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Tag: television

  • Pat Sajak announces ‘Wheel of Fortune’ retirement, says upcoming season will be his last as host

    Pat Sajak announces ‘Wheel of Fortune’ retirement, says upcoming season will be his last as host

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    Pat Sajak is taking one last spin on “Wheel of Fortune,” announcing Monday that its upcoming season will be his last as host

    FILE – Pat Sajak, left, and Vanna White, from “Wheel of Fortune,” attend a ceremony honoring Harry Friedman with a star on the Hollywood Walk of Fame on Nov. 1, 2019, in Los Angeles. Sajak is taking one last spin on “Wheel of Fortune,” announcing Monday, June 12, 2023, that its upcoming season will be his last as host. (Photo by Richard Shotwell/Invision/AP, File)

    The Associated Press

    LOS ANGELES — Pat Sajak is taking one last spin on “Wheel of Fortune,” announcing Monday that its upcoming season will be his last as host.

    Sajak announced his retirement from the venerable game show in a tweet.

    “Well, the time has come. I’ve decided that our 41st season, which begins in September, will be my last. It’s been a wonderful ride, and I’ll have more to say in the coming months. Many thanks to you all,” the tweet said.

    Sajak, 76, has presided over the game show, which features contestants guessing letters to try to fill out words and phrases to win money and prizes, since 1981. He took over duties from Chuck Woolery, who was the show’s first host when it debuted in 1975.

    Along with Vanna White, who joined the show in 1982, Sajak has been a television mainstay. The show soon shifted to a syndication and aired in the evening in many markets, becoming one of the most successful game shows in history. Sajak will continue to serve as a consultant on the show for three years after his retirement as host.

    “As the host of Wheel of Fortune, Pat has entertained millions of viewers across America for 40 amazing years. We are incredibly grateful and proud to have had Pat as our host for all these years and we look forward to celebrating his outstanding career throughout the upcoming season,” said Suzanne Prete, executive vice president of game shows for Sony Pictures Television.

    In recent years, some of Sajak’s banter and chiding of contestants have become fodder for social media. That prompted Sajak to remark in his retirement post about doing another season: “(If nothing else, it’ll keep the clickbait sites busy!)”

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  • Tom Holland describes ‘The Crowded Room’ as his ‘hardest’ and ‘most rewarding’ job so far

    Tom Holland describes ‘The Crowded Room’ as his ‘hardest’ and ‘most rewarding’ job so far

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    The words “Tom Holland” and “spoilers” can immediately illicit snickering. There are compilation videos on YouTube of the “Spider-Man ” star accidentally revealing too much about the Marvel Cinematic Universe. His slip-ups and near-giveaways have become a running joke among his co-stars and filmmakers. The actor found himself in familiar territory with his new twisty, surprise-laden series “The Crowded Room,” now streaming on Apple TV+ — and says by comparison, keeping quiet about Marvel is a piece of cake.

    “With Marvel… it’s all about the villain, the costume, the locations, the end result. They’re relatively easy to keep those things a secret,” said Holland in a recent interview. “I know that sounds stupid coming from me because I spoil everything, but with ‘The Crowded Room’ there are so many twists and turns in this show that people won’t be expecting. It really is a puzzle.”

    The limited-series takes place in 1970s New York with Holland as Danny, a young man arrested in connection with a crime. His accomplices are nowhere to be found and an investigator assigned to the case (played by Amanda Seyfried) conducts a series of interviews with Danny to piece together his involvement.

    Holland and Seyfried filmed their scenes — out of order — “for almost three weeks straight” in an interrogation room.

    “It sometimes was confusing. I needed to know exactly where I was in the process with Danny, how much we knew or how much the audience knew and how much (Seyfried’s character) Rya knew,” she explained. “It was tricky.”

    Holland credits Seyfried for keeping him on track as they “did over 100 pages of dialogue at that one table in that one room.”

    “Amanda is so talented, she’s so professional. She’s able to keep it light when it’s dark,” he said. “There were certain times in that room where we were both just losing our minds, just scenes after scenes, after scenes after scenes. We were just a great team.”

    Holland describes his work on ‘The Crowded Room’ as “the hardest job I’ve ever had, but equally probably the most rewarding.

    “Danny is an exhausting character. Going to those places on a daily basis, having that haircut, shooting on the streets of New York, it was tough. It was not an easy show to make,” but says watching the end result made him “happy that I dug my heels in and stuck with it.”

    “It was a really, really tough experience without a shadow of a doubt.” He says halfway through filming he “was counting down the days that I could take … off and have some time to myself.”

    He also served as a co-executive producer for the first time, which helped him to finally understand what the job entails.

    “I spent the first 15 years of my career on set being like, ‘What do all of these people do? They’re all just sitting there.’ But having been a producer now myself, it is one of the most stressful things I’ve ever done. You’re shooting in a car and the car breaks down and all of a sudden you’re trying to figure out how to get a new car or how to turn the scene into a walking scene and all that sort of stuff.”

    Since beginning his performing career at 11 in “Billy Elliott the Musical,” in London’s West End, Holland says his formal education has been “somewhat non-existent” so he appreciates the learning opportunities he gets from working.

    With “The Crowded Room” Holland says “I learned a lot about myself. I learned about my capabilities as an actor. I learned about things that I can put up with. I feel like I’m much more capable at dealing with adversities and fighting against things that are going wrong on set. I learned a lot about mental health. I learned a lot about the power of the human mind and the amazing things we can do to protect ourselves, to heal and to survive.”

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  • What to stream this week: ‘Extraction 2,’ Stan Lee doc, ‘Star Trek’ and ‘The Wonder Years’

    What to stream this week: ‘Extraction 2,’ Stan Lee doc, ‘Star Trek’ and ‘The Wonder Years’

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    Albums from John Mellencamp and Killer Mike, as well as the return of Chris Hemsworth’s gun-for-hire anti-hero in Netflix’s “Extraction 2” are among the new television, movies, music and games headed to a device near you.

    Among the offerings worth your time as selected by The Associated Press’ entertainment journalists are season two of “Star Trek: Strange New Worlds,” and new “The Wonder Years,” about a middle-class Black family in Montgomery, Alabama, in the 1960s, returns for its second season.

    NEW MOVIES TO STREAM

    — Clinical death is just a minor obstacle for Chris Hemsworth’s action hero Tyler Rake, who audiences can see again in “Extraction 2,” debuting on Netflix on Friday, June 16. In this outing, he’s assigned the dangerous task of rescuing a Georgian gangster’s family from a prison. Director Sam Hargrave promised twice as much action and more emotion in this outing, produced again by the Russo brothers. And Hemsworth has said that they opted for practical stunts and set pieces over green-screen fakery, which could be a bit frightening filming a sequence atop a train going 40 miles per hour through the snowy Czech Republic while a helicopter hovered 23 feet in front of him flying backwards.

    — ”Chevalier,” a lush, dramatic biopic of an accomplished Black man in Marie Antoinette’s France who was all but erased, came and went in theaters without a lot of fanfare. But it’s now headed to Hulu starting on Friday, June 16 where audiences can learn about Joseph Bologne, the Chevalier de Saint-Georges, the son of a wealthy French plantation owner and an enslaved Senegalese teenager who rose through the ranks of French society due in part to his extraordinary musical talents as a composer and a violinist. Kelvin Harrison Jr. plays the title role in the Stephen Williams-directed film, which I wrote in a review “may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production.”

    — And on Disney+, a new original documentary about the late Stan Lee premieres on Friday, June 16. “Stan Lee,” directed by David Gelb, promises to explore Lee’s life and cultural impact. Lee, who died in 2018 at age 95, co-created an army of comic book characters including Spider-Man, the X-Men, Iron Man, the Incredible Hulk, the Fantastic Four, Ant-Man and many more who have in the past 15 years become household names thanks to the popularity of Marvel films, many of which feature fun Stan Lee cameos.

    — AP Film Writer Lindsey Bahr

    NEW MUSIC TO STREAM

    — John Mellencamp’s output is not slowing down. A year after releasing the album “Strictly a One-Eyed Jack,” the heartland rocker is back with “Orpheus Descending.” Many of the 11 tracks — including the anti-gun violence anthem “Hey God” and a song about the homeless crisis “The Eyes of Portland” — focus on social issues. “All of these homeless/Where do they come from?/In this land of plenty/Where nothing gets done,” sings Mellencamp, 71, on the latter track.

    — Father’s Day may be around the corner, but Killer Mike is honoring his mother on his new solo album, “Michael.” The single “Motherless” has Mike rapping about his late mother, featuring R&B singer Eryn Allen Kane: ”I be missin’ huggin’ you, I miss kissin’ you/I miss all the jewels and I miss all your wisdom, too.” Another single is the Run the Jewels-like “Don’t Let the Devil,” in which he shows off his delinquent side, with the lyrics “Catch me after Sunday service disturbin’ the church’s workers.”

    — Loss is also in the DNA of the new album by multi-instrumentalist, singer-songwriter Meshell Ndegeocello. “The Omnichord Real Book” is an album made after she lost her parents. “This album is about the way we see old things in new ways,” Ndegeocello says. First single “Clear Water” is a soul-searching Sly Stone-inspired song featuring Jeff Parker’s bluesy guitar lines and vocals by Justin Hicks. The album was produced by Josh Johnson and also features Jason Moran, Ambrose Akinmusire, Joel Ross, Jeff Parker, Brandee Younger, Julius Rodriguez, Mark Guiliana, Cory Henry, Joan As Police Woman and Thandiswa.

    — Only one band can make fonts sound cool and that’s Queens of the Stone Age, who are out Friday, June 16, with the 10-track studio album “In Times New Roman…” On the spiky, off-kilter “Emotional Sickness,” frontman Josh Homme sings “Use once and destroy/Single servings of pain/A dose of emotion sickness I just can’t shake.” But on “Carnavoyeur,” he has a smooth, distant cool: “Flying high, realize/There are no more mountains to climb.”

    — AP Entertainment Writer Mark Kennedy

    NEW SERIES TO STREAM

    — The new “The Wonder Years” about a middle-class Black family in Montgomery, Alabama, in the 1960s, returns for its second season on Wednesday on ABC. The show is told from the point of view of 12-year-old Dean Williams (played by Elisha “EJ” Williams) with Don Cheadle narrating as the adult version of Dean. It’s already been announced that season two will feature several guest stars including Donald Faison, Bradley Whitford, Phoebe Robinson, Malcolm-Jamal Warner and Patti LaBelle.

    — Season two of “Star Trek: Strange New Worlds” arrives on Paramount+ on Thursday. If you haven’t watched yet, the show takes place about a decade before “Star Trek: The Original Series,” so it features younger versions of some of the “Star Trek” characters viewers know and love. “Strange New Worlds” stars Anson Mount as Captain Christopher Pike when he led the USS Enterprise, with a crew that includes Ethan Peck as Spock, Rebecca Romijn as Una Chin-Riley (otherwise known as Number One), and Celia Rose Gooding as Nyota Uhura. The season one finale introduced Paul Wesley in the role of James T. Kirk and the actor reprises the role in this new season.

    — Caitriona Balfe and Sam Heughan are star-crossed lovers in the time-traveling romance drama, “Outlander.” It begins with a British nurse named Claire visiting Scotland after World War II who accidentally falls back in time to the 18th century when Scotland and England are at war. Claire has left her husband behind in the future, and feels like she will never get back there, so she begrudgingly marries a Highland warrior named Jamie. The two end up falling in love and embark on an epic romance. Season seven, premiering Friday, June 16 on Starz, take place during the American Revolution. The story is based on the book series by Diana Gabaldon.

    — “Gold Rush” fan favorite Todd Hoffman is trying to turn his fortune around by rehabilitating a rundown mine in Alaska in Discovery Channel’s “Hoffman Family Gold.” In season two, Todd has a small crew to help him including his father, Jack, and son, Hunter, but even with the familial assist, it’s a major task and success is not guaranteed. On top of the pressure, Todd and Hunter are very competitive and no one pushes your buttons quite like family. “Hoffman Family Gold” season two debuts Friday, June 16.

    — Alicia Rancilio

    NEW VIDEO GAMES TO PLAY

    — Formula One racing has been booming in America lately, thanks in large part to the popular Netflix documentary series “Drive to Survive.” It’s gotten so big that EA Sports, which bailed out early in the century, got back on the track in 2021. The publisher is billing F1 23 as “a fresh start,” though longtime developer Codemasters is still behind the wheel. It includes 20 drivers and 10 teams from the real-life circuit, as well as a fictional story mode and a career-building “F1 World” series of races. There are also new courses in Las Vegas and Qatar, and a 35% race distance option that offers a quick challenge if you’re short on time. Get your motor running Friday, June 16, on PlayStation 5/4, Xbox X/S/One and PC.

    — Lou Kesten

    ___

    Catch up on AP’s entertainment coverage here: https://apnews.com/apf-entertainment.

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  • The show must go on: Putting on a Tony Awards telecast during a writers’ strike

    The show must go on: Putting on a Tony Awards telecast during a writers’ strike

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    NEW YORK — New location? No script? No rehearsal? No sweat.

    Welcome to the 2023 Tony Awards, a show with an extra jolt of electricity this time due to the Hollywood writers’ strike.

    Unpredictability has been inserted into what is usually an upbeat, safe and chummy night. The strike has left Broadway’s biggest night without a script, in a new venue far from the theater district.

    A 1 1/2-hour pre-show on Pluto TV from 6:30-8 p.m. Eastern, hosted by Julianne Hough and Skylar Astin, will then throw to the three-hour main event led by Ariana DeBose on CBS and Paramount+ starting at 8 p.m. Eastern.

    A total of 26 Tony Awards will be handed out Sunday for a season that had 40 new productions — 15 musicals, 24 plays and one special engagement during the first post-pandemic full season.

    Broadway had some very serious works this season, like the new plays “Cost of Living” and “The Kite Runner” and revivals of “Topdog/Underdog” and “Death of a Salesman,” led by Wendell Pierce. A revival of “Parade,” about the lynching of a Jewish businessman starring Ben Platt, was also well received.

    The season also had an element of the fantastical in a puppet-heavy adaptation of the lifeboat book “Life of Pi,” satire in “The Thanksgiving Play” and pure silliness in “Shucked” and “Peter Pan Goes Wrong.”

    “Just like the the country and the world is resetting, I think our storytelling and how we get our stories out there is resetting as well,” said Kenny Leon, who directed “Topdog/ Underdog” and “Ohio State Murders” this season. “The positive I take away is the variety of the material, from a Black-led ‘Death of a Salesman’ to new plays like ‘KPOP’ and ‘Ain’t No Mo’’ and ‘Leopoldstadt’ and ‘Prima Facie.’ I felt the diversity in almost every way — racially, generationally.”

    “Some Like It Hot,” a musical adaptation of the classic cross-dressing movie comedy that starred Tony Curtis and Jack Lemmon, goes into the night with a leading 13 Tony Award nominations. For the top crown, it is pitted against “& Juliet,” which reimagines “Romeo and Juliet” and adds some of the biggest pop hits of the past few decades, “New York, New York,” which combined two generations of Broadway royalty in John Kander and Lin-Manuel Miranda, and “Shucked,” a lightweight musical comedy studded with corn puns.

    The critical musical darling and intimate, funny-sad “Kimberly Akimbo,” with Victoria Clark playing a teen who ages four times faster than the average human, rounds out the best musical category.

    The best new play category is a competition among Tom Stoppard’s “Leopoldstadt,” which explores Jewish identity with an intergenerational story, and “Fat Ham,” James Ijames’ Pulitzer Prize-winning adaptation of Shakespeare’s “Hamlet” set at a Black family’s barbecue in the modern South.

    The rest of the category is made up of “Ain’t No Mo,’” the short-lived but critical applauded work by playwright and actor Jordan E. Cooper, Stephen Adly Guirgis’ Pulitzer Prize-winning play “Between Riverside and Crazy” and “Cost of Living,” parallel stories of two caretakers and their respective patients.

    The answers to some intriguing questions pend: Can Audra McDonald ( “Ohio State Murders” ) extend her record as the most awarded actor in Tony Awards history? Will either J. Harrison Ghee (“Some Like It Hot”) or Alex Newell (“Shucked”) become the first nonbinary person to win a Tony for acting? (Last year, “Six” composer and writer Toby Marlow became the first out nonbinary winner.)

    Performances are slated from the casts of “Camelot,” “Into the Woods,” “& Juliet,” “Kimberly Akimbo,” “New York, New York,” “Parade,” “Shucked,” “Some Like It Hot” and “Sweeney Todd: The Demon Barber of Fleet Street.”

    In addition, Joaquina Kalukango — the winner of last year’s Tony for best lead actress in a musical — will sing, as will the casts from “A Beautiful Noise” and “Funny Girl.” That means there’ll be plenty of star power, from Josh Groban to Lea Michele.

    It will all take place at the United Palace Theatre, in the Washington Heights neighborhood of Manhattan — a new venue for the ceremony, many miles from Times Square and the theater district.

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

    ___

    For more coverage of the 2023 Tony Awards, visit https://apnews.com/hub/tony-awards

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  • The show must go on: Putting on a Tony Awards telecast during a writers’ strike

    The show must go on: Putting on a Tony Awards telecast during a writers’ strike

    [ad_1]

    NEW YORK — New location? No script? No rehearsal? No sweat.

    Welcome to the 2023 Tony Awards, a show with an extra jolt of electricity this time due to the Hollywood writers’ strike.

    Unpredictability has been inserted into what is usually an upbeat, safe and chummy night. The strike has left Broadway’s biggest night without a script, in a new venue far from the theater district.

    A 1 1/2-hour pre-show on Pluto TV from 6:30-8 p.m. Eastern, hosted by Julianne Hough and Skylar Astin, will then throw to the three-hour main event led by Ariana DeBose on CBS and Paramount+ starting at 8 p.m. Eastern.

    A total of 26 Tony Awards will be handed out Sunday for a season that had 40 new productions — 15 musicals, 24 plays and one special engagement during the first post-pandemic full season.

    Broadway had some very serious works this season, like the new plays “Cost of Living” and “The Kite Runner” and revivals of “Topdog/Underdog” and “Death of a Salesman,” led by Wendell Pierce. A revival of “Parade,” about the lynching of a Jewish businessman starring Ben Platt, was also well received.

    The season also had an element of the fantastical in a puppet-heavy adaptation of the lifeboat book “Life of Pi,” satire in “The Thanksgiving Play” and pure silliness in “Shucked” and “Peter Pan Goes Wrong.”

    “Just like the the country and the world is resetting, I think our storytelling and how we get our stories out there is resetting as well,” said Kenny Leon, who directed “Topdog/ Underdog” and “Ohio State Murders” this season. “The positive I take away is the variety of the material, from a Black-led ‘Death of a Salesman’ to new plays like ‘KPOP’ and ‘Ain’t No Mo’’ and ‘Leopoldstadt’ and ‘Prima Facie.’ I felt the diversity in almost every way — racially, generationally.”

    “Some Like It Hot,” a musical adaptation of the classic cross-dressing movie comedy that starred Tony Curtis and Jack Lemmon, goes into the night with a leading 13 Tony Award nominations. For the top crown, it is pitted against “& Juliet,” which reimagines “Romeo and Juliet” and adds some of the biggest pop hits of the past few decades, “New York, New York,” which combined two generations of Broadway royalty in John Kander and Lin-Manuel Miranda, and “Shucked,” a lightweight musical comedy studded with corn puns.

    The critical musical darling and intimate, funny-sad “Kimberly Akimbo,” with Victoria Clark playing a teen who ages four times faster than the average human, rounds out the best musical category.

    The best new play category is a competition among Tom Stoppard’s “Leopoldstadt,” which explores Jewish identity with an intergenerational story, and “Fat Ham,” James Ijames’ Pulitzer Prize-winning adaptation of Shakespeare’s “Hamlet” set at a Black family’s barbecue in the modern South.

    The rest of the category is made up of “Ain’t No Mo,’” the short-lived but critical applauded work by playwright and actor Jordan E. Cooper, Stephen Adly Guirgis’ Pulitzer Prize-winning play “Between Riverside and Crazy” and “Cost of Living,” parallel stories of two caretakers and their respective patients.

    The answers to some intriguing questions pend: Can Audra McDonald ( “Ohio State Murders” ) extend her record as the most awarded actor in Tony Awards history? Will either J. Harrison Ghee (“Some Like It Hot”) or Alex Newell (“Shucked”) become the first nonbinary person to win a Tony for acting? (Last year, “Six” composer and writer Toby Marlow became the first out nonbinary winner.)

    Performances are slated from the casts of “Camelot,” “Into the Woods,” “& Juliet,” “Kimberly Akimbo,” “New York, New York,” “Parade,” “Shucked,” “Some Like It Hot” and “Sweeney Todd: The Demon Barber of Fleet Street.”

    In addition, Joaquina Kalukango — the winner of last year’s Tony for best lead actress in a musical — will sing, as will the casts from “A Beautiful Noise” and “Funny Girl.” That means there’ll be plenty of star power, from Josh Groban to Lea Michele.

    It will all take place at the United Palace Theatre, in the Washington Heights neighborhood of Manhattan — a new venue for the ceremony, many miles from Times Square and the theater district.

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

    ___

    For more coverage of the 2023 Tony Awards, visit https://apnews.com/hub/tony-awards

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  • Nebraska Legislature as reality TV, featuring filibuster and culture war drama

    Nebraska Legislature as reality TV, featuring filibuster and culture war drama

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    LINCOLN, Neb. — Mention televised legislative debates, and what may come to mind are stuffy, policy-wonk discussions broadcast by C-SPAN. This year’s Nebraska Legislature was more like a reality TV show, with culture-war rhetoric, open hostility among lawmakers, name-calling, yelling and more.

    Many Nebraskans couldn’t get enough of it.

    “It was addictive,” said Jamie Bonkiewicz, 41, of Omaha. “If I wasn’t there, I was streaming it every day, just to hear what would come out of those senators’ mouths.”

    Watching on television, streaming on computers and phones, following along in their cars, Nebraskans seemed captivated by what was easily one of the body’s most acrimonious sessions on record.

    “Watching the Nebraska Legislature is like watching the worst train wreck that won’t end and the hits just keep coming,” Megan Moslander of Omaha tweeted when lawmakers triggered a constitutional challenge by combining restrictions on abortion and trangender health care into a single bill.

    Many viewers tuned in as national media attention focused on a filibuster by Omaha Sen. Machaela Cavanaugh. They stayed for the surrounding turmoil.

    Cavanaugh, 44, and a handful of other progressive lawmakers vowed to block every bill — even ones they supported — in an attempt to derail a proposed ban on gender-affirming care for minors. Conservative lawmakers dug in on other hot-button bills to restrict abortions, loosen gun laws and divert public money to private school scholarships.

    So much for Nebraska nice: Again and again during the 90-day session, lawmakers called each other “trash” and “garbage,” accused each other of unethical behavior and angrily swore retribution for various offenses. Cavanaugh amplified the protesters’ chants and accused fellow lawmakers of pursuing genocide against trans kids.

    There were silly moments, too: To hold the floor, she offered a recipe for pesto and deliberated over her favorite Girl Scout cookies and Omaha’s best doughnuts.

    Art and Carolyn Wagner, retirees in Pleasant Dale, tuned in constantly.

    “When we heard about the filibuster, that’s when we started watching it on TV,” he said. “We had it on almost every day, probably for four to six hours a day. Some days, we watched it all day until the end — 10 hours or more.”

    As with most state legislatures, Nebraska’s floor debate can been viewed live on public television or streamed online. But unlike most others, it doesn’t make an archive available. A group following the Legislature began posting debates to its YouTube channel, but it hasn’t been widely publicized and the footage can take more than a day to appear.

    That wasn’t soon enough for many who wanted to catch what would happen next.

    Bonkiewicz had little interest in the legislative process until she discovered last year that a family member had founded the far-right Nebraskans for Founders’ Values group. She vowed to become more involved in confronting what she sees as growing extremism and, when she wasn’t protesting or meeting with lawmakers, she streamed the action live.

    “It was chaos. It was like reality TV,” she said. “I’ve watched ‘Real Housewives’ and other reality shows, and it’s addictive like that, the drama of it.”

    Nebraska Public Media, which televises and streams the debates, said technology privacy policies make gauging viewership difficult, but it appeared to be up based on how many people called seeking help to tune in.

    Nebraska lawmakers took notice as citizens weighed in on both sides.

    “I mean, you should see our emails,” said Sen. Lou Ann Linehan, a conservative who authored the successful scholarship bill. “We’ve gotten thousands and thousands of people commenting on legislation and debate. And they say they’re watching it all.”

    Cavanaugh said family members and friends in New York, Los Angeles, St. Louis and Nashville, Tennessee, told her their friends and family were watching after her filibuster made national news. She’s been overwhelmed with the response.

    “The number of people reaching out saying they’ve been watching is astounding,” Cavanaugh said. “It’s been thousands of people. I’ve been in the Legislature five years now, and stayed pretty anonymous for four of them. Now I have people stopping me at the grocery store. People stop me at Lowe’s. They stop me at my kids’ games.”

    For years on the chamber floor, lawmakers mostly ignored the stationary cameras. This year, many began looking directly into the lenses and appealing to “those watching live.”

    The Legislature has seen its share of drama in years past, but much of it came before livestreaming was available, said Ari Kohen, a professor of political theory and philosophy at the University of Nebraska-Lincoln.

    The pandemic changed the dynamic, with people turning to streaming to combat boredom. Then came the filibuster, as conservatives nationwide pushed culture war attacks on abortion rights and transgender identity, Kohen said.

    As the country’s only officially nonpartisan, single-chamber legislative body, the unique makeup of the Nebraska Legislature also helped viewers track what was going on. There are only 49 seats, all held by part-time, citizen-lawmakers who tend to use everyday language in their debates, Kohen said.

    “There are the characters you’re rooting for and the characters you don’t like,” he said.

    The drama peaked when Sen. Julie Slama of Dunbar, who at 27 has become one of the body’s most conservative members, hobbled in from a hospital, two other lawmakers keeping her vertical, to cast the final vote needed to pass the abortion-transgender bill. The chamber echoed with the howls of protesters in the rotunda, just outside the doors.

    Kohen compared it to watching a reality cooking show — you don’t need to know your way around the kitchen to get hooked.

    Nebraskans now have to wait until January 2024 for the next installment, featuring conservatives pushing for more abortion restrictions and progressives vowing to thwart them, along with rule changes to stymie another epic filibuster.

    “They very clearly told people they would be back for season two,” Kohen said.

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  • The 28 Best LGBTQ+ TV Shows to Stream Right Now

    The 28 Best LGBTQ+ TV Shows to Stream Right Now

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    It seems ludicrous that there was a time, not too long ago, when LGBTQ+ TV shows weren’t standard fare. Perhaps one would come out every couple of years, run for a few seasons, make history, and then fizzle out. Thankfully, the television landscape has changed tremendously in the past decade. There are shows that have queer characters, shows that are inherently queer, and shows that lampoon major corporations trying to pass off amorphous goo as queer representation. What more could you ask for?

    If you’ve found yourself looking to watch something that falls into one of those categories (or somewhere in between), we’ve compiled the best LGBTQ+ TV shows that are streaming now. From RuPaul’s Drag Race to Harley Quinn, you can find them all below.

    28. Queer as Folk (2022)

    For better or worse, the short-lived reboot of Russell T Davies’s groundbreaking series seemed determined to atone for the original’s soapy depiction of queer life. Starring Devin Way, Fin Argus, and Ryan O’Connell, Queer as Folk follows a diverse New Orleans community in the aftermath of a tragedy that recalls the 2016 Pulse shooting. If you don’t mind such trauma underscoring this entertainingly messy web of characters, it’s a drama worth dipping into.

    27. Sex Education (2019)

    The relationship between Sex Education’s Eric (Ncuti Gatwa) and Adam (Connor Swindells) has its issues, but Gatwa is such a standout in the acclaimed series that most are worth overlooking. He’s just that magnetic. The show otherwise follows Otis (Asa Butterfield), a high school student who sets up an underground sex therapy clinic with another one of his classmates (Emma Mackey). Mixing frank discussions with impossible-to-hate characters, Sex Education has been a boon for Netflix since its debut—and it’s never too late to hop on the bandwagon.

    26. Drag Me to Dinner (2023)

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  • CNN ousts CEO Chris Licht after a brief, tumultuous tenure

    CNN ousts CEO Chris Licht after a brief, tumultuous tenure

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    NEW YORK — The chief executive CNN pushed out of a job on Wednesday faced mounting problems in his first year leading the struggling network: viewership and profits were declining, programming blunders were growing and the network’s journalists were losing confidence by the day.

    Chris Licht’s very bad year culminated in a damning magazine profile last week, and just a few days later his tumultuous 13-month tenure was over.

    Licht, 51, was informed of his ouster Wednesday morning, and it was announced to the staff at the daily editorial meeting — the same place where Licht had said two days earlier that he would “fight like hell” to earn the trust of those around him.

    The executive who hired and fired Licht — David Zaslav, the CEO of CNN parent company Warner Bros. Discovery — accepted some of the blame for the network’s turmoil over the past year, and he appointed a four-person interim leadership team. Zaslav promised CNN staff a thorough search for Licht’s replacement.

    “This really caps a tumultuous year for CNN that has seen shrinking profits, programming mistakes and really low employee morale,” CNN media reporter Oliver Darcy said on his own network Wednesday.

    Licht had a mandate to focus on news and try to and make CNN more palatable to both sides of the country’s political divide; Republicans had become increasingly suspicious of the network following repeated attacks by former President Donald Trump.

    But some at the network saw the way that change was communicated as a repudiation of their past work. A live town hall interview with Trump last month drew widespread criticism, with the former president overwhelming moderator Kaitlan Collins with several misstatements, as a pro-Trump live audience cheered him on.

    Earlier in the year, Licht revamped the network’s morning show, but that proved unsuccessful and led to the firing of longtime personality Don Lemon. Efforts to build a new prime-time lineup moved slowly, with Collins only recently appointed to fill at 9 p.m. hour that had been without a permanent host since Chris Cuomo was fired in December 2021.

    Licht oversaw layoffs last year following Zaslav’s decision to shutter the CNN+ streaming service only weeks after it had started. There were other cutbacks: shows hosted by Lisa Ling and Stanley Tucci were axed, along with the “Reliable Sources” media program and its host, Brian Stelter.

    Licht, who had produced MSNBC’s “Morning Joe,” CBS’ morning news show and Stephen Colbert’s late-night show, was appointed by Zaslav just over a year ago to replace an internally popular predecessor, Jeff Zucker. Zucker was fired for not revealing a consensual relationship with a fellow CNN executive.

    Ultimately, the promotion from a show producer to leading an international news organization proved too steep a challenge.

    Zaslav said in a memo to CNN staff members that the job “was never going to be easy, especially at a time of great disruption and transformation.

    “Chris poured his heart and soul into it,” he said. “He has a deep love for journalism and this business and that has been evident throughout his tenure. Unfortunately, things did not work out the way we had hoped — and ultimately that’s on me.”

    Licht did not immediately return a message seeking comment.

    A lengthy profile of Licht in Atlantic magazine that came out on Friday, titled “Inside the Meltdown at CNN,” proved embarrassing and likely sealed his fate. Author Tim Alberta discussed how Licht’s effort to reach viewers turned off by CNN’s hostility to Trump had failed and damaged his standing with CNN journalists.

    “Licht’s theory of CNN — what had gone wrong, how to fix it, and why doing so could lift the entire industry — made a lot of sense,” Alberta wrote. “The execution of that theory? Another story. Every move he made, big programming decisions and small tactical maneuvers alike, seemed to backfire.”

    In the piece, Licht talked about how some of CNN’s COVID coverage had been high-strung and lost touch with the country, a criticism that angered many in the newsroom.

    Ultimately, Alberta could not get Zaslav to agree to an on-the-record assessment of Licht’s tenure, an ominous sign.

    Some of CNN’s chief anchors — Jake Tapper, Anderson Cooper and Erin Burnett — had privately expressed their reservations about Licht’s leadership, according to a Wall Street Journal article that was posted Tuesday evening.

    Meanwhile, viewers were disappearing, a decline exacerbated by the quickening trend of consumers cutting the cord from traditional cable. CNN’s prime-time viewership of 494,000 in May was down 16% from April and was less than half of its closest news rival, MSNBC. It was down 25% from the average of 660,000 in May 2022.

    CNN’s profits have also been sinking. The network generated $892 million in profit in 2022, down from $1.08 billion in 2020, according to S&P Global Market Intelligence.

    Zaslav appointed four current CNN executives — Amy Entelis, Virginia Moseley, Eric Sherling and David Leavy — to run the network while a search for a replacement is conducted. Leavy, a top Zaslav aide from Warner Bros. Discovery, was appointed chief operating officer last week to help shore up CNN’s management.

    “We are in good hands, allowing us to take the time we need to run a thoughtful and thorough search for a new leader,” Zaslav said in the memo.

    CNN also let go of two public relations executives on Wednesday — Kris Coratti Kelly and Matt Dornic.

    ___

    This story has been updated to correct that CNN generated $892 million in profit in 2022, not $892,000.

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  • STARZ Premieres Extraordinary Documentary About the NBA’s Transformative 2020 Season ‘Game Change Game’

    STARZ Premieres Extraordinary Documentary About the NBA’s Transformative 2020 Season ‘Game Change Game’

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    Created by THINK450Game Change Game, a poignant documentary about the extraordinary 2020 NBA season, which carried on in the face of COVID and a social justice reckoning, is out today for digital release on STARZ, the streaming network dedicated to narratives by, about and for underrepresented audiences.

    The monumental film, which premiered at the 2022 Tribeca Film Festival for its theatrical release, is directed by Spike Jordan and Maxime Quoilin with the bi-coastal creative production studio Good Company and created by veteran media leader Christina Norman for THINK450, the partnership and innovation engine of The National Basketball Players Association (NBPA)

    “The creation of this film came from our core mission as an organization to amplify the players and their collective voices,” said Que Gaskins, President of THINK450. “As we saw our players come together to stand up for change, we knew we had the unique opportunity to document this powerful moment in time from the players’ perspective. Game Change Game is a remarkable film, and we are excited to share it with more viewers this month through our partnership with STARZ.”

    The film affords viewers privileged access to “The NBA Bubble,” the infamous bio-secure hub where the elite athletes carried out the 2020 basketball season during the pandemic shutdown. As it highlights their struggle with unforeseen sacrifice, loss, and their own morality amidst disturbing current events of the time, the documentary displays the players’ bonds of fierce brotherhood while they use their platform to demand change. 

    Game Change Game really captures all of the emotions that we were experiencing as players and as Black men during that very intense and pivotal time in our society,” said CJ McCollum, NBPA President and one of the players featured in the film. “With so many different player perspectives in the film, it is truly a unique expression of our collective experience, and I am honored to be a part of it.”

    Threading together interviews with more than 40 notable stakeholders, directors Quoilin and Jordan highlight the series of events that led to the creation of the “bubble.” They blatantly expose viewers to the waves of police brutality that took place during the same era and how many NBA players decided to take a stand and speak out against injustice – despite the pervasive cultural narrative that sports and athletes are, and should remain, apolitical. The interviewees include athletes like NBPA President CJ McCollum, Chris Paul, Jaylen Brown, as well as leading activists and artists.

    Without the use of a narrator, the co-directors expertly craft a fluid storyline, by weaving, amongst the interviews, vital contextual footage from both the archives and the players themselves, including special family moments.

    “The meaning of the film shifted as we lived through one cataclysmic event after another. Shot in real-time, it became a deep race conversation, on top of the already deep COVID conversation,” said co-director Quoilin. “Ultimately, we hope that the documentary continues to spur an ongoing dialogue about racism and policing in the US and how we can each do our part to make equity a reality for everyone.”

    Good Company’s impeccable reputation for culturally-relevant work and Quoilin and Jordan’s bold visual storytelling style made them the perfect fit for a non-traditional sports documentary. Philadelphia native Jordan is known for his music videos like Nas’ “Ultra Black” and Future & Juice WRLD’s “WRLD on Drugs,” while Belgium-born Quoilin is known for his work on Beyonce’s Formation World Tour and the fiery Kanye West video, “Come to Life.”

    When tapped by THINK450, it was an easy yes for the filmmakers, who are both passionate basketball fans and frequent collaborators with uncanny creative sympatico. Together, the pair have previously collaborated on a variety of music videos, including Gunna’s “Dollaz On My Head” and Meek Mill’s “Believe.”

    “Max and I have this chemistry; we’re on the same wavelength. During the shooting, I would turn to say something, and it was like Max already knew what I was going to say. We had the same intuition about what was needed on-screen,” said Jordan.

    One of the first shoots to go remote during the pandemic, Game Change Game was filmed in two phases. At first, the co-directors utilized a robust remote filming technology inspired by Errol Morris’s Interrotron, which allowed up-close, face-to-face interviews with the players living in the bubble. Once the season ended and COVID restrictions eased to some extent, the directors filmed additional in-person interviews and incorporated a wealth of contextual footage.

    Good Company had a hand in every aspect of the film’s production. Despite unimaginable flux and emotion, they tirelessly documented the uncommon NBA season as well as spent an additional year honing the story’s look and feel in post-production. 

    “After living through that intense, paradigm-shifting time, and now, coming out the other side of it with this release feels almost cathartic. We could’ve never expected the journey the world would go through, but it was all hands on deck for this project from the get-go,” commented Producer Jonathan Lia, Good Company’s Co-Founder. “I hope this beautiful portrait of the NBA’s journey will remind viewers of the power of our collective voices and the strength and healing that can be found when we lean on each other.”

    The documentary can be found on STARZ across all platforms, including in their Juneteenth programming and throughout the month on STARZ linear channels.

    Watch the trailer for Game Change Game on STARZ.

    About the NPBA:

    The National Basketball Players Association is the union for current professional basketball players in the National Basketball Association (NBA). Established in 1954, the NBPA’s mission is to protect and support the rights and talents of our players, magnify the power of their collective will, and amplify their voices as leaders who will transcend sport and society globally.

    The NBPA advocates on behalf of the best interests of all NBA players, including through the negotiation of collective bargaining agreements, the filing of grievances on behalf of the players, and counseling players on benefits, educational and post-NBA career opportunities. Business opportunities are generated by THINK450, the subsidiary of the NBPA charged with managing the players’ group licensing rights.

    Dedicated to preserving the legacy of its members, the NBPA Foundation provides support and assistance to persons, communities, and organizations around the world that seek to improve the lives of those in need.

    About Good Company:

    Good Company is a bi-coastal creative production studio that develops and produces content and experiences at the intersection of art, music and cinema. They are behind some of the most iconic music videos and films of our time, including Beyonce’s Lemonade. They also produce award-winning ad campaigns for brands like Meta and Nike and create breathtaking live performance visuals for artists such as Adele, Pharrell and Miley Cyrus. 

    Source: THINK450

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  • CNN ousts CEO Chris Licht after a brief, tumultuous tenure

    CNN ousts CEO Chris Licht after a brief, tumultuous tenure

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    NEW YORK — CNN ousted chief executive Chris Licht after a tumultuous year leading the struggling news network that culminated in a damning magazine profile and the growing realization that he’d lost the confidence of the network’s journalists.

    The change was announced at CNN’s editorial meeting Wednesday morning and came just two days after Licht said he would “fight like hell” to earn the trust of those around him.

    David Zaslav, CEO of CNN parent company Warner Bros. Discovery, appointed a four-person interim leadership team, and said at the editorial meeting that he would conduct a thorough search for Licht’s replacement.

    Licht had a mandate to try and make CNN more palatable to both sides of the country’s political divide; Republicans had become increasingly suspicious of the network following repeated attacks by former President Donald Trump.

    But some at the network saw Licht’s mandate for change as a repudiation of their past work, and a live town hall interview with Trump last month drew widespread criticism.

    Earlier in the year, Licht revamped the network’s morning show, but that proved unsuccessful and led to the firing of longtime personality Don Lemon. Efforts to build a new prime-time lineup moved slowly, with Kaitlan Collins only recently appointed to fill at 9 p.m. hour without a permanent host since Chris Cuomo was fired in December 2021.

    Licht, who had produced MSNBC’s “Morning Joe,” CBS’ morning news show and Stephen Colbert’s late-night show, was appointed by Zaslav just over a year ago to replace an internally popular predecessor, Jeff Zucker. Zucker was fired for not revealing a consensual relationship with a fellow CNN executive.

    Zaslav said in a memo to CNN staff members that the job “was never going to be easy, especially at a time of great disruption and transformation.

    “Chris poured his heart and soul into it,” he said. “He has a deep love for journalism and this business and that has been evident throughout his tenure. Unfortunately, things did not work out the way we had hoped — and ultimately that’s on me.”

    Licht did not immediately return a message seeking comment.

    A lengthy profile of Licht in Atlantic magazine that came out on Friday, titled “Inside the Meltdown at CNN,” proved embarrassing and likely sealed his fate. Some journalists were angered because of Licht’s criticism of some of CNN’s COVID coverage before he had arrived.

    Some of CNN’s chief anchors — Jake Tapper, Anderson Cooper and Erin Burnett — had privately expressed their reservations about Licht’s leadership, according to a Wall Street Journal article that was posted Tuesday evening.

    Meanwhile, viewers were disappearing. CNN’s prime-time viewership of 494,000 in May was down 16% from April and was less than half of its closest news rival, MSNBC.

    Zaslav appointed four current CNN executives — Amy Entelis, Virginia Moseley, Eric Sherling and David Leavy — to run the network while a search for a replacement is conducted.

    “We are in good hands, allowing us to take the time we need to run a thoughtful and thorough search for a new leader,” Zaslav said in the memo.

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  • Hollywood actors guild votes to authorize strike, as writers strike continues

    Hollywood actors guild votes to authorize strike, as writers strike continues

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    Actors represented by the Hollywood union SAG-AFTRA voted Monday evening to authorize a strike if they don’t agree on a new contract with major studios, streamers and production companies by June 30.

    The strike authorization was approved by an overwhelming margin — nearly 98% of the 65,000 members who cast votes.

    The guild, which represents over 160,000 screen actors, broadcast journalists, announcers, hosts and stunt performers, begins its negotiations with the Alliance of Motion Picture and Television Producers on Wednesday, over a month after the Writers Guild of America began striking over its own dispute with AMPTP. If the actors union ultimately moves forward with the strike, it would be limited to television and film productions; news and broadcast work would not be directly affected.

    At stake is increased base compensation, which actors say has been undercut by inflation and the streaming ecosystem, the threat of unregulated use of artificial intelligence, benefit plans and the burden of “self-taped auditions” — the cost of which used to be the responsibility of casting and production.

    “We are approaching these negotiations with the goal of achieving a new agreement that is beneficial to SAG-AFTRA members and the industry overall,” the AMPTP said in a statement Monday.

    The strike authorization vote, a tool at the bargaining table, comes at a pivotal moment for the industry as 11,500 writers enter their sixth week of striking and the directors guild reviews a recently reached tentative agreement with studios on issues like wages, streaming residuals, and artificial intelligence. Should the actors strike, the industry already hobbled by the writers strike would come to a near-standstill, from production to promoting completed projects.

    The WGA, DGA and SAG-AFTRA have shown solidarity with one another since the writers began walking the picket lines on May 2. Many in Hollywood worried about the very real possibility that all three guilds would strike at the same time, as both the directors and the actors contracts were soon due to expire as well.

    That scenario changed Sunday night when the directors guild, which represents 19,000 film, television and commercial directors, announced that they had reached a “truly historic” tentative agreement with studios. The terms, which have not been disclosed in detail to the press or the other guilds, will be presented to the DGA board on Tuesday for approval and then to the membership for ratification.

    Representatives for both the writers guild and the actors guild congratulated the directors group for reaching a tentative deal, though neither commented on specific points of the DGA terms. The WGA also said that its bargaining positions remain the same.

    The DGA deal did not sit well with some individual WGA members, some of whom remembered when the directors negotiated their own contract while the writers were striking in 2007-2008. That deal 15 years ago, some felt, set precedent that forced the writers to fall in line with the terms agreed to by the DGA and end the strike.

    “Zero surprise. The AMPTP continues to use their tired old playbook. And the DGA sadly continues to toe the line, knowing that they can draft off of the WGA’s resolve to strike for a truly historic deal. Disappointing, but not surprising,” veteran television writer Steven DeKnight, who also wrote and directed “Pacific Rim: Uprising,” tweeted.

    Seemingly anticipating a repeat, the WGA negotiating committee last week released a letter cautioning that the studios would once again pursue a “divide and conquer” strategy, pitting the guilds against one another.

    “Our position is clear: to resolve the strike, the companies will have to negotiate with the WGA on our full agenda,” the WGA letter had said. “We will continue to march until the companies negotiate fairly with us.”

    While the unions have appeared more united this time, their aims are also different in many arenas. For the directors, securing international streaming residuals that account for subscriber growth was a key component, as were wages, safety (like banning live ammunition on set), diversity and inclusion and the addition of Juneteenth as a paid holiday.

    The WGA agenda includes increased pay, better residuals and minimum staffing requirements. One key area of overlap between all is artificial intelligence. The DGA said they’d reached a “groundbreaking agreement confirming that AI is not a person and that generative AI cannot replace the duties performed by members.”

    Duncan Crabtree-Ireland, the chief negotiator for SAG-AFTRA, maintains the needs of the guild’s actor members are unique. Hollywood actors haven’t gone on strike against AMPTP since 1980, which saw a 95-day strike over terms for paid television and VHS tapes.

    “Our bargaining strategy has never relied upon nor been dependent on the outcome or status of any other union’s negotiations, nor do we subscribe to the philosophy that the terms of deals made with other unions bind us,” Crabtree-Ireland said Sunday.

    On Monday, he added that the vote was a “clear statement that it’s time for an evolution in this contract.”

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  • Hollywood actors guild votes to authorize strike, as writers strike continues

    Hollywood actors guild votes to authorize strike, as writers strike continues

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    Actors represented by the Hollywood union SAG-AFTRA voted Monday evening to authorize a strike if they don’t agree on a new contract with major studios, streamers and production companies by June 30.

    The strike authorization was approved by an overwhelming margin — nearly 98% of the 65,000 members who cast votes.

    The guild, which represents over 160,000 screen actors, broadcast journalists, announcers, hosts and stunt performers, begins its negotiations with the Alliance of Motion Picture and Television Producers on Wednesday, over a month after the Writers Guild of America began striking over its own dispute with AMPTP. If the actors union ultimately moves forward with the strike, it would be limited to television and film productions; news and broadcast work would not be directly affected.

    At stake is increased base compensation, which actors say has been undercut by inflation and the streaming ecosystem, the threat of unregulated use of artificial intelligence, benefit plans and the burden of “self-taped auditions” — the cost of which used to be the responsibility of casting and production.

    “We are approaching these negotiations with the goal of achieving a new agreement that is beneficial to SAG-AFTRA members and the industry overall,” the AMPTP said in a statement Monday.

    The strike authorization vote, a tool at the bargaining table, comes at a pivotal moment for the industry as 11,500 writers enter their sixth week of striking and the directors guild reviews a recently reached tentative agreement with studios on issues like wages, streaming residuals, and artificial intelligence. Should the actors strike, the industry already hobbled by the writers strike would come to a near-standstill, from production to promoting completed projects.

    The WGA, DGA and SAG-AFTRA have shown solidarity with one another since the writers began walking the picket lines on May 2. Many in Hollywood worried about the very real possibility that all three guilds would strike at the same time, as both the directors and the actors contracts were soon due to expire as well.

    That scenario changed Sunday night when the directors guild, which represents 19,000 film, television and commercial directors, announced that they had reached a “truly historic” tentative agreement with studios. The terms, which have not been disclosed in detail to the press or the other guilds, will be presented to the DGA board on Tuesday for approval and then to the membership for ratification.

    Representatives for both the writers guild and the actors guild congratulated the directors group for reaching a tentative deal, though neither commented on specific points of the DGA terms. The WGA also said that its bargaining positions remain the same.

    The DGA deal did not sit well with some individual WGA members, some of whom remembered when the directors negotiated their own contract while the writers were striking in 2007-2008. That deal 15 years ago, some felt, set precedent that forced the writers to fall in line with the terms agreed to by the DGA and end the strike.

    “Zero surprise. The AMPTP continues to use their tired old playbook. And the DGA sadly continues to toe the line, knowing that they can draft off of the WGA’s resolve to strike for a truly historic deal. Disappointing, but not surprising,” veteran television writer Steven DeKnight, who also wrote and directed “Pacific Rim: Uprising,” tweeted.

    Seemingly anticipating a repeat, the WGA negotiating committee last week released a letter cautioning that the studios would once again pursue a “divide and conquer” strategy, pitting the guilds against one another.

    “Our position is clear: to resolve the strike, the companies will have to negotiate with the WGA on our full agenda,” the WGA letter had said. “We will continue to march until the companies negotiate fairly with us.”

    While the unions have appeared more united this time, their aims are also different in many arenas. For the directors, securing international streaming residuals that account for subscriber growth was a key component, as were wages, safety (like banning live ammunition on set), diversity and inclusion and the addition of Juneteenth as a paid holiday.

    The WGA agenda includes increased pay, better residuals and minimum staffing requirements. One key area of overlap between all is artificial intelligence. The DGA said they’d reached a “groundbreaking agreement confirming that AI is not a person and that generative AI cannot replace the duties performed by members.”

    Duncan Crabtree-Ireland, the chief negotiator for SAG-AFTRA, maintains the needs of the guild’s actor members are unique. Hollywood actors haven’t gone on strike against AMPTP since 1980, which saw a 95-day strike over terms for paid television and VHS tapes.

    “Our bargaining strategy has never relied upon nor been dependent on the outcome or status of any other union’s negotiations, nor do we subscribe to the philosophy that the terms of deals made with other unions bind us,” Crabtree-Ireland said Sunday.

    On Monday, he added that the vote was a “clear statement that it’s time for an evolution in this contract.”

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  • ‘Cheers’ bar sells for $675,000 at Dallas auction of items from classic TV shows

    ‘Cheers’ bar sells for $675,000 at Dallas auction of items from classic TV shows

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    The bar from the television series “Cheers” sold for $675,000 at auction over the weekend, garnering the highest bid among the nearly 1,000 props, costumes and sets from classic TV shows offered up from a collection amassed by one man

    DALLAS — The bar from the television series “Cheers” sold for $675,000 at auction over the weekend, garnering the highest bid among the nearly 1,000 props, costumes and sets from classic TV shows offered up from a collection amassed by one man over more than three decades.

    Heritage Auctions said that the items sold during its three-day event that wrapped up Sunday in Dallas brought in over $5 million. James Comisar has said that after his dream of creating a museum to house his collection failed to come together, it was time for the pieces to go to fans to enjoy.

    “The auction’s success confirmed what I have always known: that television characters are cherished members of our extended family and that their stories and our own are inseparable,” Comisar said in a news release from the auction house.

    The Batman and Robin costumes worn by Adam West and Burt Ward in the 1960s television series went for $615,000, while the set where Johnny Carson hosted guests on “The Tonight Show” went for $275,000, Heritage Auctions said.

    The set from “All in the Family” — which included Archie and Edith Bunker’s living and dining rooms and stairwell — sold for $125,000, and the auction house said the same buyer also made the winning bid of $250,000 for the chairs used by the TV couple in the show’s ninth season.

    The couple’s original two chairs from the show reside in the Smithsonian Institution’s National Museum of American History. Comisar said that those thrift shop chairs were given to the museum when it was thought that the show would end after its eighth season, but when it continued for a ninth, replicas were made at great cost. Those replicas — which were the chairs offered at auction — were then used in the show’s last season and in its continuation, “Archie Bunker’s Place.”

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  • Chuck Todd leaving NBC political panel show ‘Meet the Press’ and being replaced by Kristen Welker

    Chuck Todd leaving NBC political panel show ‘Meet the Press’ and being replaced by Kristen Welker

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    NEW YORK — Chuck Todd said on Sunday that he’ll be leaving “Meet the Press” after a tumultuous near-decade of moderating the NBC political panel show, to be replaced in the coming months by Kristen Welker.

    Todd, 51, told viewers that “I’ve watched too many friends and family let work consume them before it was too late” and that he’d promised his family he wouldn’t do that.

    Todd has often been an online punching bag for critics, including Donald Trump, during a polarized time, and there were rumors that his time at the show would be short when its executive producer was reassigned at the end of last summer, but NBC gave no indication this was anything other than Todd’s decision. It’s unclear when Todd’s last show will be, but he told viewers that this would be his final summer.

    “I leave feeling concerned about this moment in history but reassured by the standards we’ve set here,” Todd said. “We didn’t tolerate propagandists, and this network and program never will.”

    Welker, a former chief White House correspondent, has been at NBC News in Washington since 2011 and has been Todd’s chief fill-in for the past three years. She drew praise for moderating the final presidential debate between Trump, a Republican, and Joe Biden, a Democrat, in 2020.

    Her “sharp questioning of lawmakers is a masterclass in political interviews,” said Rebecca Blumenstein, NBC News president of editorial, in a memo announcing Welker’s elevation on Sunday.

    Now Welker, 46, will be thrust into what promises to be another contentious presidential election cycle.

    The Sunday morning political interview show has aired since 1947, led by inventor and first host Martha Rountree. Its peak came in the years that Tim Russert moderated, from 1991 until his death in 2008, with its footing less certain since then. Tom Brokaw briefly filled in after Russert’s death, and David Gregory replaced him until being forced out in favor of Todd.

    Welker will be the first Black moderator of “Meet the Press” and the first woman since Rountree left in 1953.

    Todd said that he was proud of expanding the “Meet the Press” brand to a daily show, which initially aired on MSNBC but was shifted to streaming, along with podcasts and newsletters, even a film festival.

    “He transformed the brand into a vital modern-day franchise, expanding its footprint to an array of new mediums, and kept ‘Meet the Press’ at the forefront of political discourse,” Blumenstein said.

    It didn’t stop critics from jumping on to social media when they didn’t like an interview Todd conducted. Trump even anointed Todd with one of his signature nicknames, Sleepy Eyes, and later called on NBC to fire Todd in 2020 over its airing of a CBS interview clip with his then-Attorney General William Barr. Todd later said the show had been unaware at the time of a longer soundbite of the interview that would have provided more context, and he apologized for the mistake.

    Todd was roasted at the White House Correspondents’ Association dinner in 2022 by Trevor Noah, who pointed him out in the audience and said, “How are you doing? I’d ask a follow-up, but I know you don’t know what those are.”

    Todd alluded to his critics in announcing his exit on Sunday.

    “If you do this job seeking popularity, you are doing this job incorrectly,” he said. “I take the attacks from partisans as compliments. And I take the genuine compliments with a grain of salt when they come from partisans.”

    The goal of each show, he said, is to “make you mad, make you think, shake your head in disapproval at some point and nod your head in approval at others.”

    In the just-concluded television season, “Meet the Press” was third in viewers after CBS’ “Face the Nation” and ABC’s “This Week,” each of them averaging between 2.5 million and 2.9 million viewers, the Nielsen ratings company said.

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  • Chuck Todd leaving NBC political panel show ‘Meet the Press’ and being replaced by Kristen Welker

    Chuck Todd leaving NBC political panel show ‘Meet the Press’ and being replaced by Kristen Welker

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    NEW YORK — Chuck Todd said on Sunday that he’ll be leaving “Meet the Press” after a tumultuous near-decade of moderating the NBC political panel show, to be replaced in the coming months by Kristen Welker.

    Todd, 51, told viewers that “I’ve watched too many friends and family let work consume them before it was too late” and that he’d promised his family he wouldn’t do that.

    Todd has often been an online punching bag for critics, including Donald Trump, during a polarized time, and there were rumors that his time at the show would be short when its executive producer was reassigned at the end of last summer, but NBC gave no indication this was anything other than Todd’s decision. It’s unclear when Todd’s last show will be, but he told viewers that this would be his final summer.

    “I leave feeling concerned about this moment in history but reassured by the standards we’ve set here,” Todd said. “We didn’t tolerate propagandists, and this network and program never will.”

    Welker, a former chief White House correspondent, has been at NBC News in Washington since 2011 and has been Todd’s chief fill-in for the past three years. She drew praise for moderating the final presidential debate between Trump, a Republican, and Joe Biden, a Democrat, in 2020.

    Her “sharp questioning of lawmakers is a masterclass in political interviews,” said Rebecca Blumenstein, NBC News president of editorial, in a memo announcing Welker’s elevation on Sunday.

    Now Welker, 46, will be thrust into what promises to be another contentious presidential election cycle.

    The Sunday morning political interview show has aired since 1947, led by inventor and first host Martha Rountree. Its peak came in the years that Tim Russert moderated, from 1991 until his death in 2008, with its footing less certain since then. Tom Brokaw briefly filled in after Russert’s death, and David Gregory replaced him until being forced out in favor of Todd.

    Welker will be the first Black moderator of “Meet the Press” and the first woman since Rountree left in 1953.

    Todd said that he was proud of expanding the “Meet the Press” brand to a daily show, which initially aired on MSNBC but was shifted to streaming, along with podcasts and newsletters, even a film festival.

    “He transformed the brand into a vital modern-day franchise, expanding its footprint to an array of new mediums, and kept ‘Meet the Press’ at the forefront of political discourse,” Blumenstein said.

    It didn’t stop critics from jumping on to social media when they didn’t like an interview Todd conducted. Trump even anointed Todd with one of his signature nicknames, Sleepy Eyes, and later called on NBC to fire Todd in 2020 over its airing of a CBS interview clip with his then-Attorney General William Barr. Todd later said the show had been unaware at the time of a longer soundbite of the interview that would have provided more context, and he apologized for the mistake.

    Todd was roasted at the White House Correspondents’ Association dinner in 2022 by Trevor Noah, who pointed him out in the audience and said, “How are you doing? I’d ask a follow-up, but I know you don’t know what those are.”

    Todd alluded to his critics in announcing his exit on Sunday.

    “If you do this job seeking popularity, you are doing this job incorrectly,” he said. “I take the attacks from partisans as compliments. And I take the genuine compliments with a grain of salt when they come from partisans.”

    The goal of each show, he said, is to “make you mad, make you think, shake your head in disapproval at some point and nod your head in approval at others.”

    In the just-concluded television season, “Meet the Press” was third in viewers after CBS’ “Face the Nation” and ABC’s “This Week,” each of them averaging between 2.5 million and 2.9 million viewers, the Nielsen ratings company said.

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  • How the most ‘incompetent talk show host of all time’ keeps getting guests

    How the most ‘incompetent talk show host of all time’ keeps getting guests

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    LOS ANGELES — LOS ANGELES (AP) — “The Eric Andre Show” is ostensibly not a series that lends itself to longevity. Its titular star, who plays a version of himself and satirizes talk shows by putting unsuspecting celebrity guests through hellish interviews, has become considerably more famous since the series first aired over a decade ago.

    But through a combination of disguises and an artfully deceptive booking team, Andre is gearing up for the premiere of the sixth season this Sunday on Adult Swim, boasting a star-studded list of guests in the episodes to come, including Lil Nas X, Natasha Lyonne and Jon Hamm.

    “We used to worry about, like, ‘Oh, am I going to be more recognizable?’” Andre said of his increasing fame, eventually realizing it doesn’t take much to fool people. “I disguised myself a lot this season. I rocked the ponytail and the glasses, and I would wear COVID masks sometimes.”

    There is a kind of poetic, albeit sadistic, justice that comes from watching the cult show make the most envied in society the butt of its joke, including high-profile names over the years like Seth Rogen, Demi Lovato, Dennis Rodman and Judy Greer.

    A few — including Lauren Conrad and T.I. — have walked off in disgust or indignation. But that number is surprisingly low given that Andre often keeps guests in emotional and physical discomfort for an hour or more, only to edit interviews down to mere minutes.

    “I’m in character,” Andre explained. “I’m trying to just be the most absurd and incompetent talk show host of all time.”

    Once celebrities are brought on the “talk show,” their egos are subjected to all kinds of abasements, both through Andre’s absurd line of questioning and through physical pranks — some unbeknownst to viewers and only revealed later by former guests.

    “It’s a break from the kind of fictitious propaganda of traditional press, I think,” he theorized, mocking actors and the stories they share on actual late-night talk shows. “They’re like, ‘Hey, you know, on set, George Clooney played a prank on me,’ or whatever. They have some anecdote from set. It feels — people can smell it’s a little inauthentic.”

    Part of what makes the pranks so impressive is Andre’s ability to pull them off, even when guests become visibly angry and sometimes threatening toward him.

    “I’m calculating every next step,” the comedian said of what goes through his mind during the interviews. “I don’t want to laugh. I’ve done so much work and so much prep has gone into bringing that prank into production that I don’t want to be the one that blows it.”

    Despite the fact that even he is not particularly comfortable with it, Andre’s antics often at some point involve nudity — either by him or the show’s infamous “naked PA” — a move that frequently pushes guests over the edge.

    “You gotta do what it takes,” Andre, ever the showman, explained. “There’s not a lot of things that are like completely jaw-dropping shocking. So, nudity is just kind of like a guaranteed reaction.”

    Although he denies outright lying to get people on the show, he concedes he and the bookers frequently “bend the truth,” and then come up with elaborate schemes to prevent publicists from seeing the torturous pranks they unknowingly walked their clients into.

    “We don’t let publicists into where the stage is and we’ll show them like fake monitor feeds and stuff,” he explained, adding they are sometimes sent on a “wild goose chase” when they get an inkling of what is going on.

    He recalled having actor Robin Givens on the show last season, saying her publicist at one point demanded the interview be stopped. In an effort to buy Andre more time, the show’s assistant director allegedly led the publicist down a series of wrong turns throughout the building.

    “Outside, back in, pretending he didn’t know where we were,” Andre said, bursting into laughter.

    His stunts might lead some to believe that Andre is a simple clown. But the comedian, who studied upright bass at the Berklee College of Music, will often give glimpses into the more learned corners of his brain, inexplicably dropping commentary on things like capitalism or militarism amid the chaos of his interviews.

    “What can I say, man? Patriotism is the conviction that your country is superior to all others because you were born in it,” he says abruptly in one interview with NBA player Blake Griffin last season.

    The fact that Andre keeps coming back for more has been of late a pleasant surprise for fans, given that he at times seems ready to move on from the show, as well as his recent involvement in other projects.

    He fittingly stars in a sort of spoof on reality competition shows called “The Prank Panel” alongside his “Jackass Forever” co-star Johnny Knoxville and Gabourey Sidibe.

    And in 2021, after years of delays and back and forth with different studios, Netflix finally released “Bad Trip,” a narrative film with pranks on real people that stars Andre, Tiffany Haddish and Lil Rel Howery.

    “I was going to end the show after five seasons and then I didn’t make any money on ‘Bad Trip,’” he laughed, though he acknowledged his motivations for coming back to “The Eric Andre Show” were not just financial.

    “Why permanently close the door on a show where I have full creative freedom?” he said, hinting that door is still open for more after this season.

    Despite Andre’s claim that “Bad Trip” didn’t make him any money, the film’s success once it hit Netflix seems to have engendered future opportunities for the comedian, though he is reluctant to say more about what those projects are.

    “It’s not even my corporate overlords. It’s superstition. So, I’ll tell you when the time is right,” he teased.

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  • How the most ‘incompetent talk show host of all time’ keeps getting guests

    How the most ‘incompetent talk show host of all time’ keeps getting guests

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    LOS ANGELES (AP) — “The Eric Andre Show” is ostensibly not a series that lends itself to longevity. Its titular star, who plays a version of himself and satirizes talk shows by putting unsuspecting celebrity guests through hellish interviews, has become considerably more famous since the series first aired over a decade ago.

    But through a combination of disguises and an artfully deceptive booking team, Andre is gearing up for the premiere of the sixth season this Sunday on Adult Swim, boasting a star-studded list of guests in the episodes to come, including Lil Nas X, Natasha Lyonne and Jon Hamm.

    “We used to worry about, like, ‘Oh, am I going to be more recognizable?’” Andre said of his increasing fame, eventually realizing it doesn’t take much to fool people. “I disguised myself a lot this season. I rocked the ponytail and the glasses, and I would wear COVID masks sometimes.”

    There is a kind of poetic, albeit sadistic, justice that comes from watching the cult show make the most envied in society the butt of its joke, including high-profile names over the years like Seth Rogen, Demi Lovato, Dennis Rodman and Judy Greer.

    A few — including Lauren Conrad and T.I. — have walked off in disgust or indignation. But that number is surprisingly low given that Andre often keeps guests in emotional and physical discomfort for an hour or more, only to edit interviews down to mere minutes.

    “I’m in character,” Andre explained. “I’m trying to just be the most absurd and incompetent talk show host of all time.”

    Once celebrities are brought on the “talk show,” their egos are subjected to all kinds of abasements, both through Andre’s absurd line of questioning and through physical pranks — some unbeknownst to viewers and only revealed later by former guests.

    “It’s a break from the kind of fictitious propaganda of traditional press, I think,” he theorized, mocking actors and the stories they share on actual late-night talk shows. “They’re like, ‘Hey, you know, on set, George Clooney played a prank on me,’ or whatever. They have some anecdote from set. It feels — people can smell it’s a little inauthentic.”

    Part of what makes the pranks so impressive is Andre’s ability to pull them off, even when guests become visibly angry and sometimes threatening toward him.

    “I’m calculating every next step,” the comedian said of what goes through his mind during the interviews. “I don’t want to laugh. I’ve done so much work and so much prep has gone into bringing that prank into production that I don’t want to be the one that blows it.”

    Despite the fact that even he is not particularly comfortable with it, Andre’s antics often at some point involve nudity — either by him or the show’s infamous “naked PA” — a move that frequently pushes guests over the edge.

    “You gotta do what it takes,” Andre, ever the showman, explained. “There’s not a lot of things that are like completely jaw-dropping shocking. So, nudity is just kind of like a guaranteed reaction.”

    Although he denies outright lying to get people on the show, he concedes he and the bookers frequently “bend the truth,” and then come up with elaborate schemes to prevent publicists from seeing the torturous pranks they unknowingly walked their clients into.

    “We don’t let publicists into where the stage is and we’ll show them like fake monitor feeds and stuff,” he explained, adding they are sometimes sent on a “wild goose chase” when they get an inkling of what is going on.

    He recalled having actor Robin Givens on the show last season, saying her publicist at one point demanded the interview be stopped. In an effort to buy Andre more time, the show’s assistant director allegedly led the publicist down a series of wrong turns throughout the building.

    “Outside, back in, pretending he didn’t know where we were,” Andre said, bursting into laughter.

    His stunts might lead some to believe that Andre is a simple clown. But the comedian, who studied upright bass at the Berklee College of Music, will often give glimpses into the more learned corners of his brain, inexplicably dropping commentary on things like capitalism or militarism amid the chaos of his interviews.

    “What can I say, man? Patriotism is the conviction that your country is superior to all others because you were born in it,” he says abruptly in one interview with NBA player Blake Griffin last season.

    The fact that Andre keeps coming back for more has been of late a pleasant surprise for fans, given that he at times seems ready to move on from the show, as well as his recent involvement in other projects.

    He fittingly stars in a sort of spoof on reality competition shows called “The Prank Panel” alongside his “Jackass Forever” co-star Johnny Knoxville and Gabourey Sidibe.

    And in 2021, after years of delays and back and forth with different studios, Netflix finally released “Bad Trip,” a narrative film with pranks on real people that stars Andre, Tiffany Haddish and Lil Rel Howery.

    “I was going to end the show after five seasons and then I didn’t make any money on ‘Bad Trip,’” he laughed, though he acknowledged his motivations for coming back to “The Eric Andre Show” were not just financial.

    “Why permanently close the door on a show where I have full creative freedom?” he said, hinting that door is still open for more after this season.

    Despite Andre’s claim that “Bad Trip” didn’t make him any money, the film’s success once it hit Netflix seems to have engendered future opportunities for the comedian, though he is reluctant to say more about what those projects are.

    “It’s not even my corporate overlords. It’s superstition. So, I’ll tell you when the time is right,” he teased.

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  • MLB takes over Padres broadcasts Wednesday after Bally misses payment

    MLB takes over Padres broadcasts Wednesday after Bally misses payment

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    Major League Baseball will take over broadcasts of San Diego Padres games beginning Wednesday after Diamond Sports missed a rights fees payment to the regional sports network’s parent company and let the grace period expire.

    Diamond Sports, which owns 19 networks under the Bally Sports banner, said in a statement that it decided “not to provide additional funding to the San Diego RSN that would enable it to make the rights payment to the San Diego Padres during the grace period and will no longer be broadcasting Padres games after Tuesday.”

    The Padres RSN is owned by a joint venture of the team and Diamond.

    The Padres become the first team that MLB will take over production of its broadcasts. MLB set up a local media department during the offseason to prepare for a bankruptcy filing by Diamond Sports, which took place in March.

    “While we’re disappointed that Diamond Sports Group failed to live up to their contractual agreement with the club, we are taking this opportunity to reimagine the distribution model, remove blackouts on local games, improve the telecast, and expand the reach of Padres games by more than 2 million homes,” MLB Chief Revenue Officer Noah Garden said in a statement.

    MLB announced Tuesday night that fans in the Padres’ home television market will be able to watch games on DirecTV, Cox, Spectrum, AT&T U-Verse and fubo. MLB will also offer a direct-to-consumer streaming subscription for $19.99 per month or $74.99 for the rest of the season by registering at MLB.TV.

    This is the first time MLB.TV is offering a DTC option in a team’s home market and also lifts the blackout rules that were in place for games previously distributed on Bally Sports San Diego.

    Padres games through Sunday will be available for free with an MLB login at MLB.com, Padres.com and in the MLB apps on mobile and connected devices.

    MLB said that the new arrangement expands the reach of Padres’ games in its home television market by 189% from approximately 1.13 million homes to approximately 3,264,000.

    Padres TV announcers Don Orsillo, Mark Grant and Bob Scanlan will remain in place because they are employed by the team.

    There wasn’t any mention at the end of the Padres 9-4 win at the Miami Marlins or on the postgame show that Tuesday was the final Padres game on Bally Sports San Diego.

    Due to a storm at the ballpark, the broadcast feed for both teams was disrupted during the seventh inning.

    The Padres signed a 20-year, $1.2 billion contract with Fox Sports Networks in 2012. Diamond Sports Group and Sinclair Broadcast Group bought the regional sports networks from The Walt Disney Co. for nearly $10 billion in 2019. Disney was required by the Department of Justice to sell the networks for its acquisition of 21st Century Fox’s film and television assets to be approved.

    Diamond Sports is in Chapter 11 bankruptcy proceedings in the Southern District of Texas. Diamond said in a financial filing last fall it had debt of $8.67 billion.

    Despite the Padres having baseball’s third-biggest payroll ($257 million) and a roster headed by Manny Machado and Fernando Tatis Jr., Diamond cited the amount of rights payments to the Padres and small market area compared to other reginal networks for why it was backing out.

    “We have been preparing for this groundbreaking moment,” Padres CEO Erik Greupner said in a statement. “The Padres are excited to be the first team to partner with Major League Baseball to offer a direct-to-consumer streaming option through MLB.TV without blackouts while preserving our in-market distribution through traditional cable and satellite television providers.”

    Diamond owned 80% of Bally Sports San Diego with the Padres having the other 20%. It was one of six Diamond regional networks where MLB teams are minority owners. The others are the Cincinnati Reds, Kansas City Royals, Los Angeles Angels, Miami Marlins and St. Louis Cardinals.

    With the Padres off Bally Sports, Diamond has the rights to 40 professional teams — 13 baseball, 15 NBA and 12 NHL.

    A hearing will be held on Wednesday whether Diamond can reduce its rights fees payments to the Cleveland Guardians, Minnesota Twins, Texas Rangers and Arizona Diamondbacks

    ___

    AP MLB: https://apnews.com/hub/mlb and https://twitter.com/AP_Sports

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  • HBO estimates 2.9 million watched ‘Succession’ finale on Sunday night

    HBO estimates 2.9 million watched ‘Succession’ finale on Sunday night

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    An estimated 2.9 million people watched or streamed the finale of its drama “Succession” this past weekend

    This image released by HBO shows Matthew Macfadyen as Tom Wambsgans, left, and Nicholas Braun as Greg Hirsch in a scene from the series “Succession.” (HBO via AP)

    The Associated Press

    NEW YORK — HBO said 2.9 million people watched or streamed the series finale of “Succession” on Sunday night, a series record that is expected to grow as delayed viewing is taken into account.

    That beat the first-night record of 2.75 million for an episode that aired on April 30, earlier in the fourth and last season of the family drama about a media company.

    The audience can be expected to expand significantly when delayed viewing is taken into account. For example, “Succession” episodes this season have been seen by an average of 8.7 million viewers, according to the Nielsen company.

    The series finale provided an answer to the question central to the story, about whether any of media magnate Logan Roy’s children would inherit control over his media empire.

    “Succession” didn’t approach HBO’s record of 19.8 million people who watched the 2019 finale of “Game of Thrones” on its premiere night. HBO estimated that some 46 million people have watched that episode when delayed viewing is taken into account.

    HBO said that “Barry,” its series starring Bill Hader, had 700,000 viewers on the night of its finale this past week. Episodes have been average 3.4 million viewers this season.

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  • Exclusive: Jeremy Strong on Succession’s Brutal Finale and Kendall’s Ending

    Exclusive: Jeremy Strong on Succession’s Brutal Finale and Kendall’s Ending

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    When you’re doing it, the whole world turns on it, and it matters more than anything in the world to me. But then when it’s over, it’s, it’s like vapor. So I feel very detached from it. As an audience member, it feels like I’m watching somebody else.

    In the months since you wrapped, have you stayed in touch with the cast? 

    I haven’t, really. We’ll always have, uh, having shared this experience. But the truth is, when you work on movies, you become very close to people and you share something very intimate, and then when it’s done, you know, the circus kind of folds up its tents and leaves town, and you’re kind of back to your life. I feel connected to everyone, but in a way, my involvement and my work finished on March 1st in Barbados. 

    The kitchen scene seems like a fun way to have ended.  

    It was, it was! I loved doing that scene, and it’s rare that I didn’t feel an obligation as an actor to carry a tremendous weight with me into any scene. The characters were at ease, and [Kendall was] enjoying the company of his brother and sister. And my God, they put the nastiest shit you can possibly imagine into that blender! So every take, I had to go outside and retch and then jump in the ocean to reset. But it was fun. 

    You actually drank what they put in that blender?

    I guess my feeling is, I would not be committed enough to what that character wants in that moment if I didn’t drink that thing. She’s saying, “we’ll give this to you if you drink this thing.” So —yeah, that’s just me. Mark [Mylod] knew at a certain point he had to call cut, because if he didn’t call cut, I’m gonna do it, you know?

    Brian Cox said he gets people on the street coming up to him and saying, “Fuck off.” Do you have people come up to you who are sort of worried about Ken? 

    This character invites all kind of responses from people. Some people think he’s cringeworthy, and despicable or pitiable because he’s quite vulnerable. And then there’s other people who I think embrace that vulnerability and fallibility, and care for him. It’s a bit of a litmus test, actually—it tells you a lot about how people respond.  I get: “Is he okay? Are you okay?”

    Are you okay?

    I am okay. This is just a character. 

    There’s a thread in the show about masculinity and will to power. Kendall is always trying to find his own version of how to be a man. 

    I remember going to the writers’ room in Brixton six years ago or something, and seeing all the note cards on the wall. And at the very top was this question of: can you escape legacy? Does it define you? And by escaping it, are you still defined by it? So I think he is trying to attain a version of manhood or personhood. He’s trying to individuate, I think, in a certain way, but he has never been able to escape the tractor beam of his father. I wanted for him so badly to get on that boat with Naomi Pierce and just leave it all. But he couldn’t do that.

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