated: The Crown shows Prince Charles accusing Lord Mountbatten of betraying his trust in a phone call hours before his death Final words: Lord Mountbatten is accused of betraying Charles (pictured) and criticises him for continuing to see CamillaIn one episode of season four, Lord Mountbatten phones Prince Charles on the morning of August 27, 1979, while he is on holiday at Classiebawn Castle, Co Sligo.During the conversation, Lord Mountbatten cautions the Prince against continuing to see Camilla Parker-Bowles. Prince Charles bites back, saying Lord Mountbatten is in no position to lecture on adultery.'The idea that you all of all people should lecture me on the sanctity of marriage... You and Edwina hardly blaze a trail in that matter,' he says, in a reference to Lord and Lady Mountbatten's high profile affairs.He also accuses Lord Mountbatten of being a traitor, saying he pretends to be on his side, but in reality does the Queen and the Duke of Edinburgh's dirty work.The phone call ends abruptly, with Prince Charles not giving his great-uncle a proper goodbye.Shortly afterwards Lord Mountbatten sits down to compose a letter to Prince Charles, compelling him to find 'some sweet and innocent, well-tempered girl with no past' to settle down with, and to do his duty.Hours later Lord Mountbatten is killed at Mullaghmore by the IRA. It means the last words spoken between the two were an argument.The facts: There was no letter or argument on the phone on the morning of Lord Mountbatten's deathWhile Lord Mountbatten did write to Prince Charles about his love life on a number of occasions, he did not write to the royal on the morning of his death.It is also thought to be very unlikely that the last words that passed between them were so acrimonious.According to historian Andrew Lownie, the last correspondence between Charles and Lord Mountbatten was a letter sent to his great-uncle dated 13 August, which read: 'I hope you are having a decent rest in Ireland and are not working unnecessarily hard.'It suggests a far more conciliatory tone between the pair and makes no reference to the acrimonious conversation conjured by The Crown.However Lord Mountbatten did suggest Charles find a woman with such qualities, although this letter was sent several years earlier, in 1974.He wrote: 'I believe, in a case like yours, the man should sow his wild oats and have as many affairs as he can before settling down, but for a wife he should choose a suitable, attractive and sweet-charactered girl before she met anyone else she might fall for.' The Crown should come with a disclaimer that it is fiction NOT fact: Politicians, experts and friends of royals back Prince Charles and call for Netflix to warn viewers that show twists the truth Following the release of season four, a number of experts, politicians and friends of Prince Charles called on Netflix to feature a disclaimer that the show was fiction and not fact. Author Sally Bedell Smith, who has written biographies of the Queen, Charles and Diana, said: 'I am very sad to say that I have heard it over, over and over again that people take The Crown at face value and they believe everything they see in the series, and that includes Charles and Camilla.'The notion in the programme that he entered into his marriage cynically with a view to continuing with Camilla and putting his new wife on the side is exceedingly dishonest and damaging. It is just simply not true.'Ingrid Seward, editor-in-chief of Majesty magazine, said: 'The Crown is a very one-sided portrayal, which is really the Diana version. The sad thing for people viewing it is that they are going to take it as the correct story line, which it isn't at all.'Tory MP Colonel Bob Stewart branded the portrayal of Prince Charles as 'wildly inaccurate'.Col Stewart, a former battalion commander in the Cheshire Regiment, frequently spoke to Charles, the regiment's colonel-in-chief, during a tour of Bosnia in 1992 and 1993.'That is not the Prince Charles I knew,' he told The Mail on Sunday. 'Please, please God, people, do not think that this is an accurate portrayal of the heir to the throne.'
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A decade after making history with the debut of Lena Dunham's "Girls," the festival has announced an official name change to better speak to its wide range of programming. The South by Southwest (SXSW) festival has nailed down an official rebranding ahead of the 2023 festival. SXSW will now officially be called the SXSW Film & TV Festival going forward. Per an official press statement, the name change is issued to “reflect the event’s long standing and deep programming of episodics in the screening program, Film & TV tracks, and Keynote and Featured Speaker sessions in the Conference.”
SXSW made history as the first festival to program episodic showcases a decade ago with the premiere of Lena Dunham’s groundbreaking HBO series “Girls” in 2012. The festival launched an Episodic section in 2014 which has included the world premieres of series like “Silicon Valley,” “Mr. Robot,” “Barry,” “What We Do in the Shadows,” and “Search Party.”
“We are so proud of our rich history of showcasing both film and television, and wanted the festival name to reflect what we have been doing for a decade,” Janet Pierson, VP, Director of Film & TV, said in an official statement. “Whether in the screening program, the Conference or associated activations on our footprint, SXSW has long been at the epicenter of the best new TV, and in 2023 we will once again thrill our audiences with exciting new work from some of the most talented creators.” In 2021, SXSW hosted six episodic world premieres ranging from “Cruel Summer” to “The Girlfriend Experience,” “Made for Love,” and “Them.” There were also six episodic pilot competition titles.
Last year, SXSW hosted 12 world premieres for the Episodics section, with the “Atlanta” Season 3 premiere as a featured event. The debuts for “61st Street,” “The Girl From Plainville,” “Halo,” “Shining Girls,” “The Last Movie Stars,” “Swimming with Sharks,” and “WeCrashed” additionally premiered. Overall, SXSW has hosted 68 other Episodic Premieres and 57 Episodic Pilots.
Over the years, film and TV conference highlights have included conversations between Bob Odenkirk and Fred Armisen; Elisabeth Moss and Brandi Carlile; and cast panels for “Veep,” “The Chi,” “Westworld,” and “The Boys” over the years.
The Film and TV activations features dozens of immersive installations each year, promoting work in the festival and conference as well as other SXSW-unique experiences. A recreation of “Westworld” and “Bates Motel” activations were among fan favorites. This year hosted Amazon’s “Superheroes & Superstars Experience” featuring “The Boys” and Lizzo’s “Watch Out for the Big Grrrls,” plus FX’s “Atlanta” Season 3 Amsterdam-style café pop-up fittingly called The Trip.
Looking ahead to 2023, the SXSW Film & TV badge is available at the lowest rate August 2 through September 15, 2022. Registration for the 2023 festival opens August 2 to get the best hotel rates and options. SXSW Film, TV, XR submissions open on August 23 through October 18, 2022. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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The Toronto International Film Festival has also added keynotes from Tyler Perry and "RRR" director S.S. Rajamouli. The Toronto International Film Festival Primetime program is set to spotlight seven compelling and thought-provoking television series from around the world — including five world premieres. In addition to series premieres, TIFF will present season premieres of established and beloved shows.
Returning to the Glenn Gould Theatre, TIFF’s Industry Conference lineup also announced today will engage and inspire industry delegates from all over the world with a highly curated slate of sessions and inspiring speakers. This year’s festival runs September 8 through 16.
Heading up the series lineup is, among others, Lars von Trier with the return of his twisted dark comedy series “The Kingdom,” revolving around a supernatural hospital. Alexander Skarsgård joins the cast of the series this time. “TIFF recognizes serialized storytelling as one of the most groundbreaking creative mediums today,” said Anita Lee, Chief Programming Officer, TIFF. “Growing increasingly risk-taking, it continues to attract top writers and directors globally. TIFF Primetime spotlights the best of series — the most acclaimed and anticipated — and the discoveries that will soon be the most talked about.” “This year’s lineup highlights the work of both established and emerging creators, with a balanced mix of new discoveries and fan favourites,” added Geoff Macnaughton, Senior Director of Industry and Primetime Programmer, TIFF. “There is something for everyone, and each series will be followed by an extended Q&A with the creative team.”
TIFF’s 2022 Primetime program features compelling television series from Canada and around the world:
“1899,” Jantje Friese | Germany, USA – World Premiere
“Dear Mama,” Allen Hughes | USA – World Premiere
“The Handmaid’s Tale,” (Season 5) Bruce Miller, Elisabeth Moss | USA – World Premiere
“High School,” Clea DuVall, Laura Kittrell | USA, Canada – World Premiere
:The Kingdom Exodus,” Lars von Trier | Denmark – North American Premiere
“LIDO TV,” Lido Pimienta, Sean O’Neill | Canada – World Premiere
“Mystery Road: Origin,” Dylan River | Australia – International Premiere
The festival has also announced various talks as part of its industry conference sidebars, including keynotes with Tyler Perry and “R.R.R.” director S.S. Rajamouli and an Academy conversation with Academy CEO Bill Kramer and newly elected president Janet Yang.
VISIONARIES
Inspirational keynotes from distinguished industry leaders who are forging innovative new paths creatively and in business. The Hollywood Reporter is the Media Partner. Previously announced speakers include Efe Çakarel, founder and CEO of MUBI, as well as Hillary Rodham Clinton and Chelsea Clinton. Additions include:
● Tyler Perry — Writer, director, producer, playwright, actor, and studio owner Tyler Perry discusses his
latest film, A Jazzman’s Blues, and his wide-spanning career, which has set him apart as a creator who
embodies the core attributes of a visionary in the entertainment industry today.
● S.S. Rajamouli — TIFF welcomes S.S. Rajamouli, director of the recent global success “RRR,” to discuss Telugu cinema, the notion of art versus commerce, and his reputation of “pushing the limits of industrialized pop cinema,” as articulated by Roger Ebert. DIALOGUES
Rich and lively discussions on craft among creators, including directors, writers, and showrunners. Variety is the Media Partner. Dialogues sessions are supported by Ontario Creates. Dialogues speakers will be announced soon on tiff.net/industry.
PERSPECTIVES
Timely and thought-provoking conversations with a wide range of expert panellists who will speak on various aspects of the current state and the future of the industry. Talks will include:
● “The Future of Exhibition” focuses on studio relations, streaming wars, and box office outlook as theatres reopen at full capacity and the industry faces a “new normal.
● Representatives from the Academy, the Screen Actors Guild, and more discuss “The Future of Awards” and each organization’s evolving impact on the film industry.
● The “Narrative Sovereignty” panelists Nyla Innuksuk (director of Slash/Back), Darlene Naponse (director of Stellar), Elle-Máijá Tailfeathers (director and actor; Stellar, Night Raiders, Blood Quantum), and Sonya Ballantyne (filmmaker and genre enthusiast) will join moderator Bird Runningwater (producer) to explore how Indigenous-made genre films are contributing to the diversification of the sector, while also finding new global audiences for Indigenous stories.
CONNECTIONS
Providing emerging and mid-career filmmakers the opportunity to interact directly with industry leaders and acquire practical insight that will help fuel their projects and expand their understanding of the industry. TIFF Connections series is generously sponsored by Tecnológico de Monterrey. Sessions confirmed include:
● “Academy 365” with Bill Kramer (CEO, Academy of Motion Picture Arts and Sciences) and newly named President of the Academy of Motion Picture Arts and Sciences, Janet Yang
● “Pathways from Shorts to First Features”
● “Breaking in and Moving Forward”
● “The ReFrame ReSource” presented by ReFrame
● “How To Access Telefilm Funding” presented by Telefilm
MICROSESSIONS
Curated partner discussions that showcase new technologies and new ways of doing business. Confirmed sessions to date include:
● “Being Seen: Directives for Creating Authentic and Inclusive Content” presented by Telefilm Canada and the Black Screen Office
● “Greening your Mind: The Role of Agencies in Creating a More Eco-Responsible Industry” presented by Telefilm Canada
● “All Welcome: Increasing the Accessibility of Events in the Film Industry” presented by Telefilm Canada
● “Powering Entertainment” presented by TikTok
● “Let’s Talk Future of Cinema Technology” presented by Christie
● “Underrepresented to Unstoppable: More Voices Need More Opportunities in Film” presented by UPS.
SPOTLIGHTS
Spotlighting global talent, incentives, co-production opportunities, and pitching sessions. Sessions will include: ● “Do It the Spanish Way! Spain–Canada Coproduction Forum” presented by ICEX and ICAA
● “Indigenous Filmmakers at TIFF” presented by the Indigenous Screen Office
● “Renewal of the Canada–France Co-Production Treaty” presented by Telefilm Canada and The French Embassy in Canada
● “The Big Pitch” presented by Caribbean Tales Media Group
● “Cents and Sensibility: Making Meaningful Change in the World of Film Financing” presented by Breaking Through the Lens Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Emma D’Arcy’s Princess Rhaenyra is about to fight for the Iron Throne. Ollie Upton/HBO HBO’s upcoming Game of Thrones prequel, House of the Dragon, has a fierce battle ahead; the series must live up to the high standards set by Thrones, while washing away the memory of the show’s controversial final season, which sparked a fan revolt on social media. Despite the finale imploding the fandom, viewers seem ready to revisit the world of Westeros - House of the Dragon even topped IMDb's list of most anticipated series of 2022. In the years since Thrones ignited a fantasy boom in prestige television, no other series has managed to best, or even equal, the show’s careful attention to detail; Amazon’s lackluster Wheel of Time adaptation being the latest attempt that fell flat. House of the Dragon is due to premiere on HBO a couple of weeks before a big-name competitor drops on Amazon Prime - The Rings of Power - my money is on HBO to deliver the stronger story. But what can we expect from the Game of Thrones prequel series? The Beginning Of The End The prequel is set 200 years before Game Of Thrones, and will show the painful decline of House Targaryen, which is depicted in its prime; at this point in Westeros history, dragons are abundant, allowing the Targaryens to comfortably rule, unchallenged. While Thrones was set in a decaying world, with the remaining noble houses fighting each other in the face of an apocalyptic threat, House of the Dragon will show the beginning of the rot, as the incestuous family starts to tear itself apart over a succession crisis. It also means a lot of platinum blonde wigs, and characters with confusingly similar names - the series has a Princess Rhaenyra and a Princess Rhaenys (reportedly, requests to differentiate them were shut down, out of respect for George R.R. Martin's work). Some More Family Drama
Thrones was famously pitched as “The Sopranos meets Middle-Earth,” emphasizing the moral ambiguity of Westeros, in stark contrast to traditional fantasy stories like Lord of the Rings. House of the Dragon looks to continue that ethos, as described by George R.R. Martin, who wrote online: “Those of you who like complex, conflicted, grey characters (as I do) will like this series, I think. There will be plenty of dragons and battles, to be sure, but the spine of the story is the human conflicts, the love and the hate, character drama rather than action/ adventure.”
The promise to keep this story centered on the characters is promising - the emphasis on action over the whims of the characters is much of the reason why the finale of Thrones felt so empty.
In an interview for the Hollywood Reporter, co-showrunner Miguel Sapochnik said that at its heart, House of the Dragon will be about four characters: “There’s the king, his brother, the king’s daughter and her best friend. Then the best friend becomes the king’s wife and thereby the queen.”
Hence, the Targaryen family is due to be ruptured by a combination of love, resentment, and misogyny, as the inheritance crisis is exacerbated by the potential of a queen taking the Iron Throne.
While Thrones was famous for inserting graphic sexual violence into Martin’s story (which already including a lot of it), often crossing the boundaries of taste, Dragons is said to be a little more cautious, emphasizing a more feminist approach that fits neatly with the themes of the show. That being said, I’m sure viewers can still expect plenty of sex - this is a story about the Targerans, after all (and an HBO series).
A new Daenerys Targaryen? Emma D’Arcy’s Princess Rhaenyra already feels familiar, being the rightful heir to the throne who has to fight for her claim, facing off against the forces of misogyny. In the trailer, Rhaenyra speaks of breaking old traditions, and seems deeply ambitious; on the surface, her story seems to mirror that of Daenerys Targaryen, a fan-favorite whose sudden tilt into madness in the finale sparked most of the fan backlash.
She’s also a dragon-rider - hopefully, her story won’t end with her burning down the fandom. But unlike the ending to Thrones, which had run out of books to adapt, the ending to Dragon has already been written.
Whether the prequel series can live up to expectations, or rise above its many fantasy competitors, remains to be seen - there’s a lot of contenders for the throne out there.
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Developing Published July 31, 2022 2:14PM Updated 2:55PM article LOS ANGELES, CALIFORNIA - DECEMBER 05: Actress Nichelle Nichols (R) and son Kyle Johnson attend the Nichelle Nichols Finale Celebration during 2021 Los Angeles Comic Con at Los Angeles Convention Center on December 05, 2021 in Los Angeles, California HOLLYWOOD - Nichelle Nichols, the trailblazing actress of "Star Trek," has died at the age of 89, according to her family. "I regret to inform you that a great light in the firmament no longer shines for us as it has for so many years," he son, Kyle Johnson, posted on Instagram Sunday. Johnson said his mother died Saturday night after succumbing to natural causes. Nichelle Nichols in her role as communications officer Lt. Uhura on the TV series Star Trek. "Her light however, like the ancient galaxies now being seen for the first time, will remain for us and future generations to enjoy, learn from, and draw inspiration," he continued. "Hers was a life well lived and as such a model for us all." Nichols was the first African American woman to play a leading ole on television when she earned the role of Communication Officer Lieutenant Uhura on the sci-fi drama "Star Trek." RELATED: William Shatner launches into space aboard Blue Origin rocket One of her biggest supporters was the late Dr. Martin Luther King, Jr., who encouraged her to stay on the television series. Since its 1966 premiere with one of the most diverse casts TV had ever seen, "Trek" has grown from Gene Roddenberry’s fever dream of a "‘Wagon Train’ to the stars" into an intricate transmedia universe full of subtleties and traditions and rules. Blue Origin: Emotional William Shatner describes flight to space | LiveNOW from FOX Actor William Shatner, known to many "Star Trek" fans as Captain James T. Kirk, rocketed into space aboard a Blue Origin flight. After exiting the capsule, Shatner struggled to find the words to describe the experience while speaking with Blue Origin founder, Jeff Bezos. That 1966-69 original series used allegory to evade network censors and tell stories about racism and xenophobia and even the Vietnam War. How could they get away with all that? Because the adventures of Kirk’s Enterprise took place against a backdrop of 23rd-century space travel — something directly relevant to the world as well, given that humans first set foot on the moon 47 days after the original series’ final episode. Nichols was a particularly tireless advocate, working with NASA to recruit Americans of color and women and make sure they could occupy the center of such ambitions as the missions marched forward. She served for many years as a NASA recruiter, helping bring minorities and women into the astronaut corps. Her role in the 1966-69 series as Lt. Uhura earned Nichols a lifelong position of honor with the series’ rabid fans, known as Trekkers and Trekkies. It also earned her accolades for breaking stereotypes that had limited Black women to acting roles as servants and included an interracial onscreen kiss with co-star William Shatner that was unheard of at the time. Like other original cast members, Nichols also appeared in six big-screen spinoffs starting in 1979 with "Star Trek: The Motion Picture" and frequented "Star Trek" fan conventions. More recently, she had a recurring role on television’s "Heroes," playing the great-aunt of a young boy with mystical powers.The story was reported from Los Angeles. The Associated Press contributed.
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Pre-Covid, the Golden Globes were the most popular non-sports NBC telecast of the year and within 5 million viewers of the Oscars. Raise a pint: the Golden Globes are (reportedly) coming back to NBC. Despite the Hollywood Foreign Press Association’s very public falling out of favor, the return of the Golden Globe Awards as a telecast are certainly no shocker — not when you consider the TV ratings.
The January 5, 2020 (so, pre-pandemic here in the U.S.) Golden Globes hosted by Ricky Gervais earned 18.4 million live viewers, according to Nielsen, down just a hair from 2019’s 18.6 million total viewers. In 2019, the last full year without the Covid pandemic upending production, the Globes were NBC’s number-one non-sports telecast of the entire year. By comparison, just 11 of the 18 “Sunday Night Football” games — the most-watched regular primetime-TV series each season — scored larger audiences than the Andy Samberg- and Sandra Oh-hosted year. Gervais’ swan song as emcee would be the last normal Golden Globe Awards. The Covid-impacted ceremony in 2021, hosted by Tina Fey and Amy Poehler, managed just 7 million viewers; ongoing boycotts of the HFPA led to NBC scrapping the awards show’s televised presentation in 2o22. Still, the memory of those pre-Covid audiences remain fresh. The 2020 Golden Globes’ audience was super close to what CBS’ Grammys got around the same time and only a few million viewers shy of that year’s Oscars, which averaged 23.6 million audience members. (The disparity between the Globes and the Academy Awards was previously much larger.) The Golden Globes, which include both movie and TV awards, has always performed far, far better than the Emmys.
But the year after “Schitt’s Creek” won Best Television Series – Musical or Comedy at the Golden Globes, the schitt hit the fan for the HFPA via a February 21, 2021 Los Angeles Times exposé about the organization’s self-dealing and other ethical issues. From there it was off to the races (and off to uncovering the racism: the HFPA had zero Black members, which soon consumed the narrative) with one controversy after another until NBC ultimately shelved the 2022 ceremony. (There were still nominees and winners: find those here.)
HFPA Chief Diversity Officer Neil Phillips and IllumiNative’s Bird Runningwater speak onstage during the 2022 Golden Globe Awards.Getty Images for Hollywood Forei
So while the Golden Globes certainly had its shortcomings, TV ratings were never among them. A large group of live TV viewers carry a major premium for the host network: NBC made $50.3 million in 2021 advertising revenue from the program, according to Kantar research, which is less than half what the Oscars rake in. (NBC made $47.5 million in 2020.)
In the past, NBC paid the HFPA and DCP $60 million per year to air the ceremony. With the show banished in 2022, and the HFPA’s still-ongoing process of industry reconciliation, NBC could be in a position to renegotiate that license fee. NBC has declined to comment on the 2023 return of the Golden Globes, as first reported by The Hollywood Reporter. The Globes give trophies for both TV and film, drawing on the accessibility of the small screen and the prestige of the big screen. They also served as the first major awards show of the calendar year, which comes with an intrigue advantage.
The Beverly Hilton International Ballroom’s open bar was another major boost. The boozy awards show was just more fun than the stuffy Oscars and the Grammys. Of course, that loosey-goosey vibe may be a relic of the HFPA’s pre-problematic (publicly, at least) era. After a year of losses, humiliations, and (hopefully) soul-searching, the 2023 Golden Globes may have all the joy of a cash bar. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Register now for FREE unlimited access to Reuters.comLONDON, June 29 (Reuters) - Hollywood actor Chris Pratt brings author Jack Carr's best-seller "The Terminal List" to the small screen this week in a new television adaptation of the first novel in the hit book series.The "Jurassic World" star plays Navy SEAL officer James Reece who is trying to find out why his former platoon was ambushed on a botched mission.Pratt, who executive produced the show, co-star Constance Wu and Carr spoke to Reuters about the action thriller, which begins streaming on Amazon Prime Video on Friday.Register now for FREE unlimited access to Reuters.comBelow are excerpts edited for length and clarity.Q: You have a newborn at home, star in blockbusters “Jurassic World Dominion” and “Thor: Love and Thunder” and you’re bringing out “The Terminal List”. How are you feeling?Pratt: "This has been a fantastic summer, most importantly, the birth of my daughter, Eloise...and, yeah, it's been a really intense moment of projects all coming out at the same time and it's... the culmination of several years' worth of work...which is great, and I feel very, very blessed."The cast and crew pose on the red carpet at the premiere of Amazon Prime Video's "The Terminal List" at DGA Theater in Los Angeles, California, U.S., June 22, 2022. REUTERS/David SwansonQ: How important was it to make this as authentic as possible?Pratt: "It was the entire driving force behind all of our creative ambition. We employed several military members both in front of and behind the camera. We were hyper focussed on authenticity and honouring the community. We wanted to make this show for the spec ops community, so when they watch it they'd say 'wow, that one got it'."Q: You are known for comedy. How much was this an opportunity to show your range as an actor?Wu: "The way I choose my roles is by trying to do something different than the thing I did before. And the thing I did before this was 'Hustlers' so to go from playing a stripper to a war correspondent, I felt like that sounds like fun because it's so completely different and it was."Q: Did you set any conditions on bringing the book to screen?Carr: "No conditions, like do your thing, do your magic, you have the best in the business. ...To have them want me to be a part of it was humbling and an honour."Register now for FREE unlimited access to Reuters.comReporting by Hanna Rantala; Editing by Lisa ShumakerOur Standards: The Thomson Reuters Trust Principles.
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Welcome to the W TV Club, a spin-off series of W Movie Club, in which W magazine’s editors pick a season of a television show they’d recommend you binge-watch. This week, senior digital editor Maxine Wally recommends FX’s dark comedy Reservation Dogs—a hilarious, poignant series with an all-Indigenous writer and director team focused on portraying authenticity.It’s always cool to see a true representation of yourself—un-fetishized and without forced stereotypes—on a television or movie screen. The first time I remember seeing a version of myself in a film was in 2018, when I watched Crazy Rich Asians. Admittedly, the movie is not my favorite; it undoubtedly had problematic narrative and details, and I’m not a huge fan of rom-coms. But when I saw fellow mixed-race person Henry Golding—who is half-British, half-Malaysian—in a leading role that didn’t concern subjugation, war, kung-fu, or mysticism, I was moved in a way I didn’t anticipate. Small hints from the script—Constance Wu using a formal version of “you” in Mandarin while speaking to the woman she thought was her husband-to-be’s mother, only to find out she was not—showed there were Asian people in the writer’s room and behind-the-scenes. Unexpectedly, I felt myself tearing up in the theater (at a rom-com!).I have to wonder if the effect is similar for Indigenous people watching FX’s stellar new television series, Reservation Dogs. The show, created by Sterlin Harjo and JoJo Rabbit director Taika Waititi, portrays the everyday lives of four Native teens living on a reservation in Oklahoma. Bear Smallhill, Elora Danan Postoak, Willie Jack, and Cheese commit small-time crimes and fight them as they attempt to make enough money to escape to California. Along the way, the show’s characters paint a laugh-out-loud picture of their friends and family: Willie Jack’s paranoid auntie who answers the door wielding an X-Acto knife; a pair of twin Little People who ride bikes around the neighborhood; one witless police officer; a rival teenage crew that rolls around in a black sedan. The scenes and subject matter are Atlanta-like, meaning each episode shows a day in the life of these kids, while the humor is nonstop and the situations become more outsized and fantastical as the hours roll on. Courtesy of FXMuscogee and Native slang is peppered throughout the Reservation Dogs script (Willie Jack’s favorite phrase is “skoden,” and her aunt calls Bear “cvpon”), thanks to the all-Indigenous writers and directors working on the show, along with an almost entirely Indigenous cast and production team. It’s a notable first in the entertainment industry, and not only that, the show itself is simply great.There are tons of details in Reservation Dogs that are slipped in specifically for Indigenous people. Just like Mandarin-speaking folks would pick up on Wu’s use of the formal “you” in Crazy Rich Asians, the FX show contains hidden gems that a select group will instantly recognize. In one scene of Reservation Dogs’s third episode, the four friends travel to Elora’s uncle Brownie’s house to learn how to fight. When they arrive at his cottage, the camera zooms in on a statue of an owl mounted outside his front door, its eyes pixelated and blurred. The kids let out a string of curse words, shielding their own eyes from the owl, turning around and walking backward to avoid looking straight at it. I didn’t exactly know what was going on in the scene—this clearly was not a detail for a non-Native person like myself to understand, and that was okay. I took a look at the Reservation Dogs Instagram account, and sure enough, there was a post about the owl, with plenty of comments asking what the scene meant. Instagram users explained that in many Indigenous cultures, owls are considered a bad omen, an evil spirit, and a sign of impending death. Looking into the eyes of the animal indicates someone will soon pass away. “If you encountered one, you’d take your ass home and light some sage,” @fueledbyfrybread explained. While lots of the folks in the comment section were looking for answers, many more posted crying laughing emojis, tagged their friends, and shared their own stories on how they related.“I’m Paiute and seeing an owl during the daytime is bad news.”“I’m glad it was blurred out, I wasn’t tryna look at it too.”“I appreciate the pixelated eyes...I’m the same way, I hear one outside and I’m all, ‘Nope.’”In its small but significant way, this element felt like a special nod to a culture that’s been misunderstood and miscast for centuries. A show like Reservation Dogs is long overdue, and definitely worth the watch.
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Image: Marvel StudiosCharlie Cox and Vincent D’Onofrio have signed on for Disney+ series Echo. The Hollywood Reporter confirmed that the two stars of Daredevil will be making their official ensemble debut on the Marvel Studios television series starring Alaqua Cox as Maya Lopez.Most recently D’Onofrio’s Kingpin was revealed as the big bad on Hawkeye and whose betrayal of Maya’s trust over killing her uncle resulted in a shootout that we all knew he’d survive. As per other reports, he’ll be returning with an eye patch and running for mayor. Matt Murdock on the other hand will be searching for one Jessica Jones as more of the old Marvel show crew gets wrangled into the MCU. Murdock was featured in a quick cameo as Peter Parker’s lawyer in Spider-Man: No Way Home. No word yet on any additional Defenders being brought back in but it’s honestly a matter of time right? Their shows have been added to the Disney+ platform with a mature audience rating, and the streamer just greenlit its own new season of Daredevil.Echo is set to center on Hawkeye standout Maya Lopez as “her life in New York as a gang leader catches up with her as she returns to her hometown and reconnects with her Native American roots,” according to a release from Marvel Studios. With Kingpin having survived, there’s definitely going to be a round two between former familial associates. Sydney Freeland and Catriona McKenzie are on board as directors with Marion Dayre joining as head writer for the series.The Marvel Studios show is set to debut in 2023 on Disney+.Want more io9 news? Check out when to expect the latest Marvel and Star Wars releases, what’s next for the DC Universe on film and TV, and everything you need to know about House of the Dragon and Lord of the Rings: The Rings of Power.
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Sirico was best known for his role as Paulie 'Walnuts' Gualtieri on "The Sopranos," though he was also a fixture of mob movies and Woody Allen films. Tony Sirico, the longtime character actor best known for his run as Paulie “Walnuts” Gualtieri on “The Sopranos,” has died at the age of 79. The news was shared by his brother, Fr. Robert Sirico, on Facebook
“It is with great sadness, but with incredible pride, love and a whole lot of fond memories, that the family of Gennaro Anthony ‘Tony’ Sirico wishes to inform you of his death on the morning of July 8, 2022,” he wrote. “The family is deeply grateful for the many expressions of love, prayer and condolences and requests that the public respect its privacy in this time of bereavement. Memorial donations may be made in his honor to Wounded Warriors, St. Jude’s Hospital and the Acton Institute.”
Born in New York City in 1942, Sirico frequently found himself in trouble with the law as a young man, but turned his attention to show business after an acting troupe visited him in jail. His first onscreen appearance came as an extra in the 1974 film “Crazy Joe.” In the subsequent decades, he found steady work as a character actor specializing in Mafia roles. He frequently worked with Woody Allen, appearing in films like “Bullets Over Broadway,” “Mighty Aphrodite,” “Everyone Says I Love You,” “Deconstructing Harry,” “Cafe Society,” and “Wonder Wheel.”
In 1995, along with many of the other greatest Italian-American actors of his generation, Sirico appeared in Martin Scorsese’s “Goodfellas.” His role as Tony Stacks was his highest profile role to date, but his career as an onscreen gangster was just getting started.
In 1999, Sirico was cast on “The Sopranos,” HBO’s groundbreaking mob series that changed television forever. Sirico originally auditioned for the role of Tony’s Uncle Junior, but when that role went to Dominic Chianese, he was cast as Paulie. His performance as Tony Soprano’s dim-witted but endlessly loyal Mafia lieutenant quickly made him a fan favorite. He remained with the show throughout its run on HBO, famously appearing in iconic episodes including “Pine Barrens,” which many consider to be a high point of the show.
Sirico is survived by his two, Joanne Sirico and Richard, and multiple “grandchildren, siblings, nieces, nephews and many other relatives,” according to his family. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television
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The two also reveal this season's winner was "kind of unanimous." Reality competition TV shows are known for their sometimes brutal criticisms of their contestants and Prime Video's "Making the Cut" is no exception. In a trailer for the show's upcoming third season, judge Jeremy Scott is seen telling one designer their creations are a straight-up "waste," while Heidi Klum and mentor Tim Gunn are no strangers to sharing their sometimes blunt opinions as well. Speaking with TooFab ahead of the show's return later this week, the latter pair shared that while they've certainly said things they've regretted in their nearly-two decade career on reality television, they stand by most of the critiques -- harsh as some may be. "I've been on television for many, many years, I'm sure I've said things in the past that, fast forward 20 years later, maybe I should not have said it like this or maybe I should have said it differently, but it never comes from like a mean place," said Klum, who has also offered up her opinions on "Project Runway," "Germany's Next Top Model" and "America's Got Talent." "I never want to like have someone leave the room crying and being super upset and wanting to quit this job altogether," she added. "But I feel like as a judge you have to say what you don't like. It's not good to just say, 'I don't like it,' you have to say why so the people at home watching understand why they don't like it." She added that, in the end, it's also up to the designer to either take the advice of both the judges and mentors because, at the end of the day, "it's their design." "The designers are responsible for their decisions," echoed Gunn. "So I never, ever feel like I shouldn't have said that. I'm constantly reminding the designers, 'This is your work, it's not mine, so you have to own it.'" Prime Video Klum also reminded us that hers isn't the only opinion that leads to eliminations, pointing to co-judges Jeremy Scott and Nicole Richie. "If they all agree with me, they're out, if they all love what they did and it's just me who didn't like it, then you're still in," she said. "That's the good thing about having a larger panel, so you have many different points of views." So, after two seasons of "Making the Cut" and 13 of "Project Runway" together, has it gotten any easier for the two to accurately predict the winner? "It is a surprise in the end, no?" said Heidi, as Tim said that while he usually "thinks" he's figured it out, he's "always wrong." "I always have my favorites. I always have 2, 3 favorites but then there's the oddball that races right past those," Klum continued. "And then, you know, I'm not sitting there by myself, this is just my point of view, there's other people. So they don't really tell me who their favorites are and then it trickles down to the end." "In previous years, we really fight it out and it gets to be 2, 3:00 in the morning and then we're like yelling at each other because we fight for the one we love the most," she added. This year, however, it was a little different -- as Klum told TooFab the winner "was kind of unanimous." The first two episodes of "Making the Cut" Season 3 premiere Friday, August 19 on Prime Video, with two new episodes each following Friday until the September 9 finale.
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In this week’s round up brought to us by Script magazine, exclusive interviews with Netflix’s acclaimed mini-series “Keep Breathing” creators Martin Gero and Brendan Gall, and BounceTV’s “Johnson” creator and star Deji LaRay.In this week’s round up brought to us by Script magazine, exclusive interviews with Netflix’s acclaimed mini-series “Keep Breathing” creators Martin Gero and Brendan Gall, and BounceTV’s “Johnson” creator and star Deji LaRay. Plus, learn the broad spectrum of why anyone can sue anyone for any reason in the entertainment industry and how to be aware of these motives and how to (hopefully) avoid a lawsuit.Documenting Personal Experiences: A Conversation with “Johnson” Creator Deji LaRayBounce TVDeji LaRay reflects on developing and writing his television show Johnson and the process behind pitching and selling the show. And most importantly, writing a show about the shared experience within the Black community, notably the shared experiences and relationships between Black men.Click to continue.The One Sentence That Can Make Your Script—Or Kill ItFor many writers, coming up with a logline is the last thing to do before sending the script off to a prospective manager or the next contest. It’s a tedious chore to be put off as long as possible and then gotten over with quickly – like doing taxes or going to the dentist.Click to continue.Vulnerability As an Asset: A Conversation with “Keep Breathing” Creators Martin Gero and Brendan GallRicardo Hubbs, Netflix © 2022Martin Gero and Brendan Gall speak with Script about how their story idea for 'Keep Breathing' was developed, their process behind character development and shaping episodes, how Martin and Brendan became creative collaborators and so much more. Plus, these two share invaluable advice for writers breaking into the industry.Click to continue.It Depends—The Broad, Broad Spectrum of Reasons to SueAs is often pointed out, anyone can sue anyone for any reason, which is technically pretty much true. There is an extremely low bar to bringing a lawsuit, by design. We don’t want people to feel like there is no recourse for them in our modern legal system so the gates are kept pretty open. People will bring lawsuits for a huge variety of reasons.Click to continue.60 Examples of Hooks for BooksThis post collects 60 examples of hooks for books. Also called elevator pitches, these book hooks show real-life examples in a variety of writing genres for fiction and nonfiction books.Wednesday Poetry Prompts: 622Every Wednesday, Robert Lee Brewer shares a prompt and an example poem to get things started on the Poetic Asides blog. This week, write a story poem.A Thief in the MarketEvery writer needs a little inspiration once in a while. For today's prompt, someone is stealing from small business owners.
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Sirico was best known for his role as Paulie “Walnuts” Gualtieri on “The Sopranos,” though he was also a fixture of mob movies and Woody Allen films. Tony Sirico, the longtime character actor best known for his run as Paulie “Walnuts” Gualtieri on “The Sopranos,” has died at the age of 79. The news was shared by his brother, Fr. Robert Sirico, on Facebook.
“It is with great sadness, but with incredible pride, love and a whole lot of fond memories, that the family of Gennaro Anthony ‘Tony’ Sirico wishes to inform you of his death on the morning of July 8, 2022,” he wrote. “The family is deeply grateful for the many expressions of love, prayer and condolences and requests that the public respect its privacy in this time of bereavement. Memorial donations may be made in his honor to Wounded Warriors, St. Jude’s Hospital and the Acton Institute.”
Born in New York City in 1942, Sirico frequently found himself in trouble with the law as a young man, but turned his attention to show business after an acting troupe visited him in jail. His first onscreen appearance came as an extra in the 1974 film “Crazy Joe.” In the subsequent decades, he found steady work as a character actor specializing in Mafia roles. He frequently worked with Woody Allen, appearing in films like “Bullets Over Broadway,” “Mighty Aphrodite,” “Everyone Says I Love You,” “Deconstructing Harry,” “Cafe Society,” and “Wonder Wheel.”
In 1990, along with many of the other greatest Italian-American actors of his generation, Sirico appeared in Martin Scorsese’s “Goodfellas.” His role as Tony Stacks was his highest profile role to date, but his career as an onscreen gangster was just getting started.
In 1999, Sirico was cast on “The Sopranos,” HBO’s groundbreaking mob series that changed television forever. Sirico originally auditioned for the role of Tony’s Uncle Junior, but when that role went to Dominic Chianese, he was cast as Paulie. His performance as Tony Soprano’s dim-witted but endlessly loyal Mafia lieutenant quickly made him a fan favorite. He remained with the show throughout its run on HBO, famously appearing in iconic episodes including “Pine Barrens,” which many consider to be a high point of the show.
Sirico is survived by his two children, Joanne Sirico and Richard, and multiple “grandchildren, siblings, nieces, nephews and many other relatives,” according to his family. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television
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From animation to survival epics to superheroes, teen dramas are as unique and varied as real teenagers. To honor the triumphant return of "Never Have I Ever," IndieWire considers the top of the TV class. The perils and plights of adolescence have long been a source of fascination for television audiences. That’s particularly apparent nowadays with Netflix, HBO, Hulu, Showtime, FX, and others vying for zeitgeist dominance with teen-focused dramas playing to a variety of creative strengths. As narratives have gotten more sophisticated overall across the TV landscape, it makes sense that the ways in which we look at stories about young people have also evolved. From “Never Have I Ever” and “Love, Victor” to “Yellowjackets” and “Stranger Things,” TV teens in 2022 are among some of the most rich ever written.
Because life as a teenager is equal parts happy and sad, hilarious and tragic, horny and horrifying, the following curation does not limit selections by genre, meaning: These picks range from animation to sitcoms to murder mysteries to science fiction. That said, there are also a fair number of picks that are entirely focused on the dramatic ups and downs of this turbulent time in peoples’ lives. Sometimes that’s all the drama we need. Liz Shannon Miller, Hanh Nguyen, and Michael Schneider contributed to this list.
35. “The Secret Life of the American Teenager” (2008-2013)
“The Secret Life of the American Teenager”ABC Family/Everett Collection
Molly Ringwald and 17-year-old Shailene Woodley shine as mother and daughter in “The Secret Life of the American Teenager”: an ABC Family drama so soapy it might as well come equipped with a loofah. What starts as a very “Teen Mom”-esque portrait of a (fictional) pregnant high schooler blooms into a betrayal-laden neighborhood saga when a love triangle turns love square turns love…octagon? A marvel of multiplication, “Secret Life” set itself apart by hitting the same coming-of-age beats as countless shows before it at a scale and speed that was nothing if not over-the-top entertaining. Sure, it’s practically impenetrable “message” was all over the place, as Woodley has since pointed out. But you just can’t beat “One Night at Band Camp.” —AF
34. “That ’70s Show” (1998-2006)
“That ’70s Show”Everett Collection Nostalgia has never gone out of style. Running from 1998 to 2006, “That ’70s Show” invited audiences into the Nixon-era home of one Eric Forman (Topher Grace): a sarcastic stoner who mainly spends his smartphone-less adolescence goofing around with friends Donna (Laura Prepon), Kelso (Ashton Kutcher), Jackie (Mila Kunis), Hyde (Danny Masterson), and Fez (Wilmer Valderrama) in the Forman family basement. Upstairs, Eric’s parents Kitty (Debra Jo Rupp) and Red (a career best Kurtwood Smith) deliver similarly snarky antics to spectacular effect. Not only did “That ’70s Show” boast a comedy style yet to be matched by another teen series, but it bridged the gap between adolescent and adult humor so well the show remains a strong watch for a wide audience. —AF
33. “American Vandal” (2017-2018)
“American Vandal”Tyler Golden/Netflix 32. “Andi Mack” (2017-present)
“Andi Mack”Disney Channel/Fred Hayes
“Lizzie McGuire” creator Terri Minskey turned her Midas touch to this Disney Channel series that blends socially progressive messaging with the silliness that comes with being a young teen. The adorable Peyton Elizabeth Lee plays the title character Andi Mack, a girl who learns that the person she thought was her older sister is actually her mother (and that her mother is actually her grandmother). It’s heartening to see that unique storyline, particularly when paired with thoughtful, detailed Chinese-American representation. The family-friendly series explores time-honored teenage issues, such as crushes and dating, as well as issues that haven’t ever been addressed on a Disney Channel sitcom before, such as one character’s coming-out story, being the child of a military parent, and battling anxiety. Fortunately, the series exhibits a deft hand with these issues, addressing them sensitively and beautifully without ever losing its sense of humor. 31. “Sabrina the Teenage Witch” (1996-2003)
“Sabrina the Teenage Witch”ABC/Viacom/Kobal/REX/Shutterstock
Many shows about teens center around people trying to be something that they’re not, but few shows took that setup as literally as “Sabrina.” Anchored by a couple of iconic performances — Melissa Joan Hart as Sabrina, Nick Bakay as the eternally funny Salem, and Caroline Rhea and Beth Broderick as Aunts Hilda and Zelda — “Sabrina” followed wherever the zaniness of its magical misadventures took it. Blending all the pitfalls of high school life with the occasional dip-in from the spirit world, Sabrina broke free from a certain kind of multi-camera restriction to offer up a comedy that was timeless for more reasons than the immortality of its characters. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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The latest season of “Mayans M.C.” opens with 47 minutes of essentially non-stop action, as members of the title motorcycle club find their clubhouse under siege. In an episode that could accurately be called “Saving Private Mayan,” tensions begin at a boiling point and only get worse as the bikers of the Santo Padre charter are surrounded by rivals and forced to defend themselves against an unceasing barrage of bullets and Molotov cocktails. The violence is constant, brutal, and immersive in a way that rewards repeat viewings; revisiting the episode, it’s surprising how short some of the bursts of intensity are — like the shower scene in “Psycho,” they play longer and more graphic in our memory because the emotional immediacy and filmmaking craft are so exact.
Showrunner and director Elgin James wrote the episode with confidence that he would be able to stage the action in the visceral, realistic manner the material required, because he knew who would be helping him realize his ambitions: stunt coordinators Chad Guerrero and Oakley Lehman. “A lot of TV scripts just say that a brawl happens, with no specificity,” James said. “I can write very, very specifically, but only because I know I have Chad and Oakley to make it happen. It always starts on the page, but they get their hands on it and build it into something else.” Guerrero and Lehman’s history with “Mayans M.C.” began with the pilot, where Guerrero worked as leading man JD Pardo’s double and Lehman was a stunt driver. In season three they were hired as stunt coordinators, responsible for helping to conceive and execute the show’s electrifying motorcycle chases, shoot-outs, and fight scenes, all while making sure the cast and crew were safe. The increased realism and impact of the action was immediately evident to the show’s fans (the early season three episodes directed by Michael Dinner remain kinetic high points of the series), as well as to its creator. “I had this theory that the violence should be emotionally based and subjective,” James said, “and I could verbally articulate it but I didn’t know how to physically articulate it. That’s where Chad and Oakley are incredible — I can clumsily say something and they put it into action.”
Lehman and Guerrero on the set of “Mayans M.C.”Prashant Gupta/FX
For both Guerrero and Lehman, working as stunt men and stunt coordinators is the fulfillment of a childhood dream. Guerrero first became hooked on stunts when his father took him to a theme-park Western show. “It always stuck with me, and as I got older I learned about live stunt shows and got myself into those,” he said. Guerrero eventually moved to Los Angeles and made his way into the live stunt show circuit there, which led to opportunities in film and television; before “Mayans,” he racked up an impressive resume that included stunt work on the “Transformers,” “Thor,” and “Expendables” franchises as well as television shows like “NCIS,” “Westworld,” and “Barry.” A young Oakley Lehman had a unique window into the world of television stunts. “I grew up in Sunland-Tujunga, where they shot ‘Dukes of Hazzard’ and ‘The Fall Guy,’” he said. “We could ride our bicycles over and watch them shoot, then we would see it on TV.” In a foreshadowing of his work on “Mayans,” Lehman’s passion growing up was motorcycles, and he began racing them professionally at 17. At 23 the opportunity to do stunt work arose and Lehman retired from racing to work on six “Fast and Furious” movies, initially doubling for Paul Walker and ultimately serving as coordinator on “Furious 7.” He also became a trusted collaborator of directors Robert Rodriguez and Quentin Tarantino and a go-to stunt performer for Marvel on movies such as “Iron Man,” “Black Panther,” and “Ant-Man and the Wasp.”
For all of Lehman’s work on big-budget franchise movies, however, he feels that “Mayans M.C.” is the closest to his own personal taste and sensibility. “As much as we love big action as stunt coordinators, those ‘Fast and the Furious’ movies don’t really do it for me,” he said. “Elgin is all about story and drama, and it’s really fun for us to come up with action that he likes, that isn’t too ‘stunty.’” Guerrero added, “Some of the big action movies have really cool, amazing scenes, but there can be greater shock value from something that’s more realistic. We’re always trying to build that into our stunts, to make them raw and gritty.” According to Lehman, there’s a shared sensibility between him, Guerrero, and James that makes production “smooth and easy. We’re all around the same age and have similar ways of thinking. We’re very fortunate in that Elgin comes from a real background — he’s not just trying to recreate gangster stuff he saw on TV.” That background, which includes a youth spent in foster care, gangs, and ultimately prison, has strongly shaped James’ philosophy about presenting violence on screen. Like John Ford, Sam Fuller, and other directors of the Hollywood studio system who witnessed the savagery of war firsthand, James’ approach is largely informed by his personal experiences. “Coming from a world of violence, I want to show what it’s like to be both the victim and the aggressor,” he said. That guiding principle has led to an aesthetic that often creates logistical challenges for Guerrero and Lehman. “The way we shoot makes their job a lot harder,” said James, “because it’s so specific. We don’t always shoot with a lot of cameras. Sometimes we’re locked off in the back of a truck and someone gets hit by a car or a van and goes flying, and there are no other angles of it. You see it or you don’t, and the amount of work that goes into making it not only safe but thrilling and emotional is why Chad and Oakley are geniuses.” The challenges are increased by the fact that the ambitions of the filmmakers on “Mayans” often outstrip the show’s resources. As James put it, “We’re trying to make a huge film on a basic cable budget.” Working in close collaboration with James and cinematographer Vanessa Joy Smith, Guerrero and Lehman have figured out how to turn those limitations into assets, shooting action in a way that both hides the budgetary restrictions and emphasizes the subjectivity toward which “Mayans” strives. Shots tend to be tighter and more precise than on other action shows, focusing on moments and gestures that convey pain and terror with immense visual economy and power. “That’s where Chad and Oakley have to be spot on,” James said. “There’s no room for anything other than that very specific bit of frame where the action happens.”
While Guerrero and Lehman’s technical skill is clear, their secret weapon is a character-driven approach to stunts, something “Mayans” lead JD Pardo has appreciated since his first encounter with Guerrero 10 years ago, on the series “Revolution.” “What’s special about Chad and Oakley is that they are artists,” Pardo said. “They have everything that’s required to be a stunt man — they can do their flips, they can fight, they ride motorcycles — but what separates them is their passion for the art and their relationship to the actor. They care so much that it feels like we’re creating the character together.” Pardo and Guerrero’s partnership is one of the great ongoing actor-stuntman relationships in Hollywood, and to hear Pardo tell it the collaboration was magic from the start. “I was on ‘Revolution,’ and the stunt coordinator introduced me to Chad and said, ‘This guy’s going to double you,’” Pardo remembered. “I watched him do the scene and I went over to him and said, ‘Hey, you’re doing great, but if you could do me a favor — this is what I would do as the character. If you could just add this little wrinkle into the movement it would be really cool.’” Guerrero immediately made the adjustment exactly as Pardo had hoped, and from that point forward Pardo brought the stuntman onto his projects whenever possible. “I told him, one day I’m going to be the lead on a show and I’m going to bring you with me. And he didn’t laugh at me — he said, ‘Okay, let’s do it.’”
When Guerrero was promoted to coordinator at the beginning of season three he had Pardo’s blessing — especially since he did double duty, continuing to double for the actor. “Chad’s mine,” Pardo laughed. “No one’s taking him away from me!” Guerrero attributes the success of their partnership to mutual trust: sometimes Guerrero lets the athletic Pardo handle the physical demands of a scene, but Pardo can also rely on Guerrero to perform as his character in less stunt-intensive scenes if necessary. “We know when it’s my time to get in the hot seat and when he’s okay doing it,” said Guerrero. “Over the years we’ve become really good at knowing each other and knowing when to swap out.” Pardo mentioned that at times when he is not able to be on set and Guerrero is doubling him on a motorcycle, “I’ll always get a call saying, ‘Chad wants to know if [the character] would do this or that.’ And I tell them and he does it.” “Mayans M.C.”screengrab
Guerrero and Lehman look for a similar level of dedication in all the stunt people they hire. “We’re only as good as who we bring in, so we make sure they’re top-notch,” Guerrero said. He didn’t have to look far for a stuntman who has become one of the show’s most reliable utility players: Guerrero’s son, Chad Guerrero Jr. “There’s nobody better,” Lehman said, noting that when it was time for a particularly tricky fire stunt in the Season 4 finale, the younger Guerrero was his first choice. “For Oakley to request Junior and trust him with that was a pretty big deal for me,” Guerrero said, adding that he and his son had been practicing for the scene for years. “I first set him on fire when he was 9 years old,” Guerrero laughed, “so he was ready!”
Guerrero’s pride in his son’s work is as close as he or Lehman gets to acknowledging the difficulty or impressiveness of what they do; the more time one spends with them, the clearer it becomes that they’re incredibly modest given their talent and contribution to “Mayans.” “They don’t ask for applause or acclaim,” “Mayans” cast member Clayton Cardenas said. “They’re not like us actors on social media saying, ‘Look at me!’” Guerrero added that he hesitates to talk too much about what he does because he likes the audience to retain a sense of mystery about it. “I like being behind the scenes and not in the spotlight. That’s why I’m a stunt man and not an actor.”
Lehman is similarly unpretentious, with a humility that drives him to continue working on his craft. “A lot of kids ask me what they need to do to get work, and they get irritated when I tell them to talk less and train more,” he said. “Everybody wants to post that one time that they were great, but you’ve got to train every day. Chad and I are in our 40s and we still train every day.” Their dedication is not only evident in every body fall, motorcycle crash, and explosion on “Mayans” — it’s a quality that inspires everyone around them on set. “They make us look good and do a job that I could never do,” Cardenas said. “I have so much respect for them. They’re heroes, man.” —Jim Hemphill
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Ben Aaronovitch’s bestselling fantasy series, Rivers of London, is to be adapted for television.A new partnership will bring together all nine of the novels, plus the accompanying short stories, novellas and graphic novels, for the screen.Rivers of London is part urban fantasy, part police procedural, centring on detective constable Peter Grant. A newly graduated police officer from London, he is recruited in the first book by wizard and inspector Thomas Nightingale to the Folly, a police unit working on supernatural crimes, after an encounter with a ghost.‘Something hot’ … Ben Aaronovitch Photograph: PRThe books have consistently featured on bestseller lists, with the most recent two novels – 2022’s Amongst Our Weapons and 2020’s False Value – going straight to No 1 on the Sunday Times bestseller list.The TV adaptation will be co-produced by Pure Fiction Television, See-Saw Films and Aaronovitch’s own production company Unnecessary Logo. This is not the first attempt to adapt the series: in 2019 it was announced that Simon Pegg and Nick Frost’s Stolen Picture was going to produce a TV version.Tom Winchester, founder of Pure Fiction Television, said: “Anybody that loves British fantasy knows the name PC Peter Grant and the world of Rivers of London, where gods and goddesses walk amongst us on the city streets. As a longstanding fan, it is a huge honour to be partnering with Ben to bring his unique blend of contemporary urban fantasy and gripping detective stories to the screen.”Aaronovitch will be an executive producer, and said he was “confident that together we can produce some ridiculously brilliant television”.The first book, which gives the Rivers of London series its name, was published in 2011. Reviewing Amongst Our Weapons in the Guardian, Lisa Tuttle said that “Aaronovitch has no peers when it comes to successfully combining the appeal of a down-to-earth police procedural with all-out fantasy”.Tuttle praised the way he writes of “real places, real history and real problems complicated by the existence of magic, ancient spirits, fairies, ghosts and talking foxes, all dwelling alongside ordinary, clueless humans”. She went on to call his plotting “still satisfyingly inventive” and said “the continuing characters maintain their charm in the ninth novel of a series that began in 2011.”As well as the Peter Grant novels, Aaronovitch – who began his career as a screenwriter on Doctor Who (Remembrance of the Daleks) – has also written a number of graphic novels and novellas in the series. The October Man, a novella, takes the story to Germany, and introduces Tobias Winter, an investigator for the Abteilung KDA, the branch of the German Federal Criminal Police which handles the supernatural.What Abigail Did That Summer is a novella focusing on Peter Grant’s cousin, Abigail Kamara, who was introduced in the main series.Speaking on the Guardian Books podcast in 2020, Aaronovitch said that his original idea for Rivers of London was a television series called Magic Cops. Deciding to try to write it as prose, he came up with the character of Peter Grant, wrote five pages and knew he “had something hot”.But Aaronovitch “didn’t know it was going to be so successful,” he told the podcast. “I thought it was going to be a good, solid, mid-list fantasy book.”Aaronovitch’s work has been translated into 14 languages and sold in excess of five million copies worldwide, and has its own wiki, Follypedia.
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HILL STREET BLUES — Pictured: Taurean Blacque as Det. Neal Washington — (Photo by: Ron Tom/NBCU ... [+] Photo Bank/NBCUniversal via Getty Images via Getty Images) NBCU Photo Bank/NBCUniversal via Actor Taurean Blacque, who reached a career zenith for his Emmy Award-nominated role as Detective Neal Washington on 1980s crime drama Hill Street Blues, died Thursday at the age of 82, his son Rodney Middleton announced on Facebook. There was no cause of his death, saying only that he died after a brief illness. Born Herbert Middleton Jr. on May 10, 1940 in Newark, New Jersey, Blacque chose the name "Taurean" because his astrological sign was Taurus. Blacque trained and performed at the New Federal Theatre in New York City, a theater founded to provide opportunities to minorities and women. And he launched his career on television with guest appearances on series like What’s Happening!!, Sanford and Son, Charlie’s Angels, The Tony Randall Show, Taxi and Good Times. Blacque’s big break came in 1981 with aforementioned Hill Street Blues, which started out slow in the traditional Nielsen ratings but built after the critics took notice. His Emmy nomination came in 1982 in the category of Outstanding Supporting Actor in a Drama Series (which, ironically, featured nominations for four of his co-stars). (Original Caption) The Cast Of NBC-TV's Hill Street Blues. In front are L to R: Michael Warren, Kiel ... [+] Martin, Joe Spano, and Bruce Weitz. Seated in center are Veronica Hamel, and Daniel J. Travanti. Grouped in back are L to R: Rene Enriquez, Taurean Blaque, Barbara Babcock, Michael Conrad, Betty Thomas, Ed Marinaro, Barbara Bossen, Charles Haid, and James B. Sikking. Bettmann Archive During the hiatus periods on Hill Street Blues, Blacque appeared in theater and, in 1985, he won an NAACP Image Award for Best Actor (Local) for his role in Amen Corner. After Hill Street Blues concluded in 1987, Blacque moved with his family to Atlanta, Georgia, where he focused on theatrical work while making occasional guest appearances on television. His stage performances included Stepping Into Tomorrow 1n 1987 and a 1988 revival of Ceremonies in Dark Old Men. In 1989, Blacque began a 102-episode run as Henry Marshall in daytime drama Generations, which was the first series in the genre to feature an African American family in the main storyline. And, in 1996, he returned to primetime in the short-lived serialized drama Savannah. In addition to raising his two biological sons, Blacque adopted 11 children. He was named spokesman for the County of Los Angeles Adoption Services, and in 1989 was asked by President George H.W. Bush to become national spokesperson for adoption. One of Blacque’s sons pre-deceased him. Blacque is survived by 12 children (one of his sons pre-deceased him), 18 grandchildren and two great-great grandchildren.
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Television
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Register now for FREE unlimited access to Reuters.comLOS ANGELES, July 6 (Reuters) - Netflix Inc (NFLX.O) said on Wednesday it is developing a spin-off of science fiction series "Stranger Things" as the streaming service works to build its biggest English-language hit into a broad entertainment franchise.The new series will be based on an original idea from Matt and Ross Duffer, the twins who created "Stranger Things," Netflix said in a statement. No details on the story or characters were provided.Netflix also announced a stage play set in the world of "Stranger Things."Register now for FREE unlimited access to Reuters.comThe supernatural thriller starring Winona Ryder and David Harbour has set viewing records for Netflix, surpassing the Regency-era drama "Bridgerton" as the company's most-watched English-language show."Stranger Things" reverberated through the cultural zeitgeist when it debuted in 2016 and turned then-12-year-old Millie Bobby Brown into a global star. The most recent season propelled Kate Bush's song "Running Up That Hill" to the top of the iTunes and Spotify charts 37 years after its original release.The fourth season concluded with the final two episodes last week, briefly crashing the Netflix app as fans rushed to view it. The series has logged 1.15 billion hours in viewing time on Netflix, behind only South Korean drama "Squid Game."Show creators Matt and Ross Duffer pose with cast members Natalia Dyer, Charlie Heaton, Sadie Sink, Maya Hawke, Noah Schnapp, Priah Ferguson and Brett Gelman at a special event for the television series "Stranger Things" at Raleigh Studios Hollywood in Los Angeles, California, U.S., May 27, 2022. REUTERS/Mario Anzuoni"One of the reasons why 'Stranger Things' has really broken out in the way that it has is that there's a universality at the center of it," said Matthew Thunell, the Netflix vice president who first read the script and advocated for the series. "It really is about the strength of friendship, how friendship triumphs over evil."The series is the first that Netflix has sought to develop as a traditional entertainment franchise, whose characters and stories traverse film, television, games and consumer products. Its popularity took Netflix by surprise - "candidly we could never have predicted what 'Stranger Things' has become," said Thunell.As the show's audience expanded beyond so-called genre nerds, or science-fiction fans, to include adults captivated by its 1980s pop culture references, Netflix began contemplating ways to extend the story through spin-offs and merchandise.That resulted in a range of "Stranger Things" tie-ins that include a Surfer Boy pineapple and jalapeno frozen pizza at Walmart and a Magic 8 ball toy from Hasbro. Fans also have been able to participate in mock sleep studies at a Hawkins National Laboratory attraction in New York, San Francisco and London."We're starting from scratch and so it gives us a lot of freedom to be innovative and try new things," said Josh Simon, Netflix's vice president of consumer products.The new series is part of a production deal with the Duffers, who will also develop a live-action TV adaptation of Japanese manga and anime series "Death Note," among other projects.Register now for FREE unlimited access to Reuters.comReporting by Dawn Chmielewski;
Additional reporting by Lisa Richwine; Editing by Richard ChangOur Standards: The Thomson Reuters Trust Principles.
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Television
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EastEnders' Ben Mitchell and Callum Highway have made a big decision about the future of their romance together, after Callum found out Ben had been subjected to a terrifying rape ordeal at the hands of LewisVideo LoadingVideo UnavailableEastEnders: Ben Mitchell splits up with Callum Highway Ben Mitchell and Callum Highway made a big decision about their future together on EastEnders tonight. During tonight's episode of the BBC One soap, Ben headed to the police station to report the rape. He had to face his estranged husband Callum, and finally he admitted what had happened to him at the hands of evil rapist Lewis. In the emotional scenes, Ben told Callum what he had gone through, as he vowed to stand by him and support him, not worried if any of the other police officers saw them sharing a tender moment. Both got emotional as Ben recounted what had happened. Ben and Callum shared a tender moment (
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BBC) As he stepped into the room, Callum said: "Ben what's happened? I know the people that get interviewed in this room, sexual assault victims. Just tell me and I will go. What's happened to you Ben? You've got to tell me, if someone's hurt you, I need to know." "I tried to stop him," Ben said as Callum quizzed what had happened. Whilst Ben didn't reply, he did raise his eyes, leading Callum to break down, as he realised Lewis was to blame for what happened. Callum soon blamed himself for what had happened to Ben - as well as how he got mixed up with the drugs and alcohol too. When he asked why he didn't tell him, Ben replied: "Because I didn't think you'd believe me," as Callum apologised and added: "I'm your husband. I'm sorry. All of this is my fault. I could have stopped all of this from happening." Callum was hopeful they could work it out (
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BBC) Later, the pair headed back to the Square, and Callum admitted his regret at not stepping in sooner, even though Ben had kept it a secret from him. He pleaded for them to get back together again. "I just feel like whatever I do or say is not enough, I hate that you had to go through all that without me. What I'm saying is Ben - I don't want to fight anymore, I just want to go back to how we used be," he said. "You can't make this go away," Ben warned, as Callum replied: "I just feel like if Lewis didn't come along, then maybe we'd be happy." Ben and Callum split earlier this year (
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BBC) Admitting there was no turning back, Ben said: "I saw you the other day with that bloke, do you know, it was the happiest I've seen you in months. I know what you want - you want the Sunday afternoons in bed, the picking wallpaper and fighting over rubbish television. I wanted it all at one point too, but it's just not in me." Callum tried to reassure him: "I want you and everything that comes with it. I'll take it. I love you Ben and I know that you love me. I'll do whatever it takes, we can move, I'll leave the police. I would do anything at all, please just give us one more chance." However, Ben had made his decision, and said the pair were "out of chances", adding: "You're such a good guy, you deserve someone better. All I've ever given you is grief. We're out of chances." *If you've been the victim of sexual assault, you can access help and resources via www.rapecrisis.org.uk or calling the national telephone helpline on 0808 802 9999. *EastEnders airs Mondays through Thursdays on BBC One at 7.30pm. Read More Read More
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Television
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Helen Skelton is the final celebrity contestant confirmed for the brand new series of Strictly Come Dancing. The TV and radio broadcaster, 39, was widely tipped to be taking part in the BBC ballroom show and her spot on the programme has now been confirmed as she completes the full celebrity line-up.It was revealed on Saturday morning on BBC Radio 2 during Claudia Winkleman's breakfast show that Helen - who split from husband Richie Myler earlier this year - would be appearing on the show.Helen said: 'I'm really excited to get stuck into a fun adventure. My family and friends have always loved the show and can't wait for me to get started.' Confirmed: Helen Skelton is the final celebrity contestant confirmed for the brand new series of Strictly Come DancingHelen started her TV career in children's television, presenting Newsround and Blue Peter on the BBC.Whilst presenting on Blue Peter for 5 years she took on some incredible challenges, including completing the Namibia Ultra Marathon, cycling to the South Pole and kayaking over 2018 miles down the Amazon River. Since then, she has presented shows across various channels, including Countryfile, several major sporting events for BBC Sport, ITV's Lorraine, BT Sport's FA Women's Super League football matches. Keep dancing! The TV and radio broadcaster, 39, was widely tipped to be taking part in the BBC ballroom show and her spot on the programme has now been confirmed as she completes the full celebrity line-upShe has also hosted Channel 4's Rugby league Super league coverage and Inside The Superbrands in addition to the highly successful On The Farm series for Channel 5 and being a regular on ITV Tonight.On Friday EastEnders actor James Bye, 38, - who has played the role of Martin Fowler in the BBC show since 2014 - was officially announced as the 14th star.It comes after former X Factor star Fleur East and Countryfile star Hamza Yassin were revealed as the 12th and 13th stars on Thursday - joining earlier announced stars Kym Marsh, Will Mellor and Jayde Adams among others.The latest: EastEnders actor James Bye, best known for playing Martin Fowler 'completes the line-up for the 20th series of Strictly Come Dancing'On Friday soap star James joked he is ready to show off his 'dad dancing' when he heads to the ballroom later this year. As he was announced James said: 'I'm not known for my shimmy or my twinkle toes - in fact my kids regularly laugh at my dad dancing but it's an honour to be asked and I'm going to give it my best shot. 'There are some huge dance shoes to fill and it's truly exciting to follow in the footsteps of some amazing EastEnders talent. I'd love to do everyone proud.'James is best known for portraying the iconic role of Martin in the BBC's multi-award winning soap EastEnders, which he took over in 2014. He has been nominated for several British Soap awards, winning one for Best Storyline in 2016.He has previously had roles in the BBC One mini-series The Great Train Robbery and films including Hummingbird, The Hooligan Factory and Cemetery Junction. On stage he has starred in several well-reviewed theatre productions. Exciting: It comes after former X Factor star Fleur East and Countryfile star Hamza Yassin were revealed as the 12th and 13th stars on Thursday - joining earlier announced stars Kym Marsh (pictured), Will Mellor and Jayde Adams among othersIt comes after Wildlife cameraman and presenter Hamza was announced as the 13th contestant joining the Strictly Come Dancing line-up on Thursday. Hamza - who is one of the presenters of BBC's Animal Park and a guest presenter on Countryfile - joined former X Factor star Fleur in being revealed as celebrities set to appear on the dance show on Thursday. It comes amid claims that BBC bosses fear they are running out of celebrities as Strictly approaches its 20th series.Hamza Yassin said: 'I am absolutely over the moon to be joining Strictly 2022. Never in a million years did I think I'd be on such a cool show. I've been watching it for years and I can't believe I'll actually be there dancing live in front of the British public. 'My dance skills are currently at the level of '1970's disco vibe' but I'm ready to work hard and will be shaking it every time I get the chance – shake it 'til you make it!'He is also well known to younger viewers under the guise of Ranger Hamza, presenting CBeebies live-action show Let's Go For A Walk and new series Ranger Hamza's Eco Quest later this month. Hamza moved to the Scottish Highlands when he was younger to follow his dream of filming Scottish wildlife and becoming a wildlife cameraman. Stars: It comes after Wildlife cameraman and presenter Hamza was announced as the 13th contestant joining the Strictly Come Dancing line-up on Thursday Shows: Hamza - who is one of the presenters of BBC's Animal Park and a guest presenter on BBC's Countryfile - joined former X Factor star Fleur East in being revealed as celebrities set to appear on the dance show on ThursdayHe has lived there ever since and recently fronted Channel 4 documentary Scotland: My Life in the Wild and Scotland: Escape to the Wilderness, in which he guided celebrity companions on journeys through western and eastern Scotland and the Highlands. In his spare time, Hamza competes in the Highland Games and enjoys riding the country roads on his motorbike.It comes after last week The Mail on Sunday revealed that some BBC executives are concerned that there are no longer enough big names available to compete for the glitterball.As comedian Jayde Adams was the fifth competitor to be unveiled for this year's series, even Radio 5 DJ and former Strictly star Scott Mills shared his worries – telling his listeners that he now thinks they should start putting on former contestants.The announcement about Miss Adams came just a day after it was revealed that Radio 2 travel reporter Richie Anderson is in this year's line-up.One source at the Corporation said: 'Taking part on Strictly is a dream for so many celebrities, but so many of them have done it now. They have lived that dream and reaped the massive benefits of it.STRICTLY COME DANCING 2022: WHO ARE THE CONTESTANTS? KYM MARSHAge: 46Profession: Coronation Street star and presenterKym says: 'I'm so delighted that this year they have! I'm a huge fan of the show and can't believe I'm going to go from watching at home in my pyjamas to actually dancing in front of the judges in a glittery dress.'RICHIE ANDERSON Age: 34Profession: Radio presenter Richie says: 'This is a dream come true! I cannot wait to get in those sparkles and sequins and shimmy across the most famous dance floor in the world!'ELLIE SIMMONDS Age: 27Profession: Former athlete Ellie says: 'To be asked to be part of the Strictly family is just so exciting and I cannot wait, it's going to so much fun.'TYLER WEST Age: 26Profession: Radio DJTyler says: 'It's a show that means so much to me and my family and I can't wait to seriously shake a leg on that shiny dance floor… with a side of sequins.'ELLIE TAYLORAge: 38Profession: ComedianEllie says: 'Well, cover me in fake tan and roll me in sequins! I'm absolutely over the moon to be a part of Strictly 2022!'TONY ADAMS MBE Profession: Retired footballer and managerTony says: 'To say I’m excited is an understatement - the lure of the sequins and the call of the salsa has me swapping my battered old football boots for a set of Strictly soft shoes'JAMES BYEAge: 38Profession: EastEnders actorJames says 'I'm not known for my shimmy or my twinkle toes - in fact my kids regularly laugh at my dad dancing but it's an honour to be asked and I'm going to give it my best shot.'HELEN SKELTON Age: 39Profession: TV and radio broadcasterHelen says: 'I'm really excited to get stuck into a fun adventure. My family and friends have always loved the show and can't wait for me to get started' WILL MELLORAge: 46Profession: ActorWill says: 'I know it will be a huge challenge but that's what life is all about. This is also my Mum's favourite show and she's had a really tough few years so I'm doing this is for her as well. Bring it on!' KAYE ADAMS Age: 59 Profession: Television presenter Kaye says: 'I said I wanted to make the last year of my fifties memorable and i can't think of a better way of doing it than showing the world my two left feet. Pray for me!' JAYDE ADAMSAge: 37Profession: ComedianJayde says: 'I've been a massive fan of the show for years. I feel like I'm watching myself in a dream and I can't believe I've manifested this.'MATT GOSSAge: 53Profession: SingerMatt says: 'I've been reclusive, I come and work and then go back to America. I thought, it's time for me to come home and get out of my own way' MOLLY RAINFORD Age: 21Profession: Singer Molly says: 'I already know it's gonna be an experience of a lifetime and I can't wait to meet the rest of the Strictly family I'll be sharing it with.'FLEUR EASTAge: 34 Profession: SingerFleur says: 'I'm equally nervous and thrilled to be part of this year's Strictly line up. I'm excited to learn new skills and I want to soak up every moment of this magical experience.' HAMZA YASSINAge: 35Profession: Wildlife cameraman and presenterHamza says: 'I am absolutely over the moon to be joining Strictly 2022. Never in a million years did I think I’d be on such a cool show.' 'The success of Strictly is massive, the ratings are still huge so it will keep on going – but so many big names have appeared now that you have to wonder where the rest of them are going to come from now.'Last year's series was won by deaf EastEnders actress Rose Ayling-Ellis who was watched several times per week by at least two million viewers. And in its first ten years, household names such as John Sergeant, Emma Bunton and Jerry Hall took part.After Miss Adams, a comedian from Bristol, and Mr Anderson joined Strictly fans took to social media to discuss how they are unfamiliar with some of the stars. 'Sorry don't mean to be rude but who's Jayde Adams?' one wrote on Twitter, while another said: 'Jayde Adams… nope never heard of her! #Strictly.'It comes after Fleur became emotional as she told how she is competing in this year's Strictly Come Dancing in memory of her late father Malcolm, who adored the BBC show.The former X Factor star, 34, revealed she was the twelfth contestant on this year's series on Thursday during her Hits Radio Beakfast show where she said: 'You'll see me in the ballroom on Strictly Come Dancing!' Appearing on Lorraine later that day, Fleur teared up as she told guest host Ranvir Singh that she was heartbroken her dad - who died in 2020 of a heart attack - wasn't here to watch her dance.She said: 'I hope I get to dance to some of my songs… for me it's quite emotional. My dad who passed away in 2020, Strictly was his favourite show.'Getting emotional, she added: 'I'm going to be doing it for him. I'm just gutted he can't see me do it, but I'm going to keep him in mind during the show… I'm excited, my family, just for that reason, will be buzzing. I wasn't expecting to get this emotional about it.' Exciting: Fleur revealed she was the twelfth contestant on this year's series on Thursday during her Hits Radio Beakfast show where she said: 'You'll see me in the ballroom on Strictly Come Dancing!'After Malcom's death, Fleur shared a heartfelt tribute to him on Instagram, writing: 'Cheering me on until the end. You taught me and [sister] Keshia to be confident and to always chase our dreams. 'I will forever continue to make you proud. I'm so happy you saw us achieve so much. Every note I sing, every song I write and everything I do, will be for you. This album is for you Dad. Love you so much Daddy Darling. Have an amazing time up there! See you soon.' Elsewhere during her Lorraine interview, Fleur said she feels the pressure to do well on Strictly as she already has dance experience from performing on stage.She said, 'There's too much pressure, I'm so nervous, Ranvir. I can dance in the club and when I'm singing on stage, but I have never done any technical dancing, so I don't know anything ballroom, how to point a toe or anything like that.'She added: 'This is a completely different level. You need to give me some advice, Ranvir!'After she was announced as a contestant, Fleur said: 'I'm equally nervous and thrilled to be part of this year's Strictly line up. I'm excited to learn new skills and I want to soak up every moment of this magical experience. 'It's such an honour to be on the show after years of watching it with my father who loved it so much. Unfortunately my Dad is no longer with us but I know he will be watching over the ballroom in spirit. I'm doing this to make him and my family proud and can't wait to get my dancing shoes on!'Strictly: Retired England football player and manager Tony Adams MBE, (left) was the 11th celebrity to join the lineup on Wednesday - just hours after BGT singer and CBBC star Molly Rainford, 21, was announced After coming runner-up in series 11 of The X Factor, Fleur has been a regular face in the world of music and broadcasting. As a singer she has released two albums, with her debut single Sax reaching number three in the UK singles chart. After appearing on I'm A Celebrity... Get Me Out Of Here! in 2018 she became host of the Hits Radio Breakfast show which she hosts every weekday. She has also appeared as a presenter on the last three series of Ant & Dec's Saturday Night Takeaway and a host of ITV gameshow The Void.It comes after retired England football player and manager Tony Adams MBE has been announced as the 11th celebrity confirmed to be taking part in Strictly.The news comes just hours after Britain's Got Talent singer and CBBC star Molly Rainford joined the line-up. Tony, 55, said: 'To say I'm excited is an understatement - the lure of the sequins and the call of the salsa has me swapping my battered old football boots for a set of Strictly soft shoes. 'Am absolutely thrilled to be giving it my all on this year's 20th anniversary of Strictly Come Dancing. I can't wait to meet my partner - god help her - and start the dancing.'The formidable centre-back's football career spanned over 22 years, playing for both Arsenal and England. Having captained both, he is regarded as one of Arsenal's greatest ever players and one of the all-time greats of English football. Tony won 66 caps for England, appeared at four major tournaments and had 10 major trophy wins whilst is still the only player in English football history to captain a team to three top flight titles over three different decades. As captain of England, he famously led the national team to the Euro 96 final. Whilst he was playing he founded Sporting Chance, a charity to help sportspeople with mental health and addiction issues of which he remains Honorary president today.Wins! Tony won 66 caps for England, appeared at four major tournaments and had 10 major trophy wins whilst is still the only player in English football history to captain a team to three top flight titles over three different decades, (pictured in 2002) Now retired, the father of six and husband to wife Poppy, went into coaching and management before recently launching his new venture, SIX MHS, which delivers Mental Health and Addictions services to non-sportspeople and non-sport's organisations.He remains a patron of four other additional charities, NACOA, Forward Trust, Saving Faces, School Home Support and has started the charity, 6 Addiction, for people that can't afford private mental health services.Singer Molly, 21, revealed she's already sought advice from 2020 contestant HRVY, adding that despite her performing background she's like 'Ellie the Elephant' when she takes to the floor.Molly, who also stars in the CBBC series Nova Jones, was unveiled as the latest star to join the lineup that morning.Speaking ahead of her dancefloor debut, Molly said: 'I've always loved performing and being on stage, but I've never been the most confident dancer. 'I'm super excited for the challenge to push myself outside of my comfort zone and hopefully add another string to my bow. 'It will introduce me to a whole new way of expressing myself! I'm also pretty competitive and I'm excited meet the Pros and the other contestants. 'And on top of all that, I absolutely love the glitz and glamour the show brings to the floor every week.'Rising star: Molly star rose to prominence when she competed on Britain's Got Talent in 2012 at the age of 11The singer grew up in Essex and went onto study at the coveted Sylvia Young Theatre School after auditioning for BGT in 2012.She added: 'I did Britain's Got Talent in 2012 when I was 11 years old. That definitely changed my life because after getting to the finals, I was sponsored by Sony Music and Simon Cowell to go to the Sylvia Young theatre school. From those auditions throughout school, I got into the CBBC world.'The show's official Twitter account revealed the news, writing: 'Say hello to Molly Rainford, she's an intergalactic pop superstar from @CBBC and she's here to star on #Strictly!'The announcement was first made on CBBC's Newsround on Wednesday morning.Since graduating, Molly has starred as Nova Jones in the CBBC show of the same name.This autumn, Molly will be seen across CBBC screens as Nova Jones returns for series two, with a third series already filmed for release in the coming months. Best friends: The star added that she's already spoken to former contestant HRVY about his time on the show, after he reached the final in 2020Molly has been shortlisted for Best Newcomer at the 2022 Variety Club Showbusiness Awards and has released two EPs, including single Commitment, which has garnered over two million streams to date.Asked what she fears the most about being on the show, Molly added: 'Forgetting the steps because the judges notice everything. 'If I was singing, I'd know how handle it, but I'm worried It would throw me off when too much when I'm dancing.' Fearful: Asked what she fears the most about being on the show, Molly (pictured in 2015) added: 'Forgetting the steps because the judges notice everything'The star added that she's already spoken to former contestant HRVY about his time on the show, saying: 'One of my really good pals HRVY was on in 2020 and he said it was one of the best experiences he's ever had.'Molly was the 10th celebrity confirmed for this year's Strictly lineup, after comedian Ellie Taylor was revealed as the ninth celebrity contestant on Tuesday.The 38-year-old Ted Lasso star will swap the stage for the dance floor later this year to take part in the BBC Latin and ballroom show, but the star insists she has the dancing ability of a 'newly born giraffe'.Former Heart FM presenter Ellie was unveiled on Lorraine - hosted by Ranvir Singh - and said: 'Well, cover me in fake tan and roll me in sequins! I'm absolutely over the moon to be a part of Strictly 2022!Number nine! Molly was the 10th celebrity confirmed for this year's Strictly lineup, after comedian Ellie Taylor (pictured) was revealed as the ninth celebrity contestant on Tuesday'I've watched the show for years so to be able to take to the dance floor is a dream come true, for both me and mum who is a Strictly super fan!'At the moment I'm focusing on the excitement and glitter and choosing to ignore the fact that I have the dancing ability of a newly born giraffe. Bring it on!'Asked by Ranvir who her perfect professional dance partner would be, Ellie admitted: 'I want someone who's patient. I need a tall, patient person.' And preparing for her time on the dance floor, the comedian explained: 'I've got a list of music tracks on my phone - it's getting longer and longer,' but confessed: 'The dancing bit is what is completely out of my comfort zone.'Nervous! Former Heart FM presenter Ellie was unveiled on Tuesday morning's instalment of Lorraine - hosted by Ranvir Singh Actress: The Ted Lasso actress portrays Flo 'Sassy' Collins in the Apple TV+ show alongside Jason Sudeikis and Hannah WaddinghamThe Ted Lasso actress - who portrays Flo 'Sassy' Collins in the Apple TV+ show - has also appeared in the likes of Plebs, as well as panel shows, and is a host on Channel 4's The Great Pottery Throwdown.8 Out of 10 Cats, Fake Reaction, and Mock the Week, and she co-hosts Cheat alongside Danny Dyer, which is coming soon to Netflix.Ellie is married to CNN reporter Phil Black, after tying the knot in London in 2012, and the couple share three-year-old daughter, Valentina. Exciting! She will swap the stage for the dance floor later this year to take part in the BBC Latin and ballroom show, but the star insists she has the dancing ability of a 'newly born giraffe' TV star: Ellie has also appeared in the likes of Plebs, as well as panel shows, and is a host on Channel 4's The Great Pottery Throwdown (pictured)It comes after Matt Goss, 53, was unveiled as the eighth celebrity contestant taking part in this year's Strictly.The singer was announced as the latest addition to the 2022 line-up on Monday's episode of This Morning. Joining hosts Josie Gibson and Craig Doyle, Matt said: 'I am excited, I'm nervous. You have the conversation and then think, 'I've got to dance!' Number eight! It comes after Matt Goss, 53, was unveiled as the eighth celebrity contestant taking part in this year's Strictly Matt, who has been living in America for the last 25 years as a headliner in Las Vegas, said he is happy to be spending an extended period of time at home again.He said: 'I've been almost reclusive, I come and work and then go back to America. I thought, it's time for me to come home and get out of my own way in a way. 'Do something completely out of my comfort zone. I'm quite shy off stage so I'll have to face all those demons and learn.' Reveal: The singer was announced as an addition to the 2022 line-up on Monday's episode of This MorningMeanwhile, Tyler West was revealed as the seventh celebrity contestant taking part on Strictly.The KISS FM DJ broke the news on the station's breakfast show hosted by Jordan Banjo and Perri Kiely on Monday. He announced in a statement: 'I am SO gassed to be joining the Strictly family! As I started writing this I already got cramp. It's going to be one crazy incredible journey which will no doubt be SO far outside my comfort zone.' New star: Tyler West has been unveiled as the seventh celebrity contestant taking part in this year's Strictly He continued: 'It's a show that means so much to me and my family and I can't wait to seriously shake a leg on that shiny dance floor… with a side of sequins.'Tyler is best known for hosting weekday afternoons on KISS, for which he was nominated for a prestigious ARIA for Best New Presenter in 2020. Having begun his broadcasting career in children's television, presenting various programming across CBBC, he has hosted MTV News, HQ Trivia and the 2020 EE BAFTA Awards Red Carpet Live Show. Last year he launched his first BBC Three series, co-hosting Flat out Fabulous as well as becoming the host of The MTV Movie Show. New gig: The KISS FM DJ broke the news on the station's breakfast show hosted by Jordan Banjo and Perri Kiely on MondayIt comes after Ellie Simmonds was announced as the sixth celebrity contestant on Sunday. The paralympic swimmer, 27, who has a type of dwarfism called achondroplasia and is a height of 4ft, is the first with the genetic condition to appear on the show.Ellie will be joining already announced stars Kym Marsh, Will Mellor, Richie Anderson and Jayde Adams on series 20 later this year.Speaking after the announcement on BBC 5 Live Sunday Breakfast, the athlete said: 'Oh my gosh!! I'm literally bursting with excitement!!'It's been so hard keeping this secret as I've wanted to tell everyone. I'm going on Strictly Come Dancing!! I'm a tad nervous too, well more than a tad… I'm absolutely petrified! Line-up: Ellie Simmonds has been announced as the sixth celebrity contestant taking part in this year's Strictly Come Dancing'To be asked to be part of the Strictly family is just so exciting and I cannot wait, it's going to so much fun. I'm counting down the minutes until it starts; learning to dance, meeting my partner and everyone else involved in the show. 'Plus wearing the sequins and all that, It's going to be a blast. I've been watching Strictly from as far back as I can remember; it's a traditional lead up to Christmas with my family and it's a genuine privilege to be part of it.'She added to The Mirror: 'I'll be so, so nervous, and I will try not to think of all the people watching,' said Ellie, who attended the Commonwealth Games yesterday.'My family and friends will support me and help me stay grounded.'I am the first dwarf doing the show, I will show how positive that is, that to be different is OK. It is a real honour.' New venture: The paralympic swimmer, 27, will be joining already announced stars Kym Marsh, Will Mellor, Richie Anderson and Jayde Adams on series 20 later this year (pictured at the London 2012 paralympic games)Ellie is best known as a gold medal-winning Paralympic swimmer. At the age of thirteen she was the youngest British athlete at the 2008 Summer Paralympics in Beijing, and won gold medals in the 100m and 400m freestyle events.In 2012 she achieved gold in the 400m freestyle and the 200m Individual Medley at the Summer Paralympics in London and won a further gold in the 200m Individual Medley at Rio 2016. In addition, she has also won ten gold World Championship titles. At the age of 13 she won BBC Young Sports Personality of the Year and a year later, at just 14 years old, she became the youngest person ever receive an MBE. She was elevated to OBE in the 2013 New Year Honours for services to Paralympic sport.After retiring from competitive swimming in 2020, Ellie has gone on to present for BBC Sport, most recently for the Birmingham 2022 Commonwealth Games, as well as making documentaries such as Ellie Simmonds: A World Without Dwarfism? for BBC One and BBC iPlayer. She is set to explore disability and adoption in a recently announced ITV film.It comes after Jayde Adams was announced as the fifth contestant to sign up to Strictly Come Dancing 2022.The comedian and actress, 37 said that keeping the secret hidden had been like 'torture', but that she was a 'massive fan' of the show, as she joked appearing on the beloved show was her main career goal.She said: 'Since I watched the first series in 2004, I feel like every step I've taken in my career over the last 11 years was to be on Strictly.'I cannot begin to express the emotions I am feeling, this means so much to me and my family. I've always watched it, apart from a brief hiatus in 2011 as I was relentlessly gigging every weekend (to try and get on Strictly).'I've been a massive fan of the show for years. I feel like I'm watching myself in a dream and I can't believe I've manifested this.She added: 'Holding this in has been torture for me!' Big fan: Jayde Adams has been announced as the fifth contestant to sign up to Strictly Come Dancing 2022Best known as a comedian, Jayde has won several comedy awards and was nominated for the coveted Best Newcomer with her Edinburgh Fringe debut stand-up hour.The news was revealed on Saturday morning on BBC Radio 5 Live by Scott Mills and Chris Stark. Kaye Adams was revealed as the fourth contestant on the series, making the exciting announcement live on Friday's Loose Women on ITV. Kaye stunned her fellow panelists Denise Welch, Carol McGiffin and Sunetra Sarker - as well as Nadia Sawalha who appeared via video link - with the news towards the end of the show, with the studio welcoming a plethora of dancers.It's official! Kaye Adams has been announced as the fourth contestant to sign up to Strictly Come Dancing 2022While panelists in the studio were thrilled at the announcement, Nadia was left visibly shocked and emotional, telling her friend: 'Is It actually you?! Oh my God. I could cry!''It's amazing you can do it because let's face it, you can't dance, but that's what we like to see on Strictly - somebody learn to dance. You're going to be incredible, you're so funny, you've got the best legs in the business. I can't wait to get home and cha cha cha with you!'Revealing how she felt about taking part, Kaye admitted: 'It's me! I'm absolutely terrified because I can't dance. I could think of a million reasons not to do this'.The journalist went on: 'When these gorgeous dancers came on, I nearly exited from both ends of my body, honestly. Sorry about that!Surprise! The Scottish TV star made the exciting announcement live on Friday's Loose Women on ITV after keeping it a secret from her co-stars'But I thought, 'Am I going to be thinking at the end of September I wish I'd done this'. I'm 59, 60 at the end of this year and I was like, 'Well, why not?''I'm a really competitive person and Nadia, you know that's true but in this I'm not. If I enjoy myself, I'll be so happy.'She added her daughters were not too fussed with the new as they simply told her: 'Okay mum'.Kaye follows in the footsteps of fellow Loose Women stars Judi Love, Ruth Langsford and Christine Lampard who have all taken part in Strictly. Number three! Meanwhile, BBC Radio 2 DJ Richie Anderson revealed he will be joining the 2022 series during his radio show on FridayMeanwhile, BBC Radio 2 DJ Richie Anderson, 34, revealed he will be joining the 2022 series during his radio show on Friday, and joins Coronation Street stars Will Mellor and Kym Marsh in the current line-up.The former Sunday League footballer - who went viral in 2018 when he came out as gay to his teammates at Coombs Wood F.C in an emotional documentary - said that it's a 'massive honour' to be part of the show's all-male partnership.He said in a release: 'This is a dream come true! I cannot wait to get in those sparkles and sequins and shimmy across the most famous dance floor in the world! Strictly is the ultimate feel good show, as soon as I hear that iconic theme tune it's just pure escapism.'I'm going to have to cancel my legendary 'Strictly' launch night kitchen party that I throw every year, I'm sure my friends and family will understand.'He added: 'It's also a massive honour to be part of an all-male dance partnership, it's so important we have that inclusion on such a huge show.' Chuffed: The former Sunday League footballer said that it's a 'massive honour' to be part of the show's all-male partnership Candid: In 2018, Richie famously came out as gay to his Sunday league football teammates during a feature for The One Show exploring homophobia in the sportLast year's series saw Great British Bake Off star John Waite form the show's first all-male partnership with pro Johannes Radebe - with the couple reaching the final.The year before saw the show's first ever same-sex pairing as boxer Nicola Adams was paired up with Katya Jones - however the duo had to withdraw from the competition in week three after Katya caught Covid.In 2018, Richie famously came out as gay to his Sunday league football teammates during a feature for The One Show exploring homophobia in the sport.The team knew Richie was filming a piece for the daily BBC One programme, but it wasn't until he sat them down in the locker room after the match that they discovered he was looking into the issues around being gay in grassroots football. Talented: Last year's series saw Great British Bake Off star John Waite form the show's first all-male partnership with pro Johannes Radebe - with the couple reaching the finalOn Thursday, the first two stars for Strictly were announced, with actor Will and soap favourite Kym joining the lineup.The Coronation Street actress and the Two Pints Of Lager and A Packet Of Crisps star, both 46, were unveiled on Thursday's BBC Breakfast, with Kym revealing she's wanted to join the show for 'a number of years.'She said: 'I've considered doing Strictly for years but the timings never worked out. I'm so delighted that this year they have!'I'm a huge fan of the show and can't believe I'm going to go from watching at home in my pyjamas to actually dancing in front of the judges in a glittery dress, it's unreal!'At last! The first two stars for Strictly Come Dancing were announced on Thursday, with actor Will Mellor (right) and soap favourite Kym Marsh (left) joining the lineupSpeaking on Breakfast, Kym admitted she hadn't told her Morning Live co-host Gethin Jones about taking part in the show, despite him previously taking part in 2007.She said: 'I was joking with him and I said ''were you on Strictly because you've never mentioned it!'' I think he was always asking me if I was going to do it, and he kept going on about it again over the next few months, and of course
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Television
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While reality TV can evoke images of glitz and glamour, Deadliest Catch definitely does not. Its 2005 premiere thrust the dangerous and dirty work of commercial crab fishing into the national spotlight. The series follows fishermen as they hunt for Alaskan king crab in the Bering Sea—an occupation that involves arduous physical labor, often in cripplingly cold weather, and comes with a high risk of injury or death. The show is unsparing in its detail of those risks, for both the fishermen and the camera crew filming them. In 2010, the series transformed from a television show about working in precarious conditions to one about working through grief and loss after the death of Phil Harris, captain of the crab-fishing boat Cornelia Marie, who suffered a stroke on-screen in the 11th episode of season 6. In following Harris’s sons, who also worked on the boat and were forced to reckon with an unknown future without their father running point, the sixth season cemented Deadliest Catch as a show about family. It was applauded for its portrayal of the emotionally complex decisions the crew faced in the wake of Harris’s death—and the show received an Emmy for Outstanding Reality Program the following year. An AV Club review of the series sums it up well: “The death of Captain Phil Harris toward the end of the sixth season of Deadliest Catch resulted in some of the most riveting and emotionally wrenching episodes of any reality series in TV history.” —Annabel Gutterman Contact us at letters@time.com.
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Television
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The Oscar-nominated actor Margot Robbie will join a handful of international stars returning to Ramsay Street for the final episode of the long-running Australian soap Neighbours.The 32-year-old, who starred in The Suicide Squad and is playing Barbie in Greta Gerwig’s forthcoming film, will return to her role as Donna Freedman in the Australian soap.Robbie’s character appeared as a regular on Neighbours from 2008 to 2011.When her soap contract came to an end after a run of 327 episodes, she was offered a renewal. Instead, she went on to be cast in the US TV series Pan Am, about 1960s cabin crews.The news was revealed in a post from the Neighbours UK Twitter account on Saturday. Robbie’s return was announced alongside with those of other former stars including the House actor Jesse Spencer and the singer Delta Goodrem.“Surprise! You didn’t think we were done did you?! We’re thrilled to share that Margot Robbie, Jesse Spencer, Delta Goodrem, Kym Valentine and Carla Bonner will all make an appearance in our finale!” the tweet said.In March, news broke that, after 37 years on air, the Australian soap would come to an end as its producers Fremantle failed to secure another UK broadcaster.In February the UK’s Channel 5 had announced it would no longer air the programme.“Following the loss of a key broadcast partner in the UK, and despite a search for alternative funding, we currently have no option but to rest the show,” a Fremantle spokesperson said.Neighbours is the longest-running drama series on Australian television with 9,000 episodes broadcast, and it has enjoyed widespread popularity in Britain for almost four decades.The story of the lives of Ramsay Street residents still attracts 1.5 million UK viewers a day.The Australian soap launched the international careers of stars including Robbie, Russell Crowe, Kylie Minogue, Jason Donovan, and Guy Pearce.The final credits for the show will roll for UK viewers on 29 July. Neighbours will come to a close with a double-episode special on Channel 5 where it has been bankrolled since 2008.Kylie Minogue’s Charlene Mitchell and Jason Donovan’s Scott Robinson will also be returning for the finale, alongside a host of other former stars including Pearce, Daniel MacPherson and Natalie Bassingthwaighte.
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Television
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Everything old is new again, with "American Gigolo," "Flashdance," and more films making the shift to the small (streaming) screen. There’s nothing as tempting as IP: Just ask the studio streaming titans of today, who are diving deep into their film catalogs to reboot and reimagine hit films from decades past.
Just one summer (sorry, we had to) since slasher “I Know What You Did Last Summer” found new life as an Amazon Prime Video series, and it seems that all our favorite “old” movies are finding new life on streamers and networks alike.
CBS announced shortly after canning a slew of shows that a reboot of the 1994 Arnold Schwarzenegger and Jamie Lee Curtis film “True Lies” will head to the network soon.
NBCUniversal also recently announced on May 12 a “re-framing” of Ben Stiller’s beloved 1994 burnout dramedy “Reality Bites,” which originally starred Winona Ryder and Ethan Hawke. The series is set to debut on Peacock, along with a bevy of other Universal titles being transformed for the small screen. And that’s not even the half of it: Paramount+ pitched a re-imagining of “Fatal Attraction,” on the heels of the making-of “The Godfather” series, “The Offer.” Even “Gremlins” landed an animated prequel series at HBO Max. Plus, don’t forget Jon Spaihts’ “Dune” prequel series, “Dune: The Sisterhood,” set in the works on HBO Max, taking place well before the events of the movies, as well as the numerous “Batman” spinoffs set to drop on that platform, including Colin Farrell’s “Scarface”-esque Penguin series and director Matt Reeves’ haunted house vision of the Arkham Asylum. The slated “Gotham City P.D.” procedural is reportedly on hold at the streamer under Reeves’ overall deal with Warner Bros. Television Group as Reeves helms the follow-up film.
Keep scrolling to see which other famed former film titles are being resurrected for the sake of streaming below.
Peacock
“Reality Bites”
“Reality Bites”©Universal/Courtesy Everett Collection
While no casting has been announced yet, the shoes of Winona Ryder and Ethan Hawke’s star-making vehicle are certainly hard to fill for a period piece reboot. Original screenwriter Helen Childress returns to pen the Peacock adaptation, which will be centered on the “driven, idealistic Lelaina Pierce and her three best friends as they leave college and try ‘adulting’ in the 1990s,” as The Hollywood Reporter announced. “As the world around them is on the brink of a seismic shift, they struggle to hold onto who they are, and to each other.”
Childress will also executive produce alongside “Good Girls” creator Jenna Bans, plus Casey Kyber and original film exec producers Michael Shamberg, Stacey Sher, and Danny DeVito. Stiller is reportedly not attached to the Peacock revival. “Field of Dreams”
“Field of Dreams”©Universal/Courtesy Everett Collection
Limited series based on the 1989 feature film of the same name, Peacock’s “Field of Dreams” returns to the Major League Baseball magic of Iowa. Truly keeping in mind the “if you build it, they will come” mentality, Peacock greenlit the series from “Parks and Recreation” co-creator Mike Schur, who will write and executive produce alongside original film producer Lawrence Gordon and David Miner and Morgan Sackett.
The Oscar-nominated Universal Pictures fantasy film starred Kevin Costner, Ray Liotta, Gaby Hoffmann, Burt Lancaster, and James Earl Jones, and centered on a farmer who finds a divine calling to build a heaven-bridging baseball field. The story is based on W.P. Kinsella’s 1982 novel about Shoeless Joe Jackson, a member of the “Black Sox” team of the Chicago White Sox, who threw the 1919 World Series as part of a gambling bet.
“Pitch Perfect”
“Pitch Perfect 2”©Universal/Courtesy Everett Collection
The Cups Song can add in a few more solos. After three films, “Pitch Perfect” lands a Peacock spin-off starring Adam Devine’s a capella crooning character. Sarah Hyland, Jameela Jamil, Flula Borg, and Lera Abova lend their voices to the series set several years after the film trilogy.
Devine’s Bumper character moves to Germany to revive his singing career after one of his songs breaks big in Berlin. Piëter (Borg) is his agent abroad. Hyland is set to play Piëter’s assistant, who moonlights as a cabaret singer. Abova stars as Piëter’s DJ sister, and Jamil is an up-and-coming German pop star. “The Good Place” writer and executive producer Megan Amram serves as showrunner and exec producer, alongside the film franchise’s Elizabeth Banks and Max Handelman, Paul Brooks, Scott Neimeyer and actor Devine.
“Ted”
“Ted 2”©Universal/Courtesy Everett Collection
Seth MacFarlane’s live-action comedy “Ted” takes a turn to TV. MacFarlane returns to voice the animated foul-mouthed teddy bear, plus will write, direct, co-showrun, and executive produce the series with co-showrunners, writers, and fellow executive producers Paul Corrigan and Brad Walsh.
The prequel series is set in 1993 when Ted helps 16-year-old John Bennett (Max Burkholder) come of age in Boston. Mark Wahlberg played John in the two movies. Giorgia Whigham stars as John’s older cousin, college student Blaire, in the series, who lives with John and his parents. Scott Grimes plays John’s father who thinks he is the patriarch of the family. Paramount+
“Fatal Attraction”
“Fatal Attraction”©Paramount/Courtesy Everett Collection
The beloved bunny boiler story is back, courtesy of Paramount+. Exactly 35 years after the Adrian Lyne-helmed original film premiered, “Fatal Attraction” is getting a TV adaptation starring Lizzy Caplan as Alex, the unhinged mistress of family man Joshua Jackson.
Glenn Close and Michael Douglas originated the respective roles in the 1987 Academy Award-nominated erotic thriller. Close previously told IndieWire that she hopes the Paramount+ series will show a different, more empathetic side of “tragic” figure Alex… you know, before she murdered her lover’s kid’s pet. Plot details have been kept under wraps as the series is currently in production.
“Flashdance”
“Flashdance”©Paramount/Courtesy Everett Collection
Speaking of Adrian Lyne films, “Dear White People” creator Justin Simien is set to adapt and direct a modern retelling of the director’s 1983 Paramount Pictures film “Flashdance,” which originally starred Jennifer Beals as a steel mill worker with ballerina dreams.
The Paramount+ series was announced after another “Flashdance” reboot was slated at CBS All Access in 2020 with Tracy McMillan writing and Angela Robinson directing. The former CBS project was meant to center on a young Black dancer who worked at a strip club while “struggling to find her place in the world while navigating romance, money, art, friendship, and how to love herself” on the road to becoming a ballet star.
The plot for Simien’s “Flashdance” is still hush-hush but original film star Beals didn’t dance around the subject in an interview with Insider. Despite being involved in the first deal with Robinson, Beals has not yet been contacted by Simien for the Paramount+ series. “I wish them well and I’m excited to see what they come up with,” Beals said. “I’m sure Justin has come up with something really interesting.” “Ferris Bueller’s Day Off”
“Ferris Bueller’s Day Off”Paramount Pictures
John Hughes’ beloved “Ferris Bueller’s Day Off” is getting the spin-off treatment thanks to upcoming “Sam and Victor’s Day Off” set to take place during the same day Ferris (Mathew Broderick), best friend Cameron (Alan Ruck), and girlfriend Sloan (Mia Sara) skipped school. In the original 1986 film, Sam and Victor were the valet attendants who took Cameron’s father’s red Ferrari out on a joyride; the then-unnamed characters were portrayed by Richard Edson and Larry “Flash” Jenkins.
“Cobra Kai” creators Jon Hurwtiz, Hayden Schlossberg, and Josh Heald, are producing the Paramount+ installment, with head of development Dina Hillier executive producing. “Cobra Kai” was inspired by “Karate Kid,” another classic ’80s film.
“Key & Peele” producer Paul Young will also produce “Sam and Victor’s Day Off” via Make Good Content. Bill Posley, a writer for “Cobra Kai,” will write the screenplay.
“The Italian Job”
“The Italian Job”©Paramount/Courtesy Everett Collection
The follow-up to the 1969 heist film starring Michael Caine as thief Charlie Croker supposedly picks up with the grandchildren of the acclaimed thief reigniting a quest for the infamous Italian bullion. “The Italian Job” was remade in 2003 with Mark Wahlberg starring as Croker’s kin and Caine reprising his original role. Charlize Theron, Edward Norton, Jason Statham, and Donald Sutherland rounded out the cast.
The Paramount+ series, as announced in 2021, will also be produced by the sequel film’s producer Donald De Line. Matt Wheeler is attached to write and executive produce.
“Grease: Rise of the Pink Ladies” “Grease” prequel series “Rise of the Pink Ladies” is set in 1954, four years before the original “Grease” musical film starring Olivia Newton-John and John Travolta. The series follows four outcasts who “spark moral panic” at Rydell High, according to an official synopsis. Showrunner and series creator Annabel Oakes writes and executive produces, along with Marty Bowen and Adam Fishbach. Director Althea Jones will direct three episodes, plus executive produce. Marisa Davila, Chris McNally, Charlotte Kavanagh, Josette Halpert, Nicholas McDonough, Maximo Weber Salas, Jackie Hoffman, and Alexis Sides make up the ensemble cast. The series features new original music, written and executive produced by Grammy-nominated Justin Tranter. Choreographer Jamal Sims will be behind the musical numbers for the series.
“Love Story”
“Love Story”Courtesy Everett Collection
Inspired by the 1970 Ali MacGraw and Ryan O’Neal romance, “Love Story” brings the epic to modern audiences thanks to “Gossip Girl” executive producers Josh Schwartz and Stephanie Savage.
“From the main title theme to the class conflict and classic American style, ‘Love Story’ is truly iconic,” Schwartz and Savage said in a press statement. “We’re beyond excited to update it for the next generation.”
The original “Love Story” received seven Academy Award nominations upon release. O’Neal played wealthy Harvard law student Oliver Barrett IV, who falls for middle-class musician Jenny Cavilleri (MacGraw). However, Oliver’s father (Ray Milland) disapproves of their relationship. The young couple tie the knot in secret but their newlywed life is shattered once Jenny realizes she has a terminal illness.
“The Parallax View”
“The Parallax View”Courtesy Everett Collection
Alan J. Pakula’s paranoia-infused olitical thriller “The Parallax View” starred Warren Beatty as a newspaper reporter who uncovers a deadly conspiracy surrounding the assassination of a presidential candidate. The 1974 film was based on the novel of the same name. Paramount+ announced in 2021 that “Mission: Impossible” producer Paula Wagner would exec produce an adaptation for the streamer. “Urban Cowboy”
“Urban Cowboy”©Paramount/Courtesy Everett Collection
Country romance “Urban Cowboy” gets a Paramount+ twist with an adaptation of the 1980 drama starring John Travolta and Debra Winger as Bud and Sissy, two Texan bar patrons who are entangled in a love-hate relationship. “The Circle” writer-director James Ponsoldt is behind the TV series in the works, which reportedly will “go deeper” into Bud’s journey from the farm to Houston in the 1980s. The period piece series will feature music from the era.
A former series reboot was previously in the works at Fox in 2015, centered in the Latinx community.
Showtime
“American Gigolo”
“American Gigolo”©Paramount/Courtesy Everett Collection
Jon Bernthal takes the escort reins from Richard Gere as Los Angeles male prostitute Julian Kaye. The Showtime series is based on Paul Schrader’s 1980 Paramount Pictures film about a male escort framed for the murder of one of his clients. The “American Gigolo” TV adaptation hails from “Ray Donovan” creator David Hollander, who writes and directs the present-day reimagining of the original film. The series picks up with Bernthal playing Kaye 15 years after he’s been arrested for murder and struggling to find his footing in the modern-day Los Angeles sex industry. Kaye investigates what really led to the setup that sent him to prison while he tries to reconnect with his former love interest Michelle (Gretchen Mol).
Hollander was later dismissed from the upcoming series amid allegations of misconduct. Co-executive producer David Bar Katz, who also worked with Hollander on Showtime’s “Ray Donovan,” also later exited the project over creative differences after briefly being showrunner, further suspending production. “The Offer” executive producers Nikki Toscano and Russell Rothberg joined the series as consulting producers. It is believed that Toscano is taking over production to round out the season and finish the eighth and final episode.
HBO Max
“Irma Vep”
“Irma Vep”HBO Alicia Vikander leads Olivier Assayas’ remake of his own 1996 film “Irma Vep,” this time for HBO Max. Oscar-winner Vikander transforms into Mira, an American movie star who jets off to France to star as Irma Vep in a remake of the French silent film “Les Vampires.” Yet life soon imitates art as Mira struggles to see where Irma ends and her reality begins. The meta limited series is set to make its debut at 2022 Cannes before premiering on HBO Max June 6.
Produced in partnership with A24, the series additionally stars Vincent Macaigne, Jeanne Balibar, Devon Ross, Lars Eidinger, Vincent Lacoste, Nora Hamzawi, Adria Arjona, Carrie Brownstein, Tom Sturridge, Byron Bowers, Fala Chen, Hippolyte Girardot, Alex Descas, and Antoine Reinartz. Assayas and Vikander executive produce the series along with “Euphoria” creator Sam Levinson and Ashley Levinson. The original film starred Maggie Cheung in the lead role.
Prime Video
“A League of Their Own”
“A League of Their Own.”Moviestore/REX/Shutterstock
Inspired by Penny Marshall’s 1992 film of the same name, Prime Video’s “A League of Their Own” stars co-creator Abbi Jacobson, D’Arcy Carden, and Chanté Adams as professional baseball players during WWII. Nick Offerman plays Coach Casey “Dove” Porter, who was portrayed by Tom Hanks in the original film. Rosie O’Donnell will also star in the series as a bartender, albeit in a different role than her 1992 turn. Nat Faxon and Kevin Dunn play the team manager and team owner, respectively. “Broad City” alum Jacobson co-created the series based on a true story, along with Will Graham and Sony Pictures TV. The half-hour comedy series will debut at 2022 Tribeca Film Festival.
“Mr. and Mrs. Smith”
“Mr. and Mrs. Smith”©20thCentFox/Courtesy Everett Collection
“Atlanta” creator Donald Glover co-creates, executive produces, and stars in Prime Video’s “Mr. and Mrs. Smith” about a married spy couple. Originally, “Fleabag” breakout Phoebe Waller-Bridge was set to co-create and also star; the “No Time to Die” writer exited the project after creative differences. “PEN15” creator Maya Erskine took over the role, originated by Angelina Jolie in the 2005 Doug Liman-helmed film opposite Brad Pitt. Francesca Sloane is co-creator, executive producer and showrunner. New Regency’s Yariv Milchan and Michael Schaefer also executive produce.
“Dead Ringers”
“Dead Ringers”Everett
David Cronenberg’s cult 1988 medical thriller “Dead Ringers” gets a gender-swapped twist thanks to an upcoming Prime Video series, announced in 2020. Rachel Weisz executive produces and stars in the Amazon installment from Annapurna Television and Morgan Creek Entertainment, the company behind the original movie. “Normal People” series writer Alice Birch pens the reimagined psychological drama.
Weisz stars as the identical Mantle twins, two gynecologists who are on a mission to change the way women give birth thanks to illegal medical research. The original Cronenberg movie starred Jeremy Irons in the twin roles; the duo’s relationship slowly crumbles after they both fall in love with the same woman and one succumbs to drug addiction. However, Deadline reported that Weisz’s turn will explore a different tone involving women’s reproductive health in the modern era.
Production was underway as of fall 2021.
“Blade Runner 2099”
“Blade Runner 2049”Stephen Vaughan
Following Denis Villeneuve’s critically acclaimed “Blade Runner” sequel “Blade Runner 2049,” Prime Video revisits the future in the series “Blade Runner 2099.” Ridley Scott, who directed the original 1982 film starring Harrison Ford, is executive producing the show, with “Shining Girls” showrunner Silka Luisa attached to write and executive produce. “Blade Runner 2099” marks the first live-action franchise installment, with sources reportedly hinting that Scott may even direct.
“Blade Runner” is an adaptation of Philip K. Dick’s sci-fi novel “Do Androids Dream of Electric Sheep?” set in dystopian Los Angeles in the year 2019. Space-assigned synthetic humans dubbed replicants are hunted down after being integrated on Earth. The 2017 neo-noir sequel “Blade Runner 2049” starred Ryan Gosling, Jared Leto, Ana de Armas, and Dave Bautista, with Ford reprising his original iconic role.
FX
“Alien”
“Alien”20th Century Fox/Kobal/Shutterstock
Director Ridley Scott’s “Alien” is also being adapted for the small screen from “Fargo” showrunner Noah Hawley. The FX series will be a prequel to the 1979 sci-fi slasher, which famously starred Sigourney Weaver as astronaut turned alien hunter Ellen Ripley. The TV adaptation is the first “Alien” franchise story to take place on Earth and before the days of Ripley, with Hawley explaining that the show is set roughly 70 years from 2022. The only character from the original “Alien” film to appear in the show is, well, the titular extraterrestrial. The prequel is slated to film in 2023.
CBS
“True Lies”
“True Lies”Everett
James Cameron’s 1994 iconic action espionage marriage comedy “True Lies” gets a series order on CBS, with the original director signing on as an executive producer. Ginger Gonzaga leads the reboot series as a suburban housewife in a loveless marriage who finds a new level of attraction to her computer consultant husband (Steve Howey) after discovering he is secretly an international spy. Jamie Lee Curtis and Arnold Schwarzenegger famously originated the roles.
The “True Lies” series also stars Erica Hernandez, Omar Miller, Mike O’Gorman, Annabella Didion, and Lucas Jaye. “Burn Notice” alum Matt Nix serves as showrunner and penned the pilot script. Anthony Hemingway directs the series and executive produces alongside Cameron and his Lightstorm Entertainment partner Rae Sanchini.
Reportedly, “True Lies” is being eyed for a midseason premiere after being in the works since February 2021.
AMC
“Anne Rice’s Interview With the Vampire”
“Interview With the Vampire”Francois Duhamel/Geffen/Kobal/Shutterstock
Tom Cruise, Brad Pitt, Christian Slater, Antonio Banderas, and Kirsten Dunst iconically starred in Neil Jordan’s 1994 film “Interview With the Vampire” based on Anne Rice’s horror novel. Now, the book is getting a small screen adaptation starring “Game of Thrones” alum Jacob Anderson and Sam Reid as two vampires who sink their teeth into a tumultuous relationship after turning a young girl (Bailey Bass) into an immortal bloodsucker. The erotic thriller is set in New Orleans, with the AMC iteration introducing a new lounge singer character played by Maura G. Hooper. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television
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Scorsese and DiCaprio have been trying to develop an adaptation of Erik Larson's book for 12 years. Keanu Reeves Richard Shotwell/Invision/AP It’s been a long road through the Hollywood development process, but Martin Scorsese and Leonardo DiCaprio’s long-gestating adaptation of Erik Larson’s “The Devil in the White City” is looking closer than ever to materializing. Hulu is officially moving forward with a television series based on the bestselling book, with Keanu Reeves on board to play the lead role and Scorsese and DiCaprio serving as executive producers. “Castle Rock” co-creator Sam Shaw will serve as showrunner, with Todd Field directing the series.
Hulu announced the news on Thursday as part of the Television Critics Association’s summer tour.
The series will star Reeves as Daniel H. Burnham, the legendary architect who served as a driving force behind the 1893 Chicago World’s Fair. The story follows Burnham and his determination to build a perfect exposition while Dr. H. H. Holmes, the world’s first modern serial killer, wreaks havoc on the city of Chicago. No casting for Holmes has been announced yet. When DiCaprio first acquired the rights to “The Devil in the White City” in 2010, he originally conceived of the project as a feature film. The actor planned to play Burnham himself, with his frequent collaborator Martin Scorsese on board to direct the film. But scheduling conflicts and development difficulties ultimately delayed the project for long enough that it was retooled as a television series. Hulu has been developing the show since 2019.
“Devil in the White City” is the latest addition to a very full dance card for Reeves, Scorsese, and DiCaprio. Reeves has “John Wick: Chapter 4” opening in theaters next year, and “John Wick: Chapter 5” is already in pre-production. He is also turning his “BRZRKR” comic book into both a live-action film (that he’ll star in) and an anime series at Netflix. Scorsese and DiCaprio are gearing up to release “Killers of the Flower Moon” in 2023, and are already working on their next collaboration for Apple: “The Wager.” That film, also based on a book by David Grann, tells the dark story of a shipwreck in 1742. Scorsese is also attached to direct Jonah Hill in an upcoming Jerry Garcia biopic for Apple. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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HBO’s “Pause With Sam Jay” doesn’t feel like any other show on television. With Dorchester’s Jay as the host, it’s a talk show that takes place at a party, with field pieces and occasional sketches. Each episode is a deep dive into a single topic, and it’s as fearless and personal as Jay’s stand-up. Season two has seen Jay and her fiancé talking to a counselor on camera about cheating. Jay also explored what prison does to an individual in an episode that included conversations with her brother about how the experience changed him. But her show also has a lot of silly and incongruous moments, like the one where Jay rode a horse through Boston yelling “The crackas are coming!” in an episode about race relations, or when she interviewed a Satanist on a duck boat. We caught up with Jay in the midst of the show’s current season. New episodes air Fridays at 11 p.m.Q. The show seems designed to avoid concentrating on guest stars or pundits. And the party seems especially set up so someone can immediately call you out. Is that the design of it?A. Yeah. We wanted to do a show that was different than the other shows that we were seeing. We wanted to hear voices that weren’t in the late-night space. And we also wanted to do a show where the host could be challenged. It seems like a lot of shows, the host has the authority, and there isn’t a lot of pushback. So we just wanted to bring a diverse group of people together and kind of tailor something that felt more like a real conversation that would happen out in the world.Q. There’s an element of lampooning current events, but the emphasis seems to be on that discussion. You actually seem to want to get somewhere with the discussion rather than just fill the space with an anecdote.A. That’s the goal, to try to move these conversations forward and to talk about these things that are going on in a more evergreen way. Things were feeling very stagnant to me when I watched TV. There was no real conversation about all the gray that kind of goes on in the middle, and also how people get to how they think. We just wanted to create something that you could take with you after you watch it and try to bring it into your day. And maybe you leave going, “Oh, I need to continue this conversation, because it’s interesting to me.”A scene from "Pause With Sam Jay." Jay (center), from Dorchester, is the host of a talk show that takes place at a party.Macall Polay/HBOQ. A lot of these topics are intensely personal — the episode on cheating, the episode [of] your brother going to jail. Is it different putting yourself out there on the show than how you might approach it in stand-up?A. It just feels more concentrated. Stand-up a lot of times, it’s just a joke, and then you kind of move to the next joke, you know what I mean? Like, it’s a little blip in a moment of a bunch of moments you’re creating, whereas in the show I can sit with one subject and really pull it apart. And I can also bring other perspectives into it, and stand-up is purely just my perspective.Q. Would you agree that this season seems even more personal than last season?A. Yeah, for sure. It kind of felt like that’s where it needed to go. It just felt like a natural progression.Q. I feel like there’s probably a lot more footage of you riding that horse around Boston than we got to see.A. Just more yelling and more riding. I mean, it was a little bit scary ‘cause that horse was huge. But I had ridden the horse a few weeks prior just to get comfortable. I definitely felt very silly and dumb. [Laughs]Q. There’s a great mix on the show, I think, of just enough silly to not torpedo the seriousness of an episode.A. Exactly. We try to find that balance for sure. We always say, what’s the goal of the episode? Then we’ll find the funny. But let’s not shy away from the episode because it’s heavy or it’s not a funny topic. Find the funny within it. But the importance of the conversation leads the day. And then, you know, we’re comics, we’ll figure it out.Q. How did you come up with interviewing a Satanist on a duck boat?A. We were just like, what’s some Boston [stuff] that will really feel Boston? Then we just thought it would be very funny to see a Satanist on a duck boat. A lot of it is pure silliness. What would make us chuckle?Q. But at the same time you made a connection with that guy.A. Yeah. He was a cool kid. [Laughs] This is my natural way. I’m always down to talk with someone and try to, like, figure him out. You know? I’m always up for that.Q. Do you have any ideas for what you’d want in a third season?A. No ideas. I gotta go out and live some life before I can even figure out what that is.Q. That always seems like the question when your comedy is so based on your personal life. Are you ever worried of running out of [ideas]?A. Not as long as I’m alive, baby boy. As long as I’m living, I think I’ll be OK.Interview was edited and condensed.
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NEWYou can now listen to Fox News articles! Hollywood legend Steve Martin is ready to embark on a new journey: retirement.From "Saturday Night Live" to "Father of the Bride" to his current hit show "Only Murders in the Building," Martin has done it all. He is an Emmy and Grammy Award winner for his extensive work, which includes writing, acting, music, comedy and producing. Steve Martin and long-time collaborator Martin Short film a scene in New York for "Only Murders in the Building." (Jose Perez/Bauer-Griffin)In his late 60’s, two things happened for Martin: he became a father and he saw a resurgence in his career.Speaking to "The Hollywood Reporter," Martin says "There’s a time in your career when people are dying to see you…Now is the time in my career when I’m the one who’s got to show up." Steve Martin, pictured here in one of his most recognizable roles as 'George Banks' in "Father of the Bride." (Touchstone)'FATHER OF THE BRIDE' CAST TO REUNITE NEARLY 30 YEARS AFTER MOVIE'S PREMIEREHowever, he will not be showing up for much longer, as he says he will retire when "Only Murders in the Building" ends on Hulu. The show, which stars his good friend and frequent collaborator Martin Short as well as Selena Gomez, was recently renewed for a third season.Martin says, "When this television show is done, I’m not going to seek others. I’m not going to seek other movies. I don’t want to do cameos. This is, weirdly, it." Steve Martin pictured in blue, on an episode of "Saturday Night Live" in 1980. (Alan Singer/NBCU Photo Bank/NBCUniversal)CLICK HERE TO SIGN UP FOR THE ENTERTAINMENT NEWSLETTERMartin has made several cameos on "Saturday Night Live," the show that made him a star. He has been a special guest on 19 occasions and hosted 15 times.While he may not be working for much longer, Martin is clearly at the top of his game. He is currently nominated for Outstanding Lead Actor In A Comedy Series at the Emmys for his role as Charles Haden-Savage on his Hulu hit.CLICK HERE TO GET THE FOX NEWS APP Caroline Thayer is an entertainment writer for Fox News Digital. Follow Caroline Thayer on Twitter at @carolinejthayer.
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The singing competition show has become a staple of reality television and the launch pad for many a pop star’s career. While the average viewer probably associates this model with American Idol, it was actually predated in the U.S. by ABC and MTV’s pioneering coproduction Making the Band, which debuted in 2000 at the height of the boy band craze. The premise was simple, smart, and, at the time, entirely novel: contestants would compete in a national talent search with a panel of judges led by Lou Pearlman, the record producer behind the Backstreet Boys and NSYNC, all for the chance to become the newest pop sensation. The show’s first season produced the popular boy band O-Town, a quartet whose subsequent release of a platinum-selling debut album was no doubt due to the exposure they got from the show. More importantly, it offered a blueprint for how the singing-competition model could yield hits for both the music industry and the small screen—one that would go on to fuel a 12-season run that also yielded Danity Kane and ultimately swapped in Sean “Diddy” Combs for the soon-to-be disgraced Pearlman. —Cady Lang Contact us at letters@time.com.
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Sofia Vergara and Arnold Schwarzenegger were also mentioned as actors that viewers have trouble understanding. If you have to turn on subtitles while watching “Peaky Blinders,” you’re not alone.
According to a new survey from Preply (via The Wrap), American viewers have a harder time following Tom Hardy’s dialogue than any other actor. And “Peaky Blinders,” a show that Hardy frequently appears on, was named the hardest-to-understand TV show.
Fans of Hardy will likely find the results to be unsurprising, as the actor is famous for playing roles that require him to mumble. He can currently be seen in the sixth and final season of “Peaky Blinders” on Netflix, and stars in Gareth Evans’ “Havoc” later this year. On the acting side of the poll, Hardy was followed by Sofia Vergara, Arnold Schwarzenegger, Sean Connery, Johnny Depp, Jackie Chan, Ozzy Osbourne, and Benedict Cumberbatch.
When it came to TV, the hardest shows to understand were overwhelmingly ones that take place in Europe. After “Peaky Blinders,” American viewers said they have the hardest time understanding “Derry Girls,” “Game of Thrones,” “Outlander,” and “Downton Abbey.” The purpose of the poll was to track subtitle usage among American film and TV viewers. The practice of watching television with subtitles has become increasingly common, particularly among young audiences. After surveying 1200 people, it found that 50% of Americans use subtitles most of the time. That number gets even higher as age groups get lower: 70% of Gen Z audiences reported using subtitles most of the time.
The survey then attempts to dig into the reasons for the new trend. Most subtitle users cited practical concerns relating to hearing audio and understanding the shows they watch. 72% of subtitle users cited muddled audio as a key concern, and 61% mentioned difficulty understanding actors’ accents. Other reasons included trying to watch shows quietly, using subtitles to stay focused on one screen, and in some cases, using subtitles to learn a new language.
The poll also looked into viewing habits as a potential explanation, pointing out that younger viewers are much more likely to consume content in public on their mobile devices. Watching shows in environments such as public transportation makes subtitles more of a necessity for many viewers. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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"That was the first time I heard someone say, 'We're not gonna cast you -- you're too fat.'" Living life in the spotlight can have its perks but a career in Hollywood has some downsides. Those who make it big are frequently subject to intense scrutiny from not only the public but also those that they work with. And in order to secure their jobs with movie studios and television networks, these celebs are often expected to achieve an unrealistic standard of beauty. This standard of beauty even includes their weight, with many stars admitting that they have been told that they needed to lose a few pounds just to land a role. This unwarranted advice has a negative impact on not only the celebrity, themselves, but also all those who see them on screen. Thankfully, many of these stars decided to stay true to who they are and not let the pressure be too overwhelming. Find out which stars say they were told to lose weight… Huy Doan for Red Table Talk Queen Latifah Reveals She Was Asked to Lose Weight -- Twice -- Working on This TV Series View Story 1. Queen Latifah Queen Latifah says that she's been "publicly scrutinized" about her weight for most of her career, particularly when she starred on "Living Single." She explained that despite the show's success and the fact that she and her co-stars were supposed to represent relatable women, they were still asked to slim down. Thankfully, her business manager "wasn't having it" and refused to comply on her behalf. "We helped create 'Living Single,' so when you look at that picture you see four different women, four different shades, four different types and we looked like four women who would live in Brooklyn and that's who we were supposed to be representing and we loved being able to do that. But the word came down that we needed to lose weight. The word came down. We're like, 'Who is the word coming down from?'" she said on "Red Table Talk." 2. Kirsten Dunst When Kirsten Dunst was working on "The Beguiled," she says that director Sofia Coppola suggested she lose weight. Kirsten pushed back and thankfully, Sofia was understanding about the situation. "It's so much harder when you're 35 and hate working out," Kirsten told Variety, adding that shooting in Louisiana made things even more difficult. "I'm eating fried chicken and McDonald's before work. So I'm like, 'We have no options! I'm sorry I can't lose weight for this role.'" Facebook Watch Queen Latifah Was 'Pissed' When First Told She Fell Into 'Category of Obesity' View Story 3. Jennifer Lawrence When Jennifer Lawrence was a young actress, she says she was asked to lose "15 pounds in two weeks" for a part in a film. Not only was she told to shed the weight, but she was forced to strip down and compare herself to other actresses. "During this time a female producer had me do a nude line-up with about five women who were much, much, thinner than me. We are stood side-by-side with only tape on covering our privates. After that degrading and humiliating line-up, the female producer told me I should use the naked photos of myself as inspiration for my diet," Jennifer shared during Elle's Women in Hollywood event. 4. Patricia Arquette While Patricia Arquette was working on "Medium," she says she ended up getting into an argument with a producer who wanted her to lose weight for her role as Allison DuBois. "As I was getting older, there was still this pressure to look a certain way…I was like, 'This lady is a mother, she's married, she's got three kids. No.' But there’s that expectation of looking a certain way. Like, 'OK, you could be 40, but you've got to be a 40 who looks 30,'" Patricia said during Hollywood Reporter's TV Drama Actress Roundtable. YouTube/Getty Jennifer Lawrence Gives Final Interview to Ellen DeGeneres from the Toilet View Story 5. Chris Pratt Before Chris Pratt landed his role in "Moneyball," he says he was told he had to lose weight. While he obliged so that he would be cast in the film, he says he ended up doing it in an unhealthy way. "That was the first time I heard someone say, 'We're not gonna cast you -- you're too fat.' So I decided to drop the weight, like in wrestling. I couldn't afford a trainer, so it was all running and crash-dieting and cutting alcohol," Chris told Vanity Fair. 6. Amy Schumer Amy Schumer may have been the writer of her film "Trainwreck" but her creative control stopped when it came to her appearance. She says that she was told she needed to lose weight in order to take on the lead role. "It was explained to me before I did that movie that if you weigh over 140 pounds as a woman in Hollywood, if you're on the screen it will hurt people's eyes. So I lost some weight to do that, but never again," Amy said on "The Jonathan Ross Show." Getty Amy Schumer Responds to Being 'Blamed' for Nationwide Tampon Shortage View Story 7. David Harbour When David Harbour auditioned to play The Blob in a "Wolverine" flick, he ended up getting told by the director that he should probably shed some pounds -- despite the fact that he was auditioning to play a character named The Blob. "He was like, 'David, look, you're wonderful, we really think you're just a great actor, we’re just concerned…we're really concerned.' I was like, 'Why, what's your concern? I'm good to go. I'm available, let's do this!' And they were like, 'No, it's just, you lifted up your shirt and we saw the…we're just a little worried about your health.' I was like, 'Wait a minute, dude, pause for one second. You are telling me I'm too fat to play The Blob?'" David explained to The Wrap. 8. Carrie Fisher Before Carrie Fisher reprised her role as Princess Leia in "Star Wars: The Force Awakens," she was told by the studio that she needed to get in shape for the film. "They don't want to hire all of me – only about three-quarters! Nothing changes. It's an appearance-driven thing. I'm in a business where the only thing that matters is weight and appearance. That is so messed up. They might as well say get younger, because that's how easy it is," she told Good Housekeeping UK. Instagram 16 Stars Who've Opened Up About Dealing with Body Shaming in Hollywood View Story 9. Ashley Benson Ashley Benson says she's often faced criticism about her appearance as an actress and in 2016, was told she was too big for a role. She shared that she tries to not let it upset her too much because if she let it affect her every time someone told her to lose weight, she would go crazy. "I was just told I was too fat for a part. I'm a size 2! I cried for 30 minutes, but then you have to let it roll off your shoulders or it could cause a serious eating disorder. A lot of people in this industry hear they need to lose weight more times than they should. It does make you stronger, though. Because if you let that affect you, you can't be in this industry -- you'd go crazy," Ashley told Ocean Drive. 10. Kate Beckinsale Kate Beckinsale says that when she auditioned for "Pearl Harbor" right after giving birth, director Michael Bay told her she'd "have to work out" if she got the part. "I don't think I fit the type of actress Michael Bay had met before. I think he was baffled by me because my boobs weren't bigger than my head and I wasn't blonde. I'd just had my daughter and had lost weight but was told that if I got the part, I'd have to work out. And I just didn't understand why a 1940s nurse would do that," Kate said on the "Graham Norton Show." 11. Hayley Atwell While Hayley Atwell was working on "Brideshead Revisited," she was told that she would have to lose weight. When her co-star Emma Thompson found out, she was so mad that she threatened to drop out of the film. "I went round to Emma's one night, and she was getting very angry that I wasn’t eating all the food she was giving me. I told her why, and she hit the roof," Hayley told First Post. Everett Collection/Getty
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Jordan On MTV's 'The Hills' 'Memba Him?! 8/5/2022 12:01 AM PT American reality television star Jordan Eubanks was just 21 years old when he was cast to be a part of "The Hills" -- MTV's hit reality show, first airing in 2006 and taking place in Los Angeles, California. Jordan contributed to the series' drama along with narrator and star Lauren Conrad as the fashion student who journeyed from Laguna Beach to Los Angeles, Heidi Montag as Lauren's bubbly bestie and party girl, Spencer Pratt as Heidi's 'bad boy' boyfriend and Whitney Port as Lauren's work buddy at Teen Vogue. Guess what he looks like today at 37 years old!
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| August 12, 2022 05:24 PM The Dr. Phil show has begun production for its 21st season with 25 fewer staffers following a layoff. “Going into season 21, we streamlined production to ensure longevity," a spokesperson said. "As is typical of this process there were some roles we discovered that we could reduce yet still deliver our dynamic, forward-thinking program." This comes after a dozen current and former employees of Dr. Phil reportedly claimed verbal abuse, fear, intimidation, and racism were happening behind the scenes of the production. It is unclear if the same employees who made the complaints faced layoffs. iCARLY STAR JENNETTE MCCURDY SHARES HOW HER CHILDHOOD WAS 'EXPLOITED' Talk show host Dr. Phil McGraw speaks during a ceremony awarding him with a star on the Hollywood Walk of Fame in Los Angeles. (AP Photo/Chris Pizzello, File) Phil McGraw got his start on television after appearing as a regular guest on The Oprah Winfrey Show. His own program was recently renewed through May 2023, and the season premieres on Sept. 12. CLICK HERE TO READ MORE FROM THE WASHINGTON EXAMINER Taping began on Monday on the Paramount Pictures lot in Los Angeles, California.
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Cheer, a Netflix sports docuseries following Navarro College and filmed primarily in Corsicana, was among the 2022 prime-time Emmy Award nominees announced Tuesday.(Netflix)Cheer, a Netflix sports docuseries filmed primarily in Corsicana, and Fixer Upper: Welcome Home, another home renovation series starring Chip and Joanna Gaines, were the two Texas-themed reality programs nominated Tuesday for prime-time Emmy Awards.The Academy of Television Arts & Sciences announced the awards in a ceremony streamed from Los Angeles. The 74th Emmy Awards ceremony is set for Sept. 12 and will air live on NBC and stream on Peacock.Netflix has not yet announced whether a third season of Cheer is in the works. The second season of the series, which depicts the Navarro College cheer team as it prepares for the National Cheerleading Championship in Daytona, Fla., was released on Netflix in January.Related:‘Succession’ tops Emmy nominations, ‘Squid Game’ also scoresCheer was nominated for unstructured reality program alongside Below Deck Mediterranean, Love on the Spectrum, RuPaul’s Drag Race: Untucked and Selling Sunset.The Gaineses scored their first-ever Emmy nominations with their home-renovation series Fixer Upper: Welcome Home on their Magnolia Network. The HGTV version, Fixer Upper, was nominated for structured reality program by the Television Academy in 2017 and 2018, but the Gaineses were not producers and didn’t receive the nominations themselves.Chip and Joanna Gaines are bringing back their "Fixer Upper" show in 2021 with the launch of their Magnolia Network with Discovery Inc.(Magnolia Network)Magnolia Network picked up a new season of Fixer Upper: Welcome Home set at the Gaineses’ Cottonland Castle in Waco. Fixer Upper: Welcome Home — The Castle is scheduled to debut in September on Discovery+.Other Texans nominated include:Waco-born Steve Martin, best actor in a comedy series with Hulu’s Only Murders in the Building. Co-star Martin Short was also nominated, but Grand Prairie native Selena Gomez, their other co-star, did not receive an acting nomination for the series. However, as executive producer, the 29-year-old Gomez is included among the team for outstanding comedy series. Gomez is teaming with Univision to produce a three-part true-crime documentary series called The Cartel Among Us (Mi Vecino, El Cartel). The series follows the homicide of Juan Guerrero Chapa and the subsequent investigation and trial.Fort Worth-born Harriet Sansom Harris, who attended Arlington Heights High School and Fort Worth Country Day School, earned a nomination for best guest actress in a comedy series for her role in Hacks. Harris played the insufferable talent agent Bebe Glazer on Frasier.Marcia Gay Harden, a University of Texas at Austin alum whose first film role was in a 1979 student-produced movie, received a nomination for best guest actress in a drama series for The Morning Show.Martha Kelly, who started as a stand-up comedian in Austin 20 years ago, also earned a nomination for guest actress in a drama series for Euphoria.Connie Britton, who starred in Friday Night Lights and was a Texas Film Hall of Fame award winner in 2011, received a nomination for best supporting actress in a limited series or TV movie for her role in The White Lotus.Top Arts & Entertainment StoriesGet the latest Arts & EntertainmentCatch up on North Texas' vibrant arts and culture community, delivered every Monday.By signing up you agree to our privacy policyMost Popular on DallasNews.com123456
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An Albuquerque-based conservative radio talk show host likened the AMC series to a "documentary" on the drug trade. Republican representatives of New Mexico want new statues that don’t break bad.
After two statues immortalizing “Breaking Bad” characters Walter White (Bryan Cranston) and Jesse Pinkman (Aaron Paul) were unveiled at the Albuquerque Convention Center July 30, New Mexico Republican Rep. Rod Montoya and Albuquerque-based conservative radio talk show host Eddy Aragon criticized the city’s decision to commemorate the Emmy-winning AMC series.
“I’m glad New Mexico got the business, but really?” Rep. Montoya told Fox News. “We’re going down the road of literally glorifying meth makers?”
Radio host Aragon added, “It’s not the type of recognition we want for the city of Albuquerque, or for our state. What you saw on ‘Breaking Bad’ should be a documentary, honestly. I think, really, that is the reality in New Mexico. We try to say it’s fictional, but that is the reality…we’ve joked that [‘Breaking Bad’] should be on PBS. That is, unfortunately, the reality.” Aragon further slammed the “brand new statues” for replacing an ode to Spanish conquistador Juan de Oñate, who was the first Spanish governor of New Mexico.
“Now we’re putting fictional characters out in front,” Aragon continued. “We have Jesse Pinkman and, of course, Heisenberg, and we have now erected statues and our progressive mayor from the city of Albuquerque has stood behind them. We’re funding those, so it’s OK to go get rid of real historical figures and now, somehow it’s even better, to [have] fictional, drug-dealing figures.”
The sculptures were donated to the city of Albuquerque by “Breaking Bad” series creator Vince Gilligan and Sony Pictures Television.
“Over the course of 15 years, two TV shows and one movie, Albuquerque has been wonderful to us,” Gilligan said in a press release. “I wanted to return the favor and give something back.”
Yet at the ceremony to unveil the art pieces alongside Albuquerque mayor Tim Keller, Gilligan said that honoring “two fictional, infamous meth dealers” could be controversial to some. Instead of “glorifying” the drug trade, Gilligan noted that the “Breaking Bad” legacy should be viewed as “cautionary tales.”
“In all seriousness, no doubt some folks are going to say, ‘Wow, just what our city needed,'” Gilligan admitted. “And I get that. I see two of the finest actors America has ever produced. I see them, in character, as two larger-than-life tragic figures, cautionary tales.”
Albuquerque mayor Keller added that the “Breaking Bad” statues were in honor of the numerous jobs the series provided the city and state over the years. “While the stories might be fictional…jobs are real every single day,” Keller stated. “The city is also a character. We see ourselves in so many ways, good and bad.”
“Breaking Bad” concluded in 2013 and spurred the Netflix film “El Camino” and AMC’s prequel spinoff series “Better Call Saul,” centered on the origins of Bob Odenkirk’s cracked attorney. “Better Call Saul” recently wrapped up its final season. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Neil Gaiman's Netflix series launched the animated episode "A Dream of a Thousand Cats" two weeks after the season first debuted. Don’t sleep on “The Sandman.”
Neil Gaiman’s critically acclaimed Netflix series premiered a two-part bonus episode exactly two weeks after the season debuted. Featuring the animated story of “A Dream of a Thousand Cats” and a live-action take on “Calliope,” the surprise drop builds out the “Sandman” universe, with both premiering August 19.
Sandra Oh, David Tennant, James McAvoy, Michael Sheen, and Tom Sturridge lead “A Dream of a Thousand Cats,” along with Rosie Day, David Gyasi, Joe Lycett, Georgia Tennant, Anna Lundberg, Nonso Anozie, Diane Morgan, Tom Wu, and series creator Gaiman also lending his voice to the animated installment. To note, frequent Gaiman collaborators Sheen and Tennant additionally lead his Prime Video series “Good Omens,” with McAvoy and Sheen also appearing on Audible’s “The Sandman” audiobook adaptation. “We endeavored to make the animated version of ‘A Dream of a Thousand Cats’ as mesmerizing and hypnotic as we could by utilizing the magic of real oil paintings on canvas,” director Hisko Hulsing said in a press statement. “We combined the paintings with classically drawn 2D animation, based on realistic 3D animation of telepathic cats in order to create a trippy world that feels both grounded and dreamy at the same time. Untold Studios in London created the breathtaking 3D animation of the cats. The wonderful 2D animation, oil paintings and stylizing were all done at Submarine Studios in Amsterdam.” Live-action “Calliope” features Sturridge and guest stars Melissanthi Mahut, Arthur Darvill, Nina Wadia, Souad Faress, Dinita Gohil, Kevin Harvey, Amita Suman, and Derek Jacobi. The installment is helmed by Louise Hooper.
The hybrid two-part episode is written by Catherine Smyth-McMullen and executive produced by show creators Gaiman and David S. Goyer, plus showrunner Allan Heinberg. The series is produced by Warner Bros. Television and is based on the DC Comics series of the same name from Gaiman, Sam Kieth, and Mike Dringenberg.
Creator Gaiman exclusively told IndieWire that the series “grows around you but is always completely of its time” and that the aesthetic of the show directly harkens back to the comic panels’ art design. “It’s not for me a matter of, well, how panel-for-panel, how comics accurate can we get?” Gaiman explained. “Because weirdly if we do it with heart and we do it with attention to detail and we do it with love, the comics panels are there.”
The streamer has yet to renew “The Sandman” for a second season, but the renewal seems inevitable since the series has topped the Netflix charts for two weeks in a row. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Stranger Things fans, don't worry -- show creators Matt and Ross Duffer aren't going anywhere after the fifth and final season. The twin brothers announced on Wednesday that they've formed a new production company, Upside Down Pictures, for film and television projects as part of their overall deal with Netflix.And some of those projects will thrill fans of Eleven, Dustin and the rest. Stranger Things spinoffMost interesting, perhaps, is a live-action Stranger Things spinoff series. The plot has yet to be revealed, although actor David Harbour, who plays Police Chief Jim Hopper, recently told GQ he'd love to see another actor play his character. (Maybe a Young Hopper and Young Joyce series, since they went to high school together?)Stranger Things stage playWant to see the Hawkins heroes on a theater stage? Another project will be a new stage play set within the Stranger Things universe. Again, no plot details have been revealed yet, but it will be produced by prolific and multi award-winning producers Sonia Friedman, Stephen Daldry (The Crown, Billy Elliot, The Reader), and Netflix. Daldry will also direct.Stephen King's The Talisman seriesStephen King fans may have recognized that Lucas was reading the horror writer's 1984 fantasy novel The Talisman to his hospitalized girlfriend, Max, in the season 4 finale. The Duffers are working on a series adaptation of that book, which was co-written by King and Peter Straub.Other projects mentioned included a new live-action adaptation of the Japanese manga and anime series Death Note (separate from the weak 2017 Netflix version), plus another original series from creators Jeffrey Addiss and Will Matthews (Dark Crystal: Age of Resistance). 'Stranger Things' Stars Then and Now: Wow, They've Really Grown Up See all photos
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Guess Who This Capped Kid Turned Into! 8/16/2022 12:01 AM PT Before this bold blondie was waving her golden hair on TV screens as a big-name soap star, she was a child actress hustling her way through the entertainment industry with small roles in Hollywood ... and growing up in sunny Los Angeles, California. This cute kid has spent many of her adult days hosting television shows such as 'The Biggest Loser.' When she's not in front of the cameras, she enjoys spending time with her hubby and two kiddos and even gives her Instagram followers an inside peek. Need one more hint? It is said that she will make a return to her soap opera days. Can you guess who she is? Related Articles Kids celebrity kids Photo Galleries
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‘Baftas are essentially baubles,” says Stefan Golaszewski. “They’re very nice to have, but not central to what I do.” The multi-award-winning sitcom writer is speaking ahead of the launch of his new series, Marriage, which proved more of a challenge to write than he was prepared for. Yes, Golaszewski wrought three series of phenomenally wry television from Lesley Manville in Mum. True, he created Him & Her’s four hilariously toilet humour-packed seasons about a slacker couple, played by Russell Tovey and Sarah Solemani. But as he sat down to write Marriage, he couldn’t help feeling he was getting it wrong.“There was something about my writing I wasn’t happy about – something stopping me achieving what I wanted,” says Golaszewski. “So after Mum, I took time out to reteach myself how to write.” His realisation? There’s a fundamental lack of honesty in making people chuckle. “When you write a comedy,” he says, “the dialogue is sherbet: it fizzes in the moment and then it’s gone. The point of the words is to make people laugh. But I was interested in using dialogue to seek a deeper truth. When you write a comedy, there’s a ceiling on your ability to be truthful – and for me, being truthful is the key.”Hence Marriage: Golaszewski’s move into hour-long drama. The four-part series is an up-close look at a 27-year-long relationship, which is packed full of impeccably observed detail about how couples behave in long-term relationships. Entire scenes consist of loading a dishwasher, or talking about their ant problem. One sequence sees Sean Bean’s Ian waiting at the foot of the stairs for his wife to return from the toilet. “How’s your tummy?” he asks. “Lot of gas?” Nicola Walker, who plays his spouse Emma, replies: “I thought I was going to take off!” They guffaw, then trot off to do some house admin.“Fart gags are probably the bedrock of a successful relationship, because it’s an honesty,” says Golaszewski. “My wife can’t believe how soon I farted in front of her when we got together. I’m a human – we all fart!”Writing a drama might be a stylistic departure for someone more familiar with twitching the nation’s lips with cringe-comedy, but there’s one thing that’s undeniably unchanged in Marriage – a love of relationships. Him & Her showed a fledgling twentysomething romance, Mum charted how you move past the end of a lifelong bond and into widowhood, while Golaszewski’s latest project is a paean to midlife. It could be the final part of a trilogy chronicling the lifespan of a couple.“God, I wouldn’t be self-important enough to evoke a trilogy!” says Golaszewski. “I was just interested in the beauty of marriage, which is so often considered mundane – or depicted as less exciting than having an affair. I think there’s more hope and joy in a lot of marriages than is often seen. But I am running out of road – I need to write about something other than relationships!”One of the most remarkable things about Marriage’s script is how little there is of it. Despite Bean having said that “there are really few words in this”, it’s still surprising quite how many scenes are dialogue-free. Sometimes we see the cosy wordlessness of sprawling on a sofa with a bag of prawn crackers. At other points we watch Walker and Bean’s characters go about their lives in almost mundane wordlessness: decluttering a bedroom or clearing up a dinner party. They stretch out until, at one point, one of them bursts into tears – followed by more silence.First class … Sean Bean as Ian and Nicola Walker as Emma. Photograph: Rory Mulvey/BBC/The ForgeThe series chronicles Bean’s character’s redundancy and how the strength of his marriage helps him through it. But the episodes aren’t driven by obvious storytelling. At times, it feels more like an immersive on-screen experience than typical TV drama. Is it daunting that it’s airing on BBC One?“Oh yeah! It’ll be interesting to see what happens, but I hope people understand all the silences as a reflection of life,” says Golaszewski. “I’ve said from the beginning that this isn’t about the plot, but I do hope it has a similar grip or compulsion to one of those very plotty shows. My shows are full of story but I deprioritise plot – in plot-driven shows, humanity, character, speech, emotion and behaviour only have value in terms of their usefulness to the plot. I want to celebrate the human experience for the messy, tricky, glorious thing it is.”That focus on creating TV that’s as human as possible makes for thrilling performances – particularly from Bean. He’s a big, comfy jumper of a man, stretched out of shape over many years. He weeps, he’s needy, he’s desperate for a cuddle from his wife after a tough day, and uses the time she’s not there to track down “revitalising shower gel” because he “needs that little boost”. Alongside Peter Mullan – whose heart-meltingly tender performance as Michael in Mum belies his ability to play a terrifying monster in Ozark – he’s the latest actor to show a softer side in a Golaszewski-penned BBC show. Is turning hardmen into cutie pies something the writer relishes?Screen time … Sean Bean as Ian and Chantelle Alle as Jessica. Photograph: Rory Mulvey/BBC/The Forge“You know what?” says Golaszewski. “They are actually like that. Peter is more like Michael in Mum than the guy in Ozark. He’s much more likely to make you a cup of tea than sell you heroin. Sean’s the same – he’s incredibly gentle and thoughtful. You meet him and you don’t know what he’s going to be like, because he’s Sean Bean off the telly – but there’s a real warmth and kindness to him.”It’s not just actors’ rarely shown sides that Golaszewski is keen to put on screen but the entire class system. The worlds he writes are lower middle class, with their roots in the working class, partly because that’s his background, but also because it’s the world of the majority of the nation – which makes it the most truthful thing he can put on television, despite how rarely dramatists depict it. “It’s often hard in TV, because people are relatively posh. When I tell them how I want to build sets, they’re like: ‘Do people actually live like this?’” He laughs. “I’m like: ‘Do you want to meet my family?’”In a way, he owes his career to his attempt to rail against the rich. As a Cambridge University student, he became president of their comedy troupe Footlights, having turned up to their auditions with the most offensive monologue he could think of to try to horrify them – only for them to burst out laughing. “I was very angry at university,” he says. “I was sort of racist about posh people.” It spawned the comedy troupe Cowards, whose members included Tim Key and Tom Basden (After Life); they went on to create two Radio Four and one BBC Four sketch series.Never a chore … Sarah Solemani and Russell Tovey in Him & Her. Photograph: BBC/Big TalkIt also made him a contemporary of people such as Alex Horne and Mark Watson, as well as Boris Johnson cabinet members whom he’s surprisingly diplomatic about – despite not associating with them at the time. “I guess Suella Braverman’s worked hard,” he says. “I don’t know anything about her, but it can’t be easy to be a woman from an ethnic minority entering the Tory party.”This is exactly the approach you’d expect from someone who has said in the past that his shows have “no baddies”. Even the most unlikable characters in Mum and Him & Her got a chance to show the vulnerabilities that made you sympathise with their awfulness. But in Marriage, it’s a little greyer. We see an exploitative male company owner sexually preying on a teenage female intern. The boyfriend of Bean and Walker’s on-screen daughter Jessica aggressively gaslights her. While the script does try to show the trauma beneath their abusive behaviour, it’s hard not to feel that you’re witnessing a newfound darkness to Golaszewski’s writing. Although for him, these are plotlines that deal with one thing: truth. “People do have dark lives, and terrible things happen to them. Then they have to keep on living. These are the kinds of themes a comedy can’t handle.”As Marriage prepares to air, Golaszewski is revelling in his newfound freedom to create the most honest portrayal of real life he can. “In tiny moments,” he says, “there’s an enormity of human life. If you look for it, you see it everywhere. It’s in every tiny detail of how people stand, of how people intonate their words, in the way they speak to each other. The world is full of people trying their best, sometimes getting it wrong, sometimes right, but just generally trying their hardest.” What a lovely thought. No wonder he chose to give up comedy writing for it. Marriage starts on Sunday 14 August at 9pm on BBC One
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Actors Jeremy Swift, Phil Dunster, Brett Goldstein, Hannah Waddingham, Jason Sudeikis, Juno Temple, Nick Mohammed and Brendan Hunt, cast members of "Ted Lasso", pose for a picture together at the 73rd Primetime Emmy Awards in Los Angeles, U.S., September 19, 2021. REUTERS/Mario Anzuoni/File PhotoRegister now for FREE unlimited access to Reuters.comLOS ANGELES, July 12 (Reuters) - HBO drama "Succession," the story of a conniving media mogul and his family, topped the list of Emmy nominees announced on Tuesday with 25 nods including one for best drama series.Rivals for best drama include Netflix Inc's (NFLX.O) Korean series "Squid Game," the first non-English language show to be nominated for an Emmy. Netflix's sci-fi hit "Stranger Things" and HBO's "Euphoria," about high school students navigating the world, also were nominated."Ted Lasso" from Apple TV+ (AAPL.O) nabbed 20 nominations and will defend its title as last year's best comedy. It will face off against "Hacks," "Only Murders in the Building" and "The Marvelous Mrs. Maisel," among others.Register now for FREE unlimited access to Reuters.comWinners of the Emmys, the highest honors in television, will be announced at a ceremony on Sept. 12.Frank Scherma, chairman and CEO of the Television Academy, said the group received a record number of submissions this year, a sign that production was thriving after extended shutdowns during the COVID-19 pandemic.HBO and HBO Max received 140 nominations overall. Netflix scored 105 nods.Fourteen of the nominations for "Succession" came in acting categories. Brian Cox, who stars as patriarch Logan Roy, will compete for best actor against Jeremy Strong, who plays his troubled son Kendall."Ted Lasso" co-creator and star Jason Sudeikis was nominated for best comedy actor alongside Steve Martin and Martin Short for Hulu's "Only Murders in the Building."Register now for FREE unlimited access to Reuters.comReporting by Lisa Richwine, Editing by Franklin Paul and Deepa BabingtonOur Standards: The Thomson Reuters Trust Principles.
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This summer, SHARKFEST makes a splash to celebrate a decade of shark content with the most immersive and massive programming experience to date. The only shark event that proves truth is stranger than fiction will take viewers up close and personal with one of nature’s most feared predators as it swims across more Disney platforms than EVER BEFORE.Beginning July 10, viewers can sink their teeth into almost 30 hours of original programming and over 60 hours of enhanced content featuring captivating science and stunning visuals of the iconic apex predator. SHARKFEST not only shines a light on the science of sharks, giving audiences a better understanding of the ocean’s most misunderstood predator but also features their true beauty, power and mystery.National Geographic not only celebrates these amazing predators through our annual television event, but also funds the best scientists and storytellers from around the world to protect sharks and their ocean home. Join the National Geographic Society in protecting our ocean at natgeo.com/ocean.Watch SHARKFEST all summer long on National Geographic Networks or on Disney+!
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By LYNN ELBER
LOS ANGELES (AP) — Nominees for the 2022 Emmy Awards are being announced, with “Succession” and “Ted Lasso” among the shows looking to add to their previous trophy hauls.
JB Smoove of “Curb Your Enthusiasm” and Melissa Fumero of “Brooklyn Nine-Nine” are announcing this year’s contenders in a livestreamed ceremony on Emmys.com.
The nominees for best comedy series are: “Abbott Elementary”; “Barry”; “Curb Your Enthusiasm”; “Hacks”; “The Marvelous Mrs. Maisel”; “Only Murders in the Building”; “Ted Lasso” and “What We Do in the Shadows.” The nominees for best comedy series actress are: Rachel Brosnahan, “The Marvelous Mrs. Maisel”; Quinta Brunson, “Abbott Elementary”; Kaley Cuoco, “The Flight Attendant”; Elle Fanning, “The Great”; Issa Rae, “Insecure”; Jean Smart, “Hacks.”
The nominees for actor in a comedy series are: Donald Glover, “Atlanta”; Bill Hader, “Barry”; Bill Hader, “Barry”; Nicholas Holt, “The Great”; Jason Sudeikis, “Ted Lasso” Steve Martin, “Only Murders in the Building”; Martin Short, “Only Murders in the Building.”
The limited series nominees are: “Dopesick”; “The Dropout”; “Inventing Anna”; “The White Lotus”; “Pam & Tommy.”
The nominees for variety talk series are: “The Daily Show with Trevor Noah”; “Jimmy Kimmel Live”; “Last Week Tonight with John Oliver”; “Late Night with Seth Meyers” and “The Late Show with Stephen Colbert.”
Television Academy President Frank Scherma kicked off the nomination announcement by saying that a record number of shows had been submitted, which reflects that series production was an all-time high after being drastically reduced during the pandemic. “Succession,” a 2020 top-drama winner, may face a showdown with “Squid Game” by the time The South Korean hit about a brutal survival contest is vying to become the first non-English language Emmy nominee.
The Emmys once were dominated by broadcast networks and then cable, with the rise of streaming services changing the balance of power and perhaps the awards themselves. The possibility of Netflix’s “Squid Game” joining the Emmy mix is the result of streaming’s global marketplace focus.
Other possible drama contenders include the modern Western “Yellowstone,” workplace thriller “Severance” and “Yellowjackets,” a hybrid survival and coming-of-age tale.
There are a number of outgoing shows looking for some final Emmy love. Among dramas that includes “This Is Us,” and “Ozark,” with “Insecure” and “black-ish” on the comedy side.
“The Crown,” which dominated the 2021 drama awards, wasn’t televised within the eligibility period and is sitting this year out.
The Emmy ceremony is set for Sept. 12 and will air on NBC, with a host yet to be announced.
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For more on this year’s Emmy Awards, visit: www.apnews.com/EmmyAwards
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Find out if your faves were celebrated or snubbed. The nominations for the 73rd Annual Emmy Awards, honoring the best in television, are here! On Tuesday morning, "Curb Your Enthusiasm" star JB Smoove and "Brooklyn Nine-Nine" star Melissa Fumero joined Television Academy Chairman and CEO Frank Scherma to reveal the nominees in a live virtual ceremony. To be eligible for this year's awards, shows need to have aired between June 1, 2021 and May 31, 2022, meaning a lot of high-profile faves aren't in the running. "The Crown" and "The Handmaid's Tale," which have been favored by the academy in the past, didn't release new seasons over the past year. And while Twitter has been abuzz with buzz for Antony Starr's performance on "The Boys" this most recent season, it didn't premiere until June 3 -- meaning that potential nomination will have to wait until next year. Same goes for the star-studded cast of "Westworld," which is airing now on HBO. The situation is a little more complicated for "Stranger Things," which released its fourth season in two volumes. Volume 1, which included the first seven episodes, dropped before the cutoff -- meaning they are eligible. The super-sized final two episodes which made up Volume 2, however, won't be eligible until next year. That means the show's stars, crew and creators could score nominations in back-to-back years for what's essentially the same season of television. The 74th Emmy Awards will be broadcast live Monday, September 12, on NBC and will also stream live for the first time on Peacock. So far, no host has been announced. We'll update this post as the nominations come in! Outstanding Drama Series Outstanding Comedy Series Outstanding Limited Series Outstanding Lead Actor in a Drama Series Outstanding Lead Actress in a Drama Series Outstanding Lead Actor in a Comedy Series Outstanding Lead Actress in a Comedy Series Outstanding Lead Actor in a Limited Series or Movie Outstanding Lead Actress in a Limited Series or Movie Outstanding Supporting Actor in a Drama Series Outstanding Supporting Actress in a Drama Series Outstanding Supporting Actor in a Comedy Series Outstanding Supporting Actress in a Comedy Series Outstanding Supporting Actor in a Limited Series or Movie Outstanding Supporting Actress in a Limited Series or Movie Outstanding Guest Actor in a Drama Series Outstanding Guest Actress in a Drama Series Outstanding Guest Actor in a Comedy Series Outstanding Guest Actress in a Comedy Series Outstanding Actor In A Short Form Comedy Or Drama Series Outstanding Actress In A Short Form Comedy Or Drama Series Outstanding Variety Talk Series- The Daily Show with Trevor Noah- Jimmy Kimmel Live!- Last Week Tonight with John Oliver- Late Night with Seth Meyers- The Late Show with Stephen Colbert Outstanding Reality Competition Program- The Amazing Race- Lizzo's Watch Out for the Big Grrrls- Nailed It!- RuPaul's Drag Race- Top Chef- The Voice Outstanding Television Movie Outstanding Writing For A Drama Series Outstanding Writing For A Comedy Series Outstanding Writing For A Limited Or Anthology Series Or Movie Outstanding Directing for a Drama Series Outstanding Directing for a Comedy Series Outstanding Directing For A Limited Or Anthology Series Or Movie Outstanding Host For a Reality or Competition Program
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Pitt bonded with "Bullet Train" co-star Brian Tyree Henry over their shared love for the British reality competition series. Get ready for Brad Pitt to recreate that famous “Ghost” scene.
The “Bullet Train” star professed his love for British reality competition series “The Great Pottery Throw Down” during an interview with JOE.ie. The video interview soon became a lovefest for British television with co-stars Brian Tyree Henry and Aaron Taylor-Johnson weighing in.
When the trio was asked what their favorite explosive escapist films are to watch, Taylor-Johnson gushed over Pitt’s “Fight Club.” Meanwhile, Pitt cited Baz Luhrmann’s “Elvis” as a recent “musical explosion,” to which co-star Henry added “The Great British Baking Show” is one of his favorite binges.
“Let me tell you something, when those soufflés explode, man, you watch some stuff go down,” the “Atlanta” star joked.
Pitt responded, “Well, if we’re going that route, I’m going ‘The Great Pottery Throw Down,'” with a surprised Henry saying, “Brad! How come we’ve never talked about this?!” “I’ve seen every season,” Pitt confirmed, agreeing with Henry that it’s “so beautiful” that “Throw Down” judge Keith Brymer Jones cries almost every episode.
Per an official synopsis (for those who aren’t in the know about the kiln-centric series), “The Great Pottery Throw Down” centers on 10 home potters from around the country who venture to Stoke-on-Trent, the home of pottery, in their quest to become the Top Potter.
The official show page retweeted the “Bullet Train” interview with the caption, “The first rule of pottery club is: you *must* talk about pottery,” nodding to “Fight Club.”
The caption continued, “We’re so happy to hear that legends Brad Pitt and Brian Tyree Henry love crying over bowls as much as we do!”
“Bullet Train,” in theaters August 5, is an action-comedy directed by David Leitch. Pitt is said to have performed his own stunts for the assassin shoot-em-up feature that was originally a “dark, R-rated, vicious action piece,” per Taylor-Johnson. Yet the cast chemistry and joking nature on set led to “Bullet Train” being a dark comedy.
“In the conversations I had with Brad, the No. 1 goal was to make a movie that’s entertaining and escapist and fresh and original, that will make people want to come back to the theater,” Leitch told GQ. The first rule of pottery club is: you *must* talk about pottery.We’re so happy to hear that legends Brad Pitt and Brian Tyree Henry love crying over bowls as much as we do! #potterythrowdown https://t.co/mApZCu3KAM
— The Great Pottery Throw Down (@PotteryThrow) July 28, 2022 Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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The show’s cinematography, color, and production design craft a modern approach to truth, justice, and the American way. “Superman & Lois,” whose second season arrives on HBO Max today, isn’t your typical Superman story. For one thing, it gives the Man of Steel and his Pulitzer-winning wife a pair of teenage sons. For another, it has a distinctly modern — see also: post-recession — approach to Superman’s hometown, which it achieves through its expert interplay between production design and photography. If you aren’t watching the show, you might be missing out on a timely depiction of Superman’s home, one that demands to be seen not only on its own terms, but as a thoughtful update to the version that exists within the cinematic memory.
After Clark Kent (Tyler Hoechlin) and Lois Lane (Elizabeth Tulloch) lose their jobs at the Daily Planet, courtesy of a corporate buyout, they move their family from the bustling Metropolis to Smallville, Kansas, where their sons Jordan (Alex Garfin) and Johnathan (Jordan Elsass) have never lived. It’s certainly an adjustment for the teens, but what makes it equally an adjustment for the audience is the setting’s stark contrast to the Smallville we’ve come to know on screen. The common rendering of the town, as well as its location in Kansas, traces back to Richard Donner’s “Superman: The Movie” from 1978. This Smallville is painted with bright and sentimental hues; it’s a town of white picket fences, kindly neighbors, 1950s prosperity, and Norman Rockwell. It was the old world — an idyllic world, compared to the crime-ridden, New York-esque Metropolis to which a wide-eyed Clark (Christopher Reeve) eventually moves, bringing with him a bright red and blue (and red, white, and blue) simplicity when he donned his famous cape. By the time “Superman & Lois” began in 2021, this iteration of small-town America — which had long been America’s vision of itself — was already a broken dream. While the show’s introduction (a brief flashback montage of Superman’s childhood) hints at a vivacity, some of the first images we see of Smallville in the present day are foreclosure signs and empty streets.
“Superman: The Movie”screengrab
“Superman & Lois”screengrab
When Hoechlin’s Clark moves back home, what he finds is a downtrodden, frustrated Smallville on the verge of leaning right — or leaning toward whichever corporation or politician can promise its citizens jobs — and what his children find is a town full of boredom, and nihilism dulled by alcohol and a seeming opioid crisis. The show is by no means a “dark and gritty” reboot (Superman himself maintains his wide-eyed optimism, and brings the same to the people of Kansas), but compared to the bright CW shows out of which the series spun — the cheaper and flimsier “Supergirl” and “The Flash” — “Superman & Lois” is a cut above, in its exacting conception of time and place, wrestling between the dour reality of modern America and Midwestern nostalgia. The show’s 2.20:1 widescreen aspect ratio (compared to the 16:9 of its aforementioned peers) already places it in a distinctly vintage cinematic space. This classical aesthetic is enhanced further by the use of anamorphic lenses (the Panavision B series, originally designed in the 1960s), which both capture the breadth of the landscape and subtly curve its corners, as if they were painted by brush-stroke. Director Lee Toland Krieger and cinematographer Gavin Struthers set the visual stage in the first two episodes, before handing the reins to cinematographers Stephen Maier and Gordon Verheul. There have been better hours of “Superman & Lois” (mostly in its first season) as well as occasional worse ones (mostly in itssecond season), but they’ve rarely strayed from the portraiture and careful compositions Krieger and Struthers first introduced.
Most scenes are dialogue exchanges, and the show is better for it, since the relationships between the characters to not only to each other, but to their surroundings, is central to their stories. Series production designer Dan Hermansen has a major hand in this as well — and not just because there always seems to be a handle or surface for Clark to rest on, as he silently reflects on his approach to parenting. Hermansen’s conception of the Kent family farm, whose foundations are held strongly together but whose surface has begun to wither and rust, is a key reflection of the trials faced by the Kents after their move . Their inability to adjust manifests in aggressive (and passive aggressive) ways, which has a tendency to fray their family dynamics, but ultimately, the resolution of each story sees them leaning on each other for comfort.
“Superman & Lois”screengrab
Hermansen’s designs for the rest of Smallville serve a similar purpose, especially as supporting, non-superhero characters grow in importance, as does their involvement in local politics. The narrative approach is simple — Clark’s high-school sweetheart Lana (Emmanuelle Chriqui) hopes to supplant the town’s cartoonishly corrupt mayor — but what makes it shine is the immediacy with which any scene can tell you about Smallville and its people (or its increasing lack thereof; fewer extras can be seen walking its streets as the show goes on, and as people move away). The town’s designs, like its faded maroon diner upholstery, hint at a once-bright locale whose luster has been worn down. This especially works in tandem with the color grading by final colorist Shane Harris, who imbues the setting with a dusty layer. Even the costumes that likely popped on set often find themselves muted onscreen, as if they need to find a way to regain their original hues.
The American heartland of Clark’s memories exists as if within the cultural consciousness; you could, if you so choose, make the case that the Smallville of “Superman: The Movie” is what this Smallville eventually became. Its landscapes are still striking, if slightly subdued. Its people are still polite and neighborly, despite being bogged down by economic woes. It’s still a conception of the American dream, but an American dream that needs to be fought for, and returned to, through the actions of its people — which the camera captures not as mere television subplot, but as its own extension of cinematic myth, transformed by reality. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television | 7/21/2022 10:36 PM PT The "Buffy the Vampire Slayer" alum surprised Comic-Con fans by dropping in on the "Teen Wolf" panel to reveal that she is set to executive produce and star in new spin-off series "Wolf Pack." The "Teen Wolf" universe might be getting a new chapter in the upcoming movie, but don't expect the story to end there. In one of the biggest Thursday surprises at San Diego Comic-Con, Sarah Michelle Gellar announced she was joining the franchise. While the "Buffy the Vampire Slayer" alum won't be part of the movie, fans can perhaps be even more excited that she's signed on to star in an executive produce the next TV series for the franchise, "Wolf Pack." Everett Collection Sarah Michelle Gellar on Those Buffy Feud Rumors: 'Nobody Gets Along All the Time' View Story SMG dropped in on a stunned audience at the end of the "Teen Wolf" panel on Thursday to drop the announcement that she was returning to the supernatural realm as an arson investigator brought in to take down a teen arsonist. Sarah Michelle Gellar takes the stage to surprise the #TeenWolfTheMovie crowd in Hall H at #SDCC pic.twitter.com/DFHsrVEGBz— Deadline Hollywood (@DEADLINE) July 21, 2022 @DEADLINE The problem is that the fire may have awakened a much bigger and much nastier supernatural terror and Los Angeles is -- well, it's just too tempting to ignore. It is, after all, just sitting there and filled with all those people! While the new series is firmly set in the "Teen Wolf" universe, it is also based on a four-book series by author Edo Van Belkom. TooFab Holland Roden Addresses Arden Cho's Tough Choice to Walk Away From Teen Wolf Movie (Exclusive) View Story Published between 2004 and 2008, the series follows a ranger and his wife who take in what they believe is a litter of four wolf cubs before discovering they're more than just wolves. The bulk of the series takes place after the cubs grow up into teenagers. During her appearance, after briefly joking that she'd been required to change her name to Tyler to work in the same universe as "Teen Wolf" stars Tyler Posey and Tyler Hoechlin, SMG said that she hoped that both men would come join her show. It was revealed she had just started filming. Gellar joins previously cast series leads Armani Jackson (Everett) and Bella Shepard (Blake) as the teens at the center of the story, as well as Chloe Rose Robertson as Luna and Tyler Lawrence Gray as Harlan. "Wolf Pack" is slated to premiere later this year on Parmount+. "Teen Wolf: The Movie" is also eying a 2022 release.
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The biggest show coming to Amazon Prime Video is "The Lord of the Rings: The Rings of Power." What else should you watch this month? “The Lord of the Rings: The Rings of Power”Ben Rothstein/Prime Video It’s hard to believe 2022 is almost over. Kids are returning back to school, the seasons will start to change, and the fall television lineup will be here before you know it. With that, it’s time to start prioritizing what shows to give your free time to. Amazon Prime Video is going for broke this September, with the massive undertaking that is their adaptation of J.R.R. Tolkien’s “Lord of the Rings” series, but that’s not all. Let’s take a look on everything coming to Amazon Prime Video in September.
The biggest show coming to Amazon Prime Video is, of course, the aforementioned “Lord of the Rings: The Rings of Power.” Though not associated with the spate of films directed by Peter Jackson as it’s a prequel, the trailers are playing up an equally ambitious and opulent sense of filmmaking. Amazon Prime Video is trying something different, to attempt to compete with the rise of prestige television with shows like HBO’s “Game of Thrones” and “Succession.” The showrunners hope the series will be as well-received as the original films in spite of the lack of connection. “I just want to sort of quibble with the ‘vaguely connected,’” said showrunner Patrick McKay in an interview with The Hollywood Reporter last week. “We don’t feel that way. We feel like deep roots of this show are in the books and in Tolkien. And if we didn’t feel that way, we’d all be terrified to sit up here. We feel that this story isn’t ours. It’s a story we’re stewarding that was here before us and was waiting in those books to be on Earth. We don’t feel ‘vaguely connected.’ We feel deeply, deeply connected to those folks and work every day to even be closer connected. That’s really how we think about it.”
“The Lord of the Rings: The Rings of Power” will debut the first two episodes of the series on September 2 before switching to a one-episode-per-week release for the remaining six episodes. “The Lord of the Rings: The Rings of Power” debuts on the streamer September 2.
Here’s what other television is premiering in September on Amazon Prime Video and Freevee.
September 1 “American Ninja Warrior” Seasons 12-13
“Friday Night Lights” Seasons 1-5
“Texicanas”
“WAGS Miami” Seasons 1-2
“The Suze Orman Show” (Freevee)
“Murder, She Wrote” (Freevee)
“Murder, She Wrote: A Story to Die For” (Freevee)
“Banacek” Seasons 1-2 (Freevee)
“Models of the Runway” Seasons 1-2 (Freevee)
“The Rockford Files” Seasons 1-6 (Freevee) September 2 “The Lord of the Rings: The Rings of Power” September 7 “He Is Psychometric”
“Prison Playbook”
“Reply 1988”
“Reply 1994”
“Search: WWW”
“Signal”
“The Crowned Clown” September 15 “Thursday Night Football” September 21 “Prisma” September 23 “September Mornings” September 30 “Jungle”
“Un Extrano Enemigo” Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Television
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NEWYou can now listen to Fox News articles! Alyssa Milano gave fans what they’ve been asking for, with an update on the highly anticipated "Who’s the Boss" reboot. Fox News Digital caught up with Milano on the red carpet at Michael Rubin’s MLBPA Fanatics party in Los Angeles. Milano, who is a huge Dodgers fan, told us she's looking forward to revisiting the show that made her famous. Alyssa Milano gave fans an update on the upcoming "Who's the Boss" reboot. (Getty Images)"There’s not much to tell yet! I mean it’s in the works," Milano explained. "They are developing the story and writing the script and we’ll see what happens once that all gets done. We are very hopeful that it will make it on air."She also noted she thinks "it’s cool to kind of go full circle" by going back to the role she originated when she was 12 years old.ALYSSA MILANO INCORRECTLY BLAMES '#TRUMPSGESTAPO' FOR VIRAL ARREST OF TEEN BY PLAINCLOTHES NYPD OFFICERSIt was announced in 2020 that a reboot was in the works, and both Tony Danza and Milano will be reprising their roles as Tony and Samantha Micelli in the reboot, which is set to take place 30 years after the original show ended in 1992. The show will focus on Sam’s journey as a single mother and will tackle the different parenting styles she and her father have.But the relationship between the father-daughter duo will remain at the forefront, just as in the original series. The original "Who's the Boss" ran for eight seasons from 1984 to 1992 and followed retired Major League Baseball player Tony Micelli as he searched for a better life for his daughter. (ABC Television/Fotos International)The original "Who’s the Boss" lasted eight seasons from 1984 to 1992 and followed Tony Micelli, a retired Major League Baseball player searching for a better life for his daughter. He accepts a position as a housekeeper for a single working mom, Angela Bower, who lives with her son Jonathon, and her mother Mona.CLICK HERE TO SIGN UP FOR THE ENTERTAINMENT NEWSLETTERThroughout the first seven seasons of the show, showrunners often played with the idea of pairing Tony and Angela as a couple. In the last season of the show, the two finally got together. It is unclear whether Judith Light, who portrayed Angela, has signed on for the reboot, so the future of Angela and Tony’s relationship is currently unknown. Tony and Angela finally became a couple in the eighth and final season of the show. (Photo by Craig Sjodin/Disney General Entertainment Content via Getty Images)The reboot is being written and directed by Mike Royce, the creator and showrunner of the "One Day at a Time" reboot for Netflix, and Brigitte Muñoz-Liebowitz who co-executive produced. CLICK HERE TO GET THE FOX NEWS APPA title and release date have not yet been set, but the "Who’s the Boss" sequel is expected to be released on Amazon Freevee, a streaming service owned by Amazon previously known as IMDB TV. Lori Bashian is an entertainment production assistant for Fox News Digital.
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Television
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Mere hours before the premiere of Peacock’s comedic thriller series, The Resort, Nina Bloomgarden still has no idea what to wear. While the 24-year-old actress takes style cues from the 1970s—especially Patti Smith, to whom she recently dedicated a Pinterest board—her only sartorial direction for the night is to look “chic as fuck.” But “I’ll figure it out in a couple of hours,” she says nonchalantly during a Zoom call from Los Angeles.The Resort follows Emma (Cristin Milioti) and Noah (William Jackson Harper) as they endeavor to solve the 2007 disappearance of Sam (Skyler Gisondo) and Violet, played by Bloomgarden. Although Bloomgarden operates with the coolness of a red carpet veteran, The Resort marks her foray into television. She joins a stacked cast of industry heavyweights including Milioti, Harper, Gisondo, and Nick Offerman on the series, which premieres July 28. The young actress says she’s a longtime admirer of Milioti, whom she has idolized since high school. “We had to figure out which actors we admired, and Cristin was on my list,” she says. “When I did plays in high school, I would look up the original Broadway cast and I would find out I was playing Cristin's role.” When it comes to her onscreen dad, Nick Offerman, Bloomgarden—a longtime Parks and Recreation fan—can’t contain her giddiness while recalling his late-in-the-game casting. “I would talk to our writer [Andy Siara] and be like, ‘So, word on the street is Nick Offerman might be playing my dad,’ and he was like, ‘It's not gonna happen.’”Bloomgarden stars in The Resort as Violet, a young woman who, alongside Gisondo’s Sam, is the focal point of the plot's mystery. Though Violet and Sam begin as strangers, the two quickly bond over a shared sense of loss: for him, the dissolution of his relationship; for her, the death of her mother. As Violet, Bloomgarden delivers a visceral and raw performance of grief. She didn’t have to reach far for inspiration. Weeks before she was asked to audition for the role, her father, John, died. For the actress, “eerie” is the operative word. “The thing that Violet’s mom leaves her was very similar to what my dad left me and my family,” she says. From her well-timed audition to her character parallels, it truly feels like the Fates have played their hand. “It was serendipitous, this whole show,” she says. “The universe has really given us a lot.”Channeling her own grief into Violet served as a much-needed catharsis for Bloomgarden. “Getting to grieve through Violet has been such a blessing,” she says, citing conversations with Siara and director Ben Sinclair as particularly poignant moments in her character development. “They really let me shape Violet.” Not only did the role help her process her own loss, but it also gave her empathy for people who experience grief differently. “I was pretty involved toward the end of my dad's life. I was very much there with my mom, helping out, and took on the role of caretaker. I had to put my life on hold,” she says. “Violet was very much not there and had her dad deal with everything, and I think both [experiences] are extremely valid.” Still, there are some days when Bloomgarden’s grief aligns more with Violet’s, and she questions her numbness, her dark humor, her dry eyes. “Grief is awkward. Grief is messy. And your early twenties are awkward, and your early twenties are messy too,” she says. “Combining those two things, it's a wild ride.”The premiere of The Resort is undoubtedly a bittersweet day for Bloomgarden, who never got to tell her father about her big break. “Miss you papa,” she captioned a video of them dancing on her Instagram story. But she takes solace in the memory of telling her father about a different job she booked—and knows that he would be immensely proud. “I will always have that memory in my head of him,” she says. “Hopefully, if I continue to book jobs, I can always go back to that and know that he is celebrating.”The morning after our chat, it’s clear that Bloomgarden did in fact figure it all out. She shares a snapshot on her Instagram story, decked out in an edgy black dress held together with metal rings, her mane of curls framing her face. And, as promised, she looks chic as fuck.
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Television
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TV and radio presenter Helen Skelton has been announced as the 15th and final contestant for Strictly Come Dancing 2022.The news was announced on the Radio 2 programme of Claudia Winkleman, who co-hosts the dance show with Tess Daly.Skelton, 39, has previously appeared in the 2012 Strictly Christmas special. She starts presenting a new show on BBC Radio Five Live on Sunday.She said she was "really excited to get stuck into a fun adventure".The BBC One dancing competition is to return in September. Skelton joins the line-up of celebrity contestants including singer and presenter Fleur East, Paralympic swimmer Ellie Simmonds and Bros singer Matt Goss.Skelton, who has also presented on Countryfile and Blue Peter, told Winkleman she only finally agreed to take part "the other day"."I did the Christmas one the other year," she said. "The hair is the best, the makeup is incredible, the costumes are incredible. Who gets to go to work and be made to look a bit like Beyonce and have a fun time?'."I thought this is madness to not do it, of course I should do it, it will be so much fun."She has two sons and a baby daughter and told Winkleman: "My [dance] partner better get used to a baby in the room."And she said her sons Ernie and Louis were excited but Louis had told her she would be better dancing on her own than with a partner.Skelton also revealed she once competed in a tap dancing competition backed by comedian Ken Dodd.Image caption, In the 2012 Christmas show Skelton partnered Artem ChigvintsevThe full line-up of other contestants taking part in this year's series is:Will Mellor - Hollyoaks, Casualty and Two Pints of Lager and a Packet of Crisps actorKym Marsh - Former Coronation Street actress and member of pop group Hear'Say and presenter of BBC One's Morning Live Richie Anderson - Radio 2 travel news presenterKaye Adams - One of the hosts of ITV's Loose WomenJayde Adams - Comedian and actorEllie Simmonds - Paralympic swimming championTyler West - Presenter on BBC Three, MTV and radio station KissMatt Goss - Singer with 1980s boy band BrosEllie Taylor - Comedian, television presenter, author and actressMolly Rainford - CBBC presenter and Britain's Got Talent finalistTony Adams - Former Arsenal and England football captainFleur East - X Factor runner-up who appeared on I'm a Celebrity... Get Me Out of HereHamza Yassin - Wildlife presenter and cameramanJames Bye - Plays Martin Fowler in EastEndersCraig Revel Horwood, Motsi Mabuse and head judge Shirley Ballas will all return to the Strictly judging panel this year.They will be joined again by Anton Du Beke, who has now permanently taken over from Bruno Tonioli after standing in for him during the 2021 series.Last year's contest was won by EastEnders actress Rose Ayling-Ellis and her professional partner Giovanni Pernice.
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Television
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John Landgraf, the FX head who for years has been able to predict the fortunes of the TV industry with uncanny ability, recently said that this year will see “peak TV” finally peak. By his accounts, 357 scripted shows were launched in the first six months of 2022 alone, up 16% from a year ago. This, obviously, is more television than any one person can possibly watch. The good news is that with Netflix faltering and HBO Max intent on cratering before our very eyes, a contraction is due any minute now.The bad news is that there are now more TV shows than ideas. It has become easier than ever to find premises and plots that have been unknowingly shared between different series, as you will see if you’re diligent enough at following the thread along one of this year’s hottest trends: the stressed-out chef show.The biggest of these, and the one that looks destined to hog the headlines, is FX’s The Bear, soon to drop on Disney+ in the UK. The Bear has already made enough of a splash in the US to be simultaneously dubbed “the sexiest show of the year” and “the most stressful show of the year”.Much-anticipated … James Corden plays a chef in Mammals. Photograph: Dignity Productions/Amazon StudiosUK viewers won’t have to watch for long to see how the latter tag came about. The Bear follows a down-at-heel fine-dining chef who, after his brother’s suicide, finds himself trying to shore up his family’s sandwich shop. Its big trick is finding the urgency in the mundane; despite the fact that, in the show’s signature kitchen scenes, we are just watching people make sandwiches to order, there’s a chest-bursting panic to it all. We constantly feel the stress of the job bearing down on its lead, played by Jeremy Allen White. Invariably, everything comes to a head later in the run, during a single-shot episode so frantic and stressful that it feels like a half-hour heart attack.As for the sexiness? That’s a harder call. On paper – unless you have a shameful bread kink – The Bear isn’t a very sexy show at all. There are no Bridgerton-style romps, no will-they-won’t-they plots. But what it does have is hunger. The internet has already done a bang-up job of objectifying White who, with his floppy hair, sleepy eyes and brooding obsession, comes across as half Marco Pierre White and half Anthony Bourdain. But more than that, the whole show is wonderfully tangible. It’s unglamorous and unpretentious. You can feel the sweat prickle on the characters’ backs as they toil in the kitchen and the ache in their legs once they’ve finished a service. It’s raw and earthy, the kind of show that gets all the way under your fingernails. It’s really very good.But just because The Bear seems destined to be the awards darling of next year, it doesn’t mean that it’s the only new scripted chef show around. Jez Butterworth’s much-anticipated Amazon show Mammals might bill itself as a “relationship whodunnit” – with Butterworth promising that everything that happens after the opening six minutes is a series-destroying spoiler – but it’s no secret that James Corden plays, you guessed it, a grumpy chef called Jamie.Quiet, careful obsession … Sarah Lancashire in Julia. Photograph: Seacia Pavao/Seacia Pavao/WarnerMediaThese two shows come hot on the heels of Julia, Sky Atlantic’s drama series about Julia Child. Admittedly Julia tweaked the formula a little – Child was a cook rather than a chef, and one who made her fame by projecting undimmed outward warmth – but Sarah Lancashire’s performance is nonetheless one of quiet, careful obsession and ambition.It isn’t hard to see why TV writers turn to chefs whenever they want to depict raised stakes. Professional cookery thrives on speed and precision, heat and ego. As depicted in The Bear, it requires you to keep your foot firmly planted on the job’s throat at all times, otherwise it will rise up and devour you. Done right, it’s absolutely thrilling. Then again, if stressed-out chefs aren’t your thing, something else is bound to come along before too long. This is the peak of “peak TV”, after all.
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Television
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By Konstantinos N. Gourgouliatos - Durham University
Supermassive black holes, which lurk at the heart of most galaxies, are often described as “beasts” or “monsters”. But despite this, they are pretty much invisible. To show that they are there at all, astronomers typically have to measure the speed of the clouds of gas orbiting those regions.
But these objects can sometimes make their presence felt through the creation of powerful jets, which carry so much energy that they are able to outshine all the light emitted by the stars of the host galaxy. We know that these “relativistic jets” are two streams of plasma (matter made up of electrically charged particles despite having no overall charge), travelling in opposite directions at velocities very close to the speed of light.
The physics governing these cosmic fountains, however, has long been a bit of a mystery. Now our new paper, published in Nature Astronomy, has shed some light on the causes of their extraordinary appearance.
What makes relativistic jets exceptional is their impressive stability: they emerge from a region as big as the event horizon (the point of no return) of the supermassive black hole and propagate far enough to break out from their host galaxy while maintaining their shape for a long time. This corresponds to a length that is a billion times their initial radius – to put this in perspective, imagine a water fountain coming out of a 1cm wide hose pipe and remaining undisrupted for 10,000km.
Once the jets propagate at great distances from their origin, though, they lose their coherence and develop extended structures which often resemble plumes or lobes. This indicates that the jets undergo some sort of instability, strong enough to completely change their appearance.
A jet dichotomy
The first astrophysical jet was discovered in 1918 by the American astronomer Heber Curtis, who noticed “a curious straight ray … apparently connected with the nucleus by a thin line of matter” in giant elliptical galaxy M87.
In the 1970s, two astronomers at the University of Cambridge, Bernie Fanaroff and Julia Riley, studied a large ensemble of jets. They found that they could be split into two classes: those containing jets whose brightness decreases with distance from their origin, and those that become brighter at their edges. Overall, the latter type is about 100 times more luminous than the former. They both have slightly different shape at the end – the first is like a flaring plume and the second resembles a thin turbulent stream. Exactly why there are two different kinds of jets is still an area of active research.
As jet material gets accelerated by the black hole, it reaches velocities up to 99.9% of the speed of light. When an object moves so fast, time dilates – in other words, the flow of time at the jet, measured by an external observer slows down as predicted by Einstein’s special relativity. Because of this, it takes longer for the different parts of the jet to communicate with each other – as in interacting or influencing each other – while travelling away from their source. This, effectively, protects the jet from being disrupted.
However, this loss of communication does not last forever. When the jet is ejected from the black hole, it expands sideways. This expansion makes the pressure inside the jet drop, while the pressure of the gas surrounding the jet does not decrease as much. Eventually, the external gas pressure overtakes the pressure inside the jet and makes the flow contract by squeezing it. At this point, the parts of the jet come so close that they can communicate again. If some parts of the jet have become unstable in the meantime, they can now exchange this information and instabilities can spread to affect the entire beam.
The process of expansion and contraction of the jets has another important consequence: the flow is no longer along straight lines but on curved paths. Curved flows are likely to suffer from “centrifugal instability” which means they start creating whirlpool-like structures called vortices. This was not considered to be critical for astrophysical jets until recently.
Indeed, our detailed computer simulations show that relativistic jets become unstable because of the centrifugal instability, which initially only affects their interface with the galactic gas. Once they have contracted due to external pressure though, this instability spreads throughout the entire jet. The instability is so catastrophic that the jet does not survive beyond this point and gives place to a turbulent plume.
Putting this result in perspective we get a better insight of the impressive stability of astrophysical jets. It can also help explain the enigmatic two classes of jets discovered by Fanaroff and Riley – it all depends on how far from its galaxy a jet becomes unstable. We made computer simulations of what these jets would look like based on our new understanding of the physics of these cosmic beams, and they very much resemble the two classes we see in astronomical observations.
There’s a lot more to learn about the gigantic, wild beasts residing at the centre of galaxies. But little by little, we are unravelling their mystery and showing that they are indeed perfectly law-abiding and predictable.
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Physics
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Generative AI models have made great strides in the past few years. Physics-inspired Diffusion Models have ascended to state-of-the-art performance in several domains, powering models like Stable Diffusion, DALL-E 2, and Imagen.Researchers from MIT have recently unveiled a new physics-inspired generative model, this time drawing inspiration from the field of electrodynamics. This new type of model - the Poisson Flow Generative Model (PFGM) - treats the data points as charged particles. By following the electric field generated by the data points, PFGMs can create entirely novel data. Below we see images of faces generated with a PFGM:CelebA images generated with a PFGM (video provided by the PFGM authors)PFGMs constitute an exciting foundation for new avenues of research, especially given that they are 10-20 times faster than Diffusion Models on image generation tasks, with comparable performance.In this article, we'll take a high-level look at PFGM theory before learning how to train and sample with PFGMs. After that we'll take another look at the theory, this time perfoming a deep dive starting from first principles. Then we'll look at how PFGMs stack up to other models and other results before ending with some final words. Let's dive in!IntroductionSeveral families of generative models have evolved throughout the development of AI. Some approaches, like Normalizing Flows, offer explicit estimates of sample likelihoods. Other approaches, like GANs, cannot explicitly calculate likelihoods, but can generate very high-quality samples.Over the past couple of years, significant research efforts have been undertaken to develop Diffusion Models. Diffusion Models draw inspiration from physics, in particular thermodynamics/statistical physics, noting that e.g. any localized distribution of a gas will eventually spread out to fill an entire space evenly simply through random motion. A localized gas (purple particles) will spread out to evenly fill a room over time simply through random motionThat is, any starting distribution is transformed into a uniform distribution over time. Diffusion Models draw inspiration from this idea and place e.g. images in a "high dimensional room", corrupting them with random noise in a similar way.The pixels in an image can be viewed as a localized cloud of particles that we "diffuse" into random noise over timeThe goal is to train a Machine Learning model that learns how to go backwards through time, reversing this corruption process. If we can successfully learn such a mapping, then we have a transformation from a simple distribution (Gaussian, in the case of Diffusion Models) to the data distribution. We can then generate data simply by sampling from a Gaussian distribution and applying the learned transformation.Poisson Flow Generative Models are inspired in a very similar manner to Diffusion Models, but they pull from the field of electrodynamics rather than thermodynamics. The fundamental and foundational finding is that any distribution of electrons in a hyperplane generates an electric field that transforms the distribution into a uniform angular distribution as the distribution evolves through time according to the dynamics defined by the field.Treating a data distribution as a charge distribution defines an electric field that transforms the distribution into a uniform hemisphere over timeIf we know the electric field (aka Poisson field) generated by a distribution, then we can start with points uniformly sampled on a hemisphere and run the dynamics in reverse time to recover the original data distribution. The laws of physics, therefore, provide an invertible mapping between a simple distribution and the data distribution, yielding a means to generate novel data akin to normalizing flows.With the overarching working principle of PFGMs in our minds, let's now take a closer look at how this working principle manifests in practice.Poisson Flow Generative Models - OverviewAs mentioned above, the performance of PFGMs hinges on the result that the Poisson field generated by (almost) any distribution in a hyperplane results in a uniform angular distribution at a far enough distance. Intuitively, let's consider why this is the case. Consider the electric field generated by an arbitrary charge distribution. Very close the distribution, the electric field will be very complicated and, in general, have high curvature. A charge distribution (purple) and the electric field lines (black) it generatesHowever, at a very far distance d from the charge distribution, the field is much simpler. At such a distance, all points in the charge distribution are roughly the same distance away from d. This means that the charge distribution can be considered to "collapse" down to a point, concentrating all of its charge on that one point. The electric field for a point charge is quite simple - being radial in direction and inversely square to the distance from the point in magnitude:At a far distance, the charge distribution "looks like" a point charge, with a correspondingly simple electric (Poisson) fieldTherefore, as we "zoom out" from the charge distribution, it looks more and more like a point charge with the corresponding electric field:In general, physical fields are well-behaved, and the electromagnetic field is no exception. Therefore, the locally complicated electric field near the distribution (or source), must connect in a smooth way to the electric field far from the distribution, which we have seen to be purely radial, so the electric field lines will look something like this:Given that the electric field is radial at a very far distance, the surface tangential to the field is spherical at this distance. The PFGM authors prove that, not only is this surface spherical, but its flux density is uniform. Below we see a heart-shaped charge distribution in the z=0 plane along with some of the electric field lines (black arrows) it generates. The flux density through the enclosing hemispherical surface is (nearly) uniform. Proof Intuition Interested readers can find the full proof of this statement in Appendix A.1 of the PFGM paper - we provide only a sketch of it here. Consider a small area dA right above the charge distribution. Let the volume created by sweeping dA along the field to the area dP on a hemisphere be called V with a surface area of S. The proof hinges on the facts that (i) V contains no charges and (ii) P is orthogonal to the field by definition. Therefore inflow flux through dA must equal the outflow flux through dP. Setting the infinitesimal inflow and outflow fluxes to be equal, we find that dP/dA is proportional to the charge distribution. (source)As a result, if we let the charge distribution evolve along the field lines, it will transform into a uniform hemispherical distribution.By following the electric field lines it generates, a heart-shaped distribution evolves into a uniform angular distribution over time (modified from source)If we learn the Poisson field in a high-dimensional space for e.g. an image data distribution, then we can simply sample points uniformly from the high-dimensional hemisphere and run the dynamics in reverse time to generate images from the data distribution: Uniformly sampled points on the hemisphere can be transformed into samples from the data distribution by evolving them backwards through the Poisson field generated by the data distribution (modified from source)How do we go about learning and using the Poisson field generated by a data distribution?Learning the Poisson fieldWe seek to model the dynamics of particles under the influence of the Poisson field generated by a data distribution. Let's take a look at how we learn this Poisson field now. Terminology Note The authors define the term Poisson field to distinguish high-dimensional fields from the special 3-dimensional case for which the term "electric fields" is sometimes reserved. We will use the terms interchaneably, putting emphasis on using the term "electric field" when drawing a physically-meaningful parallel, while putting emphasis on using the term "Poisson field" in more abstract discussions. Step 1 - Augment the dataBelow we see a video of a distribution that spells "PFGM" evolving according to the Poisson field it generates. In particular, we note that the data distribution lies in a 2-dimensional plane but is mapped onto a 3-dimensional hemisphere Animation provided by the authorsThis is true in general with PFGMs - N-dimensional data are augmented with an additional dimension z and placed in the z=0 hyperplane of the new (N+1)-dimensional space. The data are then mapped to an (N+1)-dimensional hemisphere.The reason for this spatial augmentation is to avoid mode collapse. Below we see the (negative) Poisson field generated by a uniform disk in the XY plane. Our sampling process involves randomly selecting points in space and following the field back to the data distribution. As we can see, all trajectories converge to the origin, meaning that our model will generate images that have no variety and therefore suffer from mode collapse.Without augmenting the data with an additional dimension, all trajectories converge to the origin resulting in mode collapse (source)Augmenting the data with an additional dimension circumvents this issue. Below we see the same 2-dimensional uniform disk from above now in the XY plane with the augmented dimension Z. After augmenting the data with an additional dimension, many more trajectories are available that intersect with different points in the distribution, therefore avoiding mode collapse (source)While we still have an intrinsically 2-dimensional data distribution, it is now embedded in a 3-dimensional space, thus generating a 3-dimensional Poisson field. If we now sample points in this 3-dimensional space, for example from the YZ plane, and follow their trajectories through the field to the XY, we are afforded a range of new trajectories that no longer collapse to the origin and instead intersect different points in the data distribution. That is, our model no longer suffers from mode collapse.Step 2 - Calculate the empirical fieldTo sample with PFGMs, we must know the Poisson field. To learn the Poisson field exactly, we would need to know the data distribution exactly, but the data distribution is what we seek to sample from. If we already knew the distribution's analytical form in the first place, we would not care about the Poisson field it generates.Rather than attempt to learn the exact Poisson field, we will instead learn the empirical field that is generated by the training data treated as point charges. Some readers may notice that this approach is reminiscent of the kinematics problem in our introduction to Differentiable Programming. Differentiable Programming - A Simple Introduction Below is an example distribution (light purple) which we seek to generate data for, along with several data points sampled from this distribution (purple points). In addition, there is a randomly selected point in space (red point) at which we seek to estimate the Poisson field (or, equivalently, calculate the empirical field).To calculate the empirical electric field, we sum the field generated by each data point-charge, which is equivalent to the total empirical field at this point due to the superposition principle. Each individual data point's field contribution can be seen below as a purple arrow, along with the net field represented by a red arrow.We calculate the empirical field for many randomly sampled points in the space, with a sampling preference for points close to the data points since the curvature of the field will be more dramatic in these regions, therefore requiring greater resolution to sufficiently approximate.Step 3 - Calculate the loss and update the function approximatorIn order to sample with PFGMs, we require a continuous analytical representation of the Poisson field, not values only at discrete points like those we calculated above. We therefore must train a function approximator for the empirical field on these points. What should this approximator look like? The function approximator must accept an N+1 dimensional vector, representing a point in our augmented space, and return and N+1 dimensional vector, representing the empirical field at that point. The natural choice for such a mapping is a U-Net architecture, which the PFGM authors implement.A U-Net (block diagram) accepts a point in space (blue vector) and returns the approximate empirical field at that point (red vector) generated by data points sampled from the data/charge distribution (purple)To train the U-Net, we simply calculate the average L2 loss over the batch, and then train with a gradient-based optimizer like Adam. That's it!Sampling with PFGMsIn the last section, we learned how to train a function approximator for the empirical field generated by many data points treated as charged particles. After the field estimator has been trained, how do we actually use this estimator to sample from the original data distribution?Recall that trajectories of the Poisson field constitute a bijection between the data distribution and a uniform hemisphere. Therefore, to sample data points from the data distribution, we sample points from a uniform angular distribution, and then make them travel backwards along the Poisson field until we reach the z=0 hyperplane in which the data distribution sits. The corresponding differential equation is:This equation says that, at each moment in time, the point should be displaced in the direction of the negative Poisson field. Therefore, the corresponding solution will be a trajectory that traces backwards along the Poisson field to the z=0 data distribution hyperplane.In practice, to generate data using a Poisson Field Generative Model, we:Uniformly sample data on a large hemisphereUse an ODE solver to evolve the points backwards along the Poisson fieldEvolve backwards until we reach z=0, at which point we have generated novel data from the training distribution Implementation note In reality, the learning and sampling processes are more complicated than this, but we reserve this discussion for the Deep Dive section below. That's it! Below we can see particles moving forward and backwards along the Poisson field for the heart-shaped distribution we saw above.Video courtesy of the authorsIn the visual space, the backwards evolution in the sampling process looks like the following:Video courtesy of the authorsNow that we understand how PFGMs work, let's take a look at how we can use them to generate images. Alternatively, you can jump down to the Deep Dive section for a more in-depth treatment.Generating images with PFGMsTo learn how to generate images with PFGMs, follow the below Colab notebook. Poisson Flow Generative Models in Colab The notebook shows how to set up the local environment for Colab, how to download the available pre-trained models, and how to use them to sample images from CIFAR-10, CelebA (62 x 64), and the LSUN bedroom datasets.
Move on to the next section for a deeper look at the theory of PFGMs, or jump down to the results to see how PFGMs perform.Poisson Flow Generative Models - A deep diveIn this section we'll perform a more in-depth treatment of PFGMs in order to elucidate their inner workings, starting from first principles. We begin with a discussion of Gauss's Law.Gauss's Law and potential functionsIn PFGMs we seek to sample from a data distribution by casting it as a charge distribution and leveraging the dynamics defined by the electric field it produces. The relationship between a charge distribution and the field it generates is defined by Gauss's Law, as seen below (omitting constants), where E is bolded to indicate that it is a vector field.We define a potential function to be any function whose negative gradient is the electric field. That is, phi is a potential function for E ifWhile potential functions have many applications, in our case we are interested in casting Gauss's Law in terms of potential functions.The Poisson Equation and Green's FunctionsLet's use the definition of the potential to plug it in to Gauss's Law:The result, called Poisson's equation, is an equation that defines the relationship between a potential function and the charge density function that generates it. Poisson's equation is not relegated to electrodynamics and permeates many areas of physics and engineering. What is so special about this equivalent form of Gauss's Law?If we look more closely at the structure, we see three parts. An operator (L), a scalar function (y) on which the operator acts, and another scalar function (f) that is the result of this operation. In particular, the del-squared operator is called the LaPlacian and is a linear differential operator. That is, the application of the LaPlacian results in a linear differential equation. The problem of recovering y given L and f is a very common problem in physics and engineering.How might we go about solving this problem? That is, for a given charge distribution how do we find a potential function it generates? To do this, we'll exploit the linearity of the operator. Let's try chopping our charge distribution up into a few small pieces as an approximation, using a finite, uniform distribution with unit height as an example.We'll approximate this continuous distribution with point charges, using 4 in this case.The point charges are represented by Dirac delta functions. For those unfamiliar, the Dirac delta function (or simply "delta") represents the charge density for a point charge such that integration over the function is equal to a unit charge. By this approximation, we haveHow does this approximation help? Recall that the LaPlacian is a linear differential operator - we will exploit this linearity now. In particular, let's call the potential function for the i-th point charge \( \varphi_i \). Then we havewhere the last equality is valid as a result of the linearity of the LaPlacian. Therefore, we have (for a given set of boundary conditions)We have found that we can approximate the potential by summing the potentials of point charges - an incredibly useful result that stems directly from the linearity of the LaPlacian. Below we have plotted the potentials for each of the above point charges (the form of which we will derive later), along with the estimated potential at a point x'. We obtain this estimate by summing the values of each of the individual potentials at that point, where each contribution can be seen in the graph with the same color as the relevant potentialWe can express this more succinctly - define \( \varphi ' \)as the solution to the below equation:That is, given a location in space i, \( \varphi ' \)gives the potential at any point in space x generated by a Dirac delta charge distribution centered at i. Using this newly defined function, let's improve our estimate of the true potential generated by the continuous charge distribution by increasing the number of point charges we are using to approximate the distribution. For any set of points I in the space, we haveThat is, the potential has been approximated as the sum of an arbitrary number of point-charge potentials which are centered at the points in I. Let's now drive the number of points up to infinity, transforming the discrete sum into an integral:In this case, our approximation is no longer an approximation and is exactly true (if we integrate only over the regions of nonzero charge density), but there is one caveat. Recall that our delta function represents the charge density for a unit point charge. Therefore, in the integral above, we have implicitly assumed that we have a unit charge density. This works fine for our example charge density above, but what if we had a different charge density, like this:We now have to account for the varying charge density in this distribution. In this case, we simply multiply by the charge density in the integral, scaling the unit charge density at each point by the charge distribution to give the proper value when integrated over. We also replace \( \varphi '\)with the symbol G to get the final form of our integral:This is a very important result. It says that, to solve Poisson's equation for an arbitrary charge density to calculate its potential, which might require solving a very complicated differential equation, it suffices to simply solve Poisson's equation for a point charge. With only this solution and the above equation, we can, in principle, calculate the exact potential for any charge distribution. The function G above is known as Green's function, and each linear differential operator has a corresponding Green's function (aka impulse response) that is precisely the function that yields a delta function when acted upon by the operator.So, to summarize, to find the exact potential for any charge distribution, all we have to do is find the potential for a point charge and we can, in principle, calculate the exact potential for any charge distribution.LaPlacian Green's Function and Electric FieldAs we noted above, each linear differential operator has its own Green's function. The Green's function for the LaPlacian is Where N is the dimensionality of the space, and S is the surface area of the (N-1)-sphere with unit radius.Our goal with PFGMs; however, is to learn the Poisson field, not the potential function. Our intuition may tell us that the above argument, i.e. that a potential function can be considered as a sum of point-charge potentials, holds for Poisson fields as well. This intuition is indeed correct, which we can see mathematically as followsWhere the x subscript indicates that the gradient is to be taken with respect to x and therefore commutes with the integral without issue. That is, it is valid to estimate the Poisson field as a sum of Poisson fields generated by point charges.In our case, the gradient for our Green's function (i.e. the Poisson field generated by a point charge) is Proof Assuming that we can exploit this fact to estimate the Poisson field, how do we then use the field to generate data?PFGM Particle DynamicsFrom physics, we know the relationship between force F and momentum p: Assuming that mass is not a time-varying quantity, we arrive at the more common formulation, where m is mass and v is velocity:Independently, the force F on a particle with charge q in an electric field E is given by Therefore, we might be tempted to define the dynamics in the canonical Newtonian way:where we have set the charge and mass to unity. However, we need to travel along electric field lines in order to properly transform our data distribution into a uniform angular distribution. That is, we must remove inertia from the picture. Inertia is an object's tendency to avoid a change in motion under the influence of an external force, so in the absence of inertia particles will move along force field lines. Intuition Consider an object (purple ball) moving in the XY plane at constant upwards velocity. In the upper half-plane (y > 0) Let there be a uniform force field pointing in the positive X direction. If the object is moving through empty space, then it will be acted upon by the force field upon entering the upper half plane such that the X component of its velocity will be linearlly increasing, while the Y component of its velocity will remain unaffected. Therefore, the trajectory of the object will be a parabolic curve, as below. Consider now what will happen if the upper half plane is full of a viscous fluid like water. Upon entering the upper half plane, the object will be acted upon by the force field as before, but this time there will be a retarding force with components in both the X and Y directions. Therefore, the Y component of the object's velocity will continuously decrease, with no force to combat this retarding force. As a result, the trajectory of the object will no longer be parabolic, but a curve like below: Let's turn up the viscosity of this fluid, changing it from water to e.g. molasses. In this case, the retarding force will be even greater, more quickly dampening the Y component of the velocity, "compressing" the trajectory even further: In the limit, upon entering the field the object's vertical velocity will be completely eliminated, but there will still be a force acting in the X direction. Therefore, the object will enter the upper half plane and immediately begin following the lines of the force field. Note that the X component of the object's velocity will not be unaffected by the fluid - the motion will be dampened in that direction as well, but the important fact is that there is a constant force to combat the retarding force, yielding a trajectory that follows the field, regardless of how long it actually takes for the object to travel along this trajectory. Therefore, we set the Poisson field to be equal not to the time derivative of velocity, but the time derivative of displacement.That is, instead of setting the field equal to the second derivative of displacement with respect to time, we use the first derivative. This will cause our particles to exactly follow the field lines and is a mathematical relationship that holds for any vector field in general. From a physical perspective, this situation corresponds to so called damped motion and is akin to the particles traveling under the force of the Poisson field through a viscous fluid. PFGM - Flow Model Interpretation For those interested, it is also worth noting that PFGMs can be cast as a flow model operating directly on the probability density. The general continuity equation can be expressed as For some volumetric density rho, flux j and generation rate sigma. In our case, we are describing a probability flow so the generation rate is therefore zero given that probability must be conserved. The flux j is simply the distribution times the Poisson field, leaving us with The equation above is a special case of the Fokker-Planck equation. The Fokker-Planck equation provides the (deterministic) partial differential equation for the probability distribution of a random variable over time to the corresponding stochastic differential equation defined by an Itô process. The reason that the above equation is a special case of the Fokker-Planck equation is that it has no diffusion term, therefore having a corresponding deterministic differential equation rather than a stochastic one, which in this case is simply We have therefore arrived at the same forward ODE from both a physical interpretation and probability flow perspective. Given that the particle dynamics are completely defined by this deterministic process, to map from an arbitrary, compact distribution in the z=0 hyperplane to a uniform angular distribution, we need only to calculate (or estimate) the Poisson field which the distribution generates. It's now time to revisit from a practical standpoint our above theoretical result about estimating the Poisson field from a set of point charges.Estimating the Poisson FieldAs mentioned previously, the PFGM approach of mapping N-dimensional data to an N-dimensional hemisphere suffers from mode collapse in the sampling process. Instead, the authors introduce an additional dimension z, embedding the data on the z=0 hyperplane of the N+1 dimensional space. The data distribution in the augmented space is thereforeWhere we have multiplied the original data distribution by the Dirac delta function. We calculate the empirical field generated by this distribution by summing the fields generated by each data point treated as a point charge:This equation is valid due to the linearity of the LaPlacian as we saw above. The field is scaled by c is a multiplier for numerical stability, which is perfectly valid and only modifies the dynamics by a rescaling in time.Since the particles follow the Poisson field lines, we actually do not care about the magnitude of the field at any point on these lines (only the direction). Therefore, we normalize the field in order to convert it to a form that is more conducive to neural learning. We define the negative normalized field aswhere we add the negative sign so that the field points back towards the data distribution. The negative normalized field is what our neural network will learn.We randomly sample many points in space so we can calculate the loss between the true empirical field and our neural network's prediction. We simply perturb the data points. Given that the curvature of the Poisson field will be higher near the data distribution than far away, sampling preference is given to points in space that are closer to the data distribution so that our function approximator more closely matches the empirical field in this region. The PFGM authors choose the following method of sampling training points:WhereColloquially, we create training data points by perturbing the data points in random directions, sampling the distance of the perturbance from a Chi distribution (norm of the Gaussian), always ensuring that the perturbation in the z direction is positive. Tau is a hyperparameter that provides a tradeoff between learning the structure near the data distribution vs. farther away - the greater the value of tau the greater the probability of sampling a point far from the data distribution. M defines the maximum distance from the data distribution we care about modeling, sampled uniformly from [0, 300] in the PFGM paper.The pseudocode for this process can be seen below:(source)As mentioned above, we use a U-Net for the neural network. It takes in an N+1 dimensional point in space and returns the predicted N+1 dimensional negative normalized field at that point. The loss is simply the average L2 loss over the batch, and gradient-based optimization is used to train the model.Now that we have a way to train a function approximator for the empirical field, how do we use it to generate data?Anchoring the Backwards ODERecall from above the forward ODE that defines the forward dynamics: We use the following backward ODE for sampling: Note on signs Up to now we have been putting a negative sign in the backward ODE to indicate that we are traveling backwards along the field. The forward and backward ODEs at this point are unified into the above equation that uses the negative normalized field. The direction along the field lines can be changed simply by flipping integration bounds. Where it is defined on the augmented space and the true Poisson field E is replaced with the negative normalized empirical field v. Now that we have the ODE defining our backward dynamics (and therefore sampling process), we might be tempted to consider the problem solved - simply plug the ODE into an ODE solver to generate data.The problem is that we do not know the starting and ending times of each trajectory. That is, each particle starts on a large hemisphere and evolves via the backward ODE to the data distribution in the z=0 plane, but we do not know how long this process takes. To circumvent this issue, we anchor the ODE to the physically meaningful variable z as seen below, where the subscripts of v indicate components of the field.Now that the ODE is cast in terms of z, we know that the termination point for each particle is when it reaches the z=0 hyperplane where the data distribution lies. What are the starting points for the particles? Determining the prior distributionIt is easy enough to sample uniformly on a hemisphere and use the resulting z components as a starting point for the ODE, but there is a slight issue. Many ODE solvers require the entire batch to have the same initial value. Points that lie on the hemisphere have many different z values, so this presents a small hurdle. To circumvent this issue, the uniform distribution on the hemisphere is projected to the hyperplane that coincides with the top of the hemisphere, \( z_{max} \). The projection is a simple radial one given that the Poisson field is purely radial as x approaches infinity. We can see a schematic in 2D below, where the red lines connect purple points on the sphere to their projection points on the green line. Radial projection of a 2-dimensional hemisphereThis transformation constitutes a homeomorphism between the hyperplane and the hemisphere - below we can see the homeomorphism in action in three dimensions:0:00/Radial projection of a 3-dimensional hemisphereFrom this projection, we derive the prior distribution on the hyperplane, which tells us how to sample from the \( z_{max} \) hyperplane in a way that is equivalent to sampling from the hemisphere uniformly: Sampling fro
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Physics
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The 2022 Nobel prize in Physics has been won by three researchers for their work on quantum mechanics.Alain Aspect, John F. Clauser and Anton Zeilinger have won the 10m Swedish kronor (£802,000) prize announced on Tuesday by the Royal Swedish Academy of Sciences in Stockholm, making them the 116th winners of the prize since it was first awarded in 1901. All three will receive an equal share of the prize.According to the official citation for the award, the prize was given “for experiments with entangled photons, establishing the violation of Bell inequalities and pioneering quantum information science”.The three physicists’ work has focused on exploring how two particles interact, behaving like a single unit, even when they are far apart. The phenomenon was dubbed “spooky action at a distance” by Albert Einstein.The Nobel prize in chemistry will be announced on Wednesday.More to follow…
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Physics
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Laura Mersini-Houghton was born in Albania and grew up under a totalitarian communist regime which, until its collapse in 1991, cut the country off from the rest of the world. Influenced by her father, Nexhat Mersini, a mathematician, she developed a keen interest in physics and, in 1994, won a Fulbright scholarship to study in the US. Her first book, Before the Big Bang, describes her quest to illuminate the origins of our universe and prove that we are one of many universes in a much vaster multiverse. Mersini-Houghton is now professor of theoretical physics and cosmology at the University of North Carolina at Chapel Hill, though she is currently in Cambridge, England, where she spends time every summer doing research.How did life in a closed society shape your thinking?I think it encouraged a greater love for freedom and for knowledge – whenever you are prohibited from finding out about a place beyond, that makes you only more curious. Also, because of the very grim reality of Albania, we had few distractions, so people were more thirsty for knowledge than I now see in the west. Also, there is the single-mindedness of wanting to find the answer and not really being impressed by the dominant philosophy of the field at the time.What drew you to theoretical physics and cosmology in particular?Cosmology has all the most fascinating questions that I’d been daydreaming about since I was a child: where did the universe come from and what was there before it existed? As for working in theoretical rather than experimental physics, I’m really not a practical person – if put in a lab, I’d probably accidentally set it on fire.You write that the start of this century was a good time to enter the field of cosmology. Why?Because the knowledge had advanced so much, and for the first time we could actually ask those big questions that fascinated me as a child. There were two major findings that really propelled that curiosity. In 1998, a group of supernova astronomers discovered that there is dark energy in the universe, and in fact it’s the dominant component – and that is the exact same type of energy as what existed at the time of the big bang.The other ingredient was the theoretical findings in string theory. Now, string theory was designed to fulfil that lifelong Einsteinian dream of one single universe explained by the theory of everything. But around 2004, string theory ended up with a whole landscape of many potential energies that could start universes like ours.In the book, you describe a eureka moment you had in a North Carolina coffee shop. What did you realise?I was very intrigued by [Nobel prize-winning physicist] Roger Penrose’s estimate that there was nearly zero chance for our universe to come into existence. I kept dissecting his argument, which is based on the second law of thermodynamics, trying to find out if he did something wrong. Then I realised that the problem was not with the actual calculation, it was more with our way of thinking, that we needed a paradigm shift from one universe to many. And that’s where I started borrowing the landscape of string theory to perform the calculation. In the coffee shop I thought, OK, I’ve convinced myself that I need a pool of many possible infant universes from which to choose, but how can I derive the answer, which one is ours? And then I realised, well, of course: quantum mechanics on the landscape of string theory. In other words, think of the universe as a wave, and then quantum equations will tell me what happens to that wave.A lot of hard mathematical work followed. You were stumped after your first round of calculations. What had you overlooked?I had missed the most important ingredient and that is: the solution to that equation is not just one branch or one universe, it’s a whole family. So these branches that might grow and become universes are all quantum-entangled with each other. In order for each to create their own identity as they grow into classical universes, they have to decouple from each other. This in physics is known as decoherence, or washing out any trace of quantum entanglement that does not have any counterpart in classical physics. I had not taken this into account.Once your calculation was ready, how did you go about testing it?When the process of separation [of universes] happens, that’s the point when the cosmic microwave background (CMB) is created. So all the inflation fluctuations will leave scarring or dents as a result of this entanglement, and those will be imprinted on our [universe’s] CMB. That was something that we could calculate. So I calculated the strength of entanglement between the different branches and how quickly that entanglement gets washed out. That allowed me to find out how much denting or scarring that entanglement would leave on our sky as it was being created during inflation, and then fast-forward to the present day, to make predictions on how those very large-scale anomalies would look. One of the key predictions of cosmic inflation is that everything is sprinkled uniformly throughout the sky. But now the scarring coming from entanglement with the other universes is modifying or denting that uniformity, violating it at very mild scales. We predicted those, and they were seen by the Planck satellite [in 2013].That must have been an amazing moment of validation.Yes. And I think that’s when people started paying much more attention to this work. Until then, the belief had been that, to see beyond the horizon of our universe, we would have to break the speed of light, which we can’t do. So if we can’t test the multiverse, then why bother researching it? But Rich Holman, Tomo Takahashi and I showed that you don’t need to get out of this universe, you can actually find all the traces inside your sky. That’s when the whole field suddenly shifted and everybody was doing research on the multiverse.And would you say it’s mainstream now?Oh, absolutely. All the great minds are working on it. Roger Penrose has got his own multiverse theory. And Stephen Hawking, in the last few years of his life, started working on the multiverse. Wherever I look, suddenly everybody’s got some version of the multiverse.The multiverse is a mind-boggling concept. Do you often think about the other universes out there?Yes, I do. In one way, it’s the most natural extension of the Copernican principle, because once we thought the Earth was the centre of the universe, and then the solar system and our galaxy, and now we are finding that even our universe is just one tiny grain of dust in a much more intricate and beautiful cosmos. That to me makes much more sense.Does it seem likely that other universes could harbour life?Absolutely. With Fred Adams, an astrophysicist at [the University of Michigan in] Ann Arbor, I decided to find out if structures would form in universes that had very different conditions to ours. We discovered that you can change Newton’s constant by 10,000 – six orders of magnitude – and you can do the same with Planck’s constant, and still get life in other universes. In fact, our universe seems to be only borderline habitable. We were sitting right at the edge between habitable and non-habitable.Did you enjoy writing the book? And was it satisfying to go back through your work step by step?Yes and no. Initially, I was excited about sharing that passion and excitement of research with the general public. But then there was a push to share more and more personal stories. And now my colleagues, who knew absolutely nothing about my life, can suddenly find out everything. That’s a strange feeling.Do you spend much time in Albania these days?I haven’t been back for quite some time, because my family moved to Toronto and my father died and I’ve got nobody left there. I will let you in on a secret. Stephen Hawking and I were organising a conference in Albania. He was so excited about it, and everything was in place, but he died a month before it was due to happen. I called him every week to check on his health, and after we decided to cancel [because Hawking was unwell], I remember his head nurse saying: “Whatever you do, do not tell him you have cancelled the conference in Albania, because he’s so looking forward to it.” So I never told him. Before the Big Bang by Laura Mersini-Houghton is published by the Bodley Head (£20). To support the Guardian and Observer order your copy at guardianbookshop.com. Delivery charges may apply
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Physics
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