ReportWire

Tag: television

  • Ryan Seacrest to leave ‘Live with Kelly and Ryan’ in spring

    Ryan Seacrest to leave ‘Live with Kelly and Ryan’ in spring

    [ad_1]

    NEW YORK (AP) — Ryan Seacrest has revealed he’s leaving “Live with Kelly and Ryan” this spring, saying he never expected to stay so long and thanking his co-host Kelly Ripa, who he jokingly called his “work wife.”

    Seacrest ends a six-year run alongside Ripa. His replacement will be Ripa’s real-life husband, Mark Consuelos, and a frequent guest host. The show will be rebranded as “Live with Kelly and Mark.”

    “I’m going to miss my work wife and all the laughter we share,” Seacrest wrote on Instagram. “When I signed on to host ‘Live’ in 2017 it was meant to be for three years, but I loved the job and working with Kelly so much that I extended my time and last year I made the decision to stay on for one more final season.”

    Seacrest said he’ll stay busy shooting the new season of “American Idol,” his radio show on KIIS-FM and hosting “Dick Clark’s New Year’s Rockin’ Eve.”

    “Goodbyes are never easy, but we look forward to welcoming Ryan back regularly with open arms. As a fan-favorite guest host for years, Mark is no stranger to the ‘Live’ family. Having him join the show is so special for us and we’re sure that viewers will feel the same,” Michael Gelman, executive producer of “Live with Kelly and Ryan,” said in a statement.

    “Live with Kelly and Ryan” on ABC is the No. 1 daytime talk show per household and in total viewership. Ripa has hosted “Live” since 2001, first with Regis Philbin and later with Michael Strahan.

    “I’m so grateful to have spent the last six years beside my dear friend of too many decades to count and will miss starting my days with Ryan,” said Ripa in a statement. “Ryan’s energy, passion and love for entertainment is one-of-a-kind.”

    [ad_2]

    Source link

  • Ryan Seacrest to leave ‘Live with Kelly and Ryan’ in spring

    Ryan Seacrest to leave ‘Live with Kelly and Ryan’ in spring

    [ad_1]

    Ryan Seacrest has revealed he’s leaving “Live with Kelly and Ryan” this spring, saying he never expected to stay so long and thanking his co-host Kelly Ripa, who he jokingly called his “work wife.”

    NEW YORK — NEW YORK (AP) — Ryan Seacrest has revealed he’s leaving “Live with Kelly and Ryan” this spring, saying he never expected to stay so long and thanking his co-host Kelly Ripa, who he jokingly called his “work wife.”

    Seacrest ends a six-year run alongside Ripa. His replacement will be Ripa’s real-life husband, Mark Consuelos, and a frequent guest host. The show will be rebranded as “Live with Kelly and Mark.”

    “I’m going to miss my work wife and all the laughter we share,” Seacrest wrote on Instagram. “When I signed on to host ‘Live’ in 2017 it was meant to be for three years, but I loved the job and working with Kelly so much that I extended my time and last year I made the decision to stay on for one more final season.”

    Seacrest said he’ll stay busy shooting the new season of “American Idol,” his radio show on KIIS-FM and hosting “Dick Clark’s New Year’s Rockin’ Eve.”

    “Goodbyes are never easy, but we look forward to welcoming Ryan back regularly with open arms. As a fan-favorite guest host for years, Mark is no stranger to the ‘Live’ family. Having him join the show is so special for us and we’re sure that viewers will feel the same,” Michael Gelman, executive producer of “Live with Kelly and Ryan,” said in a statement.

    “Live with Kelly and Ryan” on ABC is the No. 1 daytime talk show per household and in total viewership. Ripa has hosted “Live” since 2001, first with Regis Philbin and later with Michael Strahan.

    “I’m so grateful to have spent the last six years beside my dear friend of too many decades to count and will miss starting my days with Ryan,” said Ripa in a statement. “Ryan’s energy, passion and love for entertainment is one-of-a-kind.”

    [ad_2]

    Source link

  • Study shows ‘striking’ number who believe news misinforms

    Study shows ‘striking’ number who believe news misinforms

    [ad_1]

    NEW YORK — Half of Americans in a recent survey indicated they believe national news organizations intend to mislead, misinform or persuade the public to adopt a particular point of view through their reporting.

    The survey, released Wednesday by Gallup and the Knight Foundation, goes beyond others that have shown a low level of trust in the media to the startling point where many believe there is an intent to deceive.

    Asked whether they agreed with the statement that national news organizations do not intend to mislead, 50% said they disagreed. Only 25% agreed, the study found.

    Similarly, 52% disagreed with a statement that disseminators of national news “care about the best interests of their readers, viewers and listeners,” the study found. It said 23% of respondents believed the journalists were acting in the public’s best interests.

    “That was pretty striking for us,” said Sarah Fioroni, a consultant for Gallup. The findings showed a depth of distrust and bad feeling that go beyond the foundations and processes of journalism, she said.

    Journalists need to go beyond emphasizing transparency and accuracy to show the impact of their reporting on the public, the study said.

    “Americans don’t seem to think that the national news organizations care about the overall impact of their reporting on the society,” said John Sands, Knight’s senior director for media and democracy.

    In one small consolation, in both cases Americans had more trust in local news.

    The ability of many people to instantly learn news from a device they hold in their hand, the rapid pace of the news cycle and an increased number of news sources would indicate that more Americans are on top of the news than ever before.

    Instead, an information overload appears to have had the opposite effect. The survey said 61% of American believe these factors make it harder to stay informed, while 37% said it’s easier.

    Like with many other studies, Knight and Gallup found Democrats trust news more than Republicans. Over the past five years, the level of distrust has particularly spiked among independents. Overall, 55% of respondents said there was a great deal of political bias in coverage, compared to 45% in 2017.

    In a finding reflected in the financial struggles of some news organizations and declining ratings of television news networks, the survey found 32% of Americans said they pay a great deal of attention to local news, compared to 56% in early 2020. That was at the outset of a presidential election year and the beginning of the COVID-19 outbreak.

    In a picture of how people get their news, 58% said online, 31% said television, 7% said radio and 3% mentioned printed newspapers or magazines.

    For members of Gen Z, aged 18- to 25-years-old, 88% said they got their news online, the survey found.

    In one olive branch, if Americans believed local news organizations didn’t have the resources or opportunities to cover the news, they would be more likely to pay for it.

    The results are based on a Gallup study of 5,593 Americans aged 18 and older conducted between May 31 and July 21, 2022.

    [ad_2]

    Source link

  • Study shows ‘striking’ number who believe news misinforms

    Study shows ‘striking’ number who believe news misinforms

    [ad_1]

    NEW YORK — Half of Americans in a recent survey indicated they believe national news organizations intend to mislead, misinform or persuade the public to adopt a particular point of view through their reporting.

    The survey, released Wednesday by Gallup and the Knight Foundation, goes beyond others that have shown a low level of trust in the media to the startling point where many believe there is an intent to deceive.

    Asked whether they agreed with the statement that national news organizations do not intend to mislead, 50% said they disagreed. Only 25% agreed, the study found.

    Similarly, 52% disagreed with a statement that disseminators of national news “care about the best interests of their readers, viewers and listeners,” the study found. It said 23% of respondents believed the journalists were acting in the public’s best interests.

    “That was pretty striking for us,” said Sarah Fioroni, a consultant for Gallup. The findings showed a depth of distrust and bad feeling that go beyond the foundations and processes of journalism, she said.

    Journalists need to go beyond emphasizing transparency and accuracy to show the impact of their reporting on the public, the study said.

    “Americans don’t seem to think that the national news organizations care about the overall impact of their reporting on the society,” said John Sands, Knight’s senior director for media and democracy.

    In one small consolation, in both cases Americans had more trust in local news.

    The ability of many people to instantly learn news from a device they hold in their hand, the rapid pace of the news cycle and an increased number of news sources would indicate that more Americans are on top of the news than ever before.

    Instead, an information overload appears to have had the opposite effect. The survey said 61% of American believe these factors make it harder to stay informed, while 37% said it’s easier.

    Like with many other studies, Knight and Gallup found Democrats trust news more than Republicans. Over the past five years, the level of distrust has particularly spiked among independents. Overall, 55% of respondents said there was a great deal of political bias in coverage, compared to 45% in 2017.

    In a finding reflected in the financial struggles of some news organizations and declining ratings of television news networks, the survey found 32% of Americans said they pay a great deal of attention to local news, compared to 56% in early 2020. That was at the outset of a presidential election year and the beginning of the COVID-19 outbreak.

    In a picture of how people get their news, 58% said online, 31% said television, 7% said radio and 3% mentioned printed newspapers or magazines.

    For members of Gen Z, aged 18- to 25-years-old, 88% said they got their news online, the survey found.

    In one olive branch, if Americans believed local news organizations didn’t have the resources or opportunities to cover the news, they would be more likely to pay for it.

    The results are based on a Gallup study of 5,593 Americans aged 18 and older conducted between May 31 and July 21, 2022.

    [ad_2]

    Source link

  • Super Bowl averages 113 million, 3rd most-watched in history

    Super Bowl averages 113 million, 3rd most-watched in history

    [ad_1]

    Fox was hoping the matchup of two top teams in the Super Bowl and a close game would lead to a record night.

    Even though Sunday’s game between the Kansas City Chiefs and Philadelphia Eagles came down to a field goal with 8 seconds remaining, Fox fell just short of its goal.

    The Chiefs’ rally to defeat the Eagles 38-35 is on pace to become the third most-watched television show in history, with an estimated 113 million people watching, according to preliminary numbers released Monday.

    Fox said the audience estimate includes the broadcasts on Fox and Fox Deportes as well as streaming on Fox and the NFL’s digital sites. The figures are via Nielsen’s Fast National data and Adobe Analytics.

    The 2015 game between New England and Seattle on NBC holds the record at 114,442,000 viewers (not including streaming), followed by Super Bowl 51 in 2017 on Fox between Atlanta and New England (113,668,000).

    This was Fox’s 10th Super Bowl since it began airing NFL games in 1994 and the second most-watched program in Fox Sports history.

    It would also be a slight increase over the 112.3 million average for last year’s Super Bowl. The Los Angeles Rams’ victory over the Cincinnati Bengals was broadcast by NBC and Telemundo and streamed on Peacock and NFL digital sites.

    According to Adobe Analytics, this year’s digital feed averaged a Super Bowl-record 7 million streams, an 18% increase over last year (6 million) and more than double Fox’s last Super Bowl in 2020 (3.4 million).

    It was the third straight year the streaming average has surpassed 5 million. The first Super Bowl to be streamed, in 2012, averaged 346,000.

    Rihanna’s halftime show averaged 118.7 million viewers, making it the second-most watched in Super Bowl history. Katy Perry’s 2015 performance holds the top mark at 121 million.

    The Spanish-language audience average for the game was 951,000, a record for the most-watched Super Bowl game in Spanish-language cable television history. It was also the most watched non-soccer event in Spanish-language cable history.

    The Spanish-language number is down from last year’s record of 1.9 million on Telemundo, which unlike Fox Deportes has broadcast affiliates in 90 markets.

    The Super Bowl has been televised in Spanish in the United States since 2014.

    Final Nielsen data will be available on Tuesday, including the English-language television-only figures. After Super Bowls averaged over 100 million viewers from 2010-18, four of the five games before this year had fallen short of that number because of cord-cutting. That included 95.2 million for the 2021 Super Bowl between Tampa Bay and Kansas City, which was the game’s lowest TV-only average since 2007.

    If Sunday’s number can better the 99.18 million from last year, it would mark the first time since 2015 there had been two straight years of increases.

    Unsurprisingly, Kansas City and Philadelphia were the two highest-ranked markets. Kansas City led the way with a 52.0 rating and 87 share followed by Philadelphia’s 46.3/77.

    The rating is the percentage of television households tuned in. The share refers to a percentage of the TV-watching audience viewing a particular program at the time.

    Cincinnati, which lost to the Chiefs in the AFC championship game, and Minneapolis also recorded 77 shares.

    The flood of ads during what is easily television’s most-watched event of the year was heavy on celebrities — Ben Affleck, Ozzy Osbourne, Matt Damon, Maya Rudolph, Martha Stewart and “Breaking Bad” cast members.

    Steve Williamson, senior vice president of the market research firm GWI. said surveys show that trust in brands is down this year and companies were looking for well-known names for a boost.

    “There wasn’t a primary brand that took over the Super Bowl,” he said. “There were all sorts of brands from alcohol to gambling to Jesus.”

    Fox also said 15.5 million people watched the season premiere of Gordon Ramsay’s competition show “Next Level Chef” following the game. The spot after the Super Bowl is usually the most-coveted time slot on television.

    ___

    AP Media Writer David Bauder contributed to this report.

    ___

    AP NFL: https://apnews.com/hub/nfl and https://twitter.com/AP_NFL

    [ad_2]

    Source link

  • Monique Soltani Returns to Television After Heartbreaking Loss  as Wine Oh! TV Debuts New Season

    Monique Soltani Returns to Television After Heartbreaking Loss as Wine Oh! TV Debuts New Season

    [ad_1]

    The new season of Wine Oh! TV will release on February 14, 2023. The brand new season will be founder and host Monique Soltani’s first since losing her husband to Colon Cancer, the first as a single mom, and her first post-pandemic production.

    Press Release


    Feb 13, 2023 09:00 EST

    Thinque Media announced today the new season of Wine Oh! TV will release on February 14, 2023. The brand new season will be founder and host Monique Soltani’s first since losing her husband to Colon Cancer, the first as a single mom, and her first post-pandemic production.

    “When Mark got sick, my show felt so small and when we lost Mark, we lost everything. Then Covid came and we lost community. I was drowning but I had our four year-old twins to save from sinking,” remembers Soltani.

    I rise again reborn with a new sense of purpose yet my intention remains the same. Life is meant to be shared. We come together around the table, life’s most meaningful moments made with a meal. Human connection isn’t just essential, it is everything, and as always, my through-line to connecting with the world is wine.”

    Wine Oh! TV invites audiences to join Soltani on her journey from trauma to triumph as she travels to wine regions around the world with the purpose of bringing people together by connecting through community and culture.

    The new season of Wine Oh! TV debuts on Valentine’s Day 2023 and made available to watch directly on wineoh.tv. The first episode features Umbria, Italy, the home of Saint Valentine, where he used a wine from the region to marry star-crossed lovers. Each additional new episode is set to be released throughout the winter and spring months and made available for audiences around the world to watch on wineoh.tv while distribution deals are in the works.

    “As I think about Wine Oh! TV this season, the word joy always comes to mind,” said Soltani. “After experiencing tremendous loss in my own life and learning to navigate a new normal with two small children, my focus now is to bring joy to the world. Wine Oh! TV is a family-friendly show you can turn on while you are making dinner and your children are running around the house or helping you in the kitchen. Wine is the through-line but at its heart it’s about people, places, how we come together, and what connects us.”

    Every episode also answers three essential questions most asked by Wine Oh! TV’s audience over the last decade: What is there to drink, what is there to do, and what is there to eat in each wine region. This season Wine Oh! TV shines the spotlight on smaller wine regions with Umbria, Walla Walla, Mendocino, Paso Robles, and Lodi taking center stage.

    New this season, Wine Oh! TV brought on the best team in the business. The domestic episodes were shot by DuPont, Peabody, SPJ, Murrow, Scripts Howard, and Emmy award-winning Cinematographer Michael Horn and assisted by James Beard and Emmy award-winning journalist Mary Orlin. With power house Emmy award-winning Anaconda Street Productions making magic in the post production department. Wine Oh! TV is now shot in the half-hour format for legacy television and online distribution.

    “I am so grateful to have found my way back after all I have been through and so thankful to all of you for seeing me through. We are all on a journey and I hope you will join me on mine as I travel to wine regions around the world with the purpose of bringing people together by breaking bread, opening a bottle, and connecting through culture,” said Soltani.

    For Media Use: Wine Oh! TV Umbria Saint Valentine Wine Connection Downloadable One Minute Segment

    Recent News

    Forbes: Monique Soltani Talks Loss, Grief, and Returning to Wine as She Resumes Wine Oh! TV for 2023

    CBS: Wine Host Returns After Tragic Loss

    Source: Thinque Media

    [ad_2]

    Source link

  • ‘Magic Mike’s Last Dance’ wins Super Bowl weekend box office

    ‘Magic Mike’s Last Dance’ wins Super Bowl weekend box office

    [ad_1]

    The third installment in the “Magic Mike” series danced its way to the top of the box office charts this weekend with a James Cameron double header, “Avatar: The Way of Water” and “Titanic” (yes that “Titanic”), looming close behind.

    “ Magic Mike’s Last Dance ” earned $8.2 million in its first weekend in North American theaters, according to studio estimates on Sunday. Cameron’s “Avatar” sequel brought in an additional $6.9 million while the 25th anniversary rerelease of “Titanic” took in $6.4 million from Friday to Sunday.

    North American moviegoing tends to come to a halt on Super Bowl Sunday and studios react strategically, often releasing films that are more “female-targeted.” Star Channing Tatum has also had several films perform well in the Super Bowl/Valentine’s Day corridor, including “The Vow,” “Dear John” and “Dog.”

    “This is not known as a spike the weekend for theaters. But there are people who want to go to theaters, even on Super Bowl weekend,” said Paul Dergarabedian, the senior media analyst for Comscore. “And this is perfect counterprogramming.”

    “Magic Mike’s Last Dance,” which brought Steven Soderbergh back to the director’s chair, was given a modest theatrical release in only 1,500 theaters. The film starring Tatum as the lovable male stripper and introducing a wealthy benefactor played by Salma Hayek, was made to go straight to HBO Max. But like the “ House Party ” reboot from several weeks ago, Warner Bros. pivoted and decided to go theatrical first with both in a company effort to refocus on the theatrical experience and give fresh fare to exhibitors.

    The ”Magic Mike” franchise has been a profitable one. In 2012, the first film opened to some $39.1 million from just under 4,000 theaters, on its way to earning $167.3 million globally (against a $7 million production budget). The second, “XXL,” was made for slightly more ($14 million) and took in slightly less ($122.5 million) in 2015. The success of the films also spawned a Las Vegas stage show that has since expanded to Miami and London – in the lead up to the release of “Last Dance,” ticket sales for “Magic Mike Live” spiked too.

    This latest installment reportly carried a much bigger production budget, around $40 million, according to entertainment trades.

    “Avatar: The Way of Water” in its ninth weekend added $25.8 million globally, bringing its total earnings to $2.2 billion, holding its spot as the 4th biggest movie release ever but closing in on “Titanic.”

    “Titanic” was rereleased in 2,464 domestic locations this weekend, with Paramount handling the North American release and The Walt Disney Co. on the international rollout in 51 territories. All told the film earned $22.3 million globally, with $2 million of that from IMAX screens. “Titanic” has now earned an estimated $2.2 billion globally, maintaining its title as the third biggest movie of all time.

    In fourth place was the Super Bowl-themed “80 for Brady,” in its second weekend, with $6 million. The Paramount release has made just under $25 million so far. M. Night Shyamalan’s “Knock at the Cabin,” a Universal release, rounded out the top five with $5.5 million.

    “Super Bowl weekend is typically slow for theaters, and this one is no exception, but help is on the way with ‘Ant-Man,’” Dergarabedian said. “It’ll start a chain reaction that should carry throughout the whole year.”

    The Marvel/Disney film “Ant-Man and the Wasp: Quantumania” opens in theaters on Feb. 17.

    Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore, with Wednesday through Sunday in parentheses. Final domestic figures will be released Monday.

    1. “Magic Mike’s Last Dance,” $8.2 million.

    2. “Avatar: The Way of Water,” $6.9 million.

    3. “Titanic,” $6.4 million.

    4. “80 for Brady,” $6 million.

    5. “Knock at the Cabin,” $5.5 million.

    6. “Puss in Boots: The Last Wish,” $5.5 million.

    7. “A Man Called Otto,” $2.6 million.

    8. “Missing,” $2.6 million.

    9. “M3GAN,” $2.4 million.

    10. “Plane,” $1.2 million.

    —-

    Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr.

    [ad_2]

    Source link

  • No Super Bowl interview for Biden, White House official says

    No Super Bowl interview for Biden, White House official says

    [ad_1]

    NEW YORK — The on-again, off-again Super Bowl interview between President Joe Biden and a Fox Corp. streaming service appears to be off again.

    A White House official said Friday evening that it was “inaccurate” to say the interview had been rescheduled, contradicting a Fox Corp. spokesperson who said earlier in the day that it was happening.

    The statement appeared to signal the definitive end of a pingpong saga over whether Biden would sit down with Fox interviewers ahead of the Super Bowl on Sunday. Presidents traditionally grant an interview to the network that’s broadcasting the game — in this case, Fox.

    However, this year negotiations broke down.

    The back-and-forth began Friday with a tweet from White House press secretary Karine Jean-Pierre.

    “The President was looking forward to an interview with Fox Soul to discuss the Super Bowl, the State of the Union, and critical issues impacting the everyday lives of Black Americans,” she wrote. “We’ve been informed that Fox Corp. has asked for the interview to be cancelled.”

    Fox Soul was created in 2020, and it’s geared toward Black viewers.

    Hours later, a Fox Corp. spokesperson released a contradictory statement.

    “After the White House reached out to Fox Soul Thursday evening, there was some initial confusion,” the spokesperson said. “Fox Soul looks forward to interviewing the President for Super Bowl Sunday.”

    The spokesperson added that the interviewers — Vivica A. Fox, the actress and host of “Cocktails with Queens,” and sportscaster Mike Hill — had arrived in Washington after flying in from the Los Angeles.

    But the White House statement later Friday added another twist.

    “As we said earlier, we had arranged an interview with FOX Sports Host Mike Hill & Vivica A. Fox with the President ahead of the Super Bowl and Fox Corp. had the interview cancelled,” the statement said. “Fox has since put out a statement indicating the interview was rescheduled, which is inaccurate.”

    In 2021, Biden spoke to CBS News anchor Norah O’Donnell prior to the game, and last year he spoke with NBC News’ Lester Holt.

    [ad_2]

    Source link

  • Hugh Hudson, ‘Chariots of Fire’ director, dead at 86

    Hugh Hudson, ‘Chariots of Fire’ director, dead at 86

    [ad_1]

    LONDON — Hugh Hudson, a British filmmaker who debuted as a feature director with the Oscar-winning Olympics drama “Chariots of Fire” and later made such well-regarded movies as “My Life So Far” and the Oscar-nominated “Greystroke,” has died at age 86.

    Hudson’s family issued a brief statement announcing that he died Friday at a hospital in London “after a short illness.”

    A London native, Hudson started out as a documentary editor and producer and also worked in television advertising before finding work in feature films in the late 1970s as a second-unit director on Alan Parker’s “Midnight Express.” In 1981, producer David Puttnam asked Hudson to direct “Chariots of Fire,” which starred Ben Cross and Nigel Havers as British athletes of contrasting religions and backgrounds at the 1924 Olympics.

    With its inspirational plot and sentimental theme music by the Greek composer Vangelis, “Chariots of Fire” was a solid commercial success and won four Academy Awards, including best picture and score. Hudson, a nominee for director, later helped produce a stage adaptation of “Chariots” that was timed for the 2012 Summer Olympics in London.

    He had mixed success with future movie projects. “Greystroke: The Legend of Tarzan, Lord of the Apes,” a 1984 movie featuring Ralph Richardson in his final movie role, was a box office success that received three Oscar nominations. But two years later, he was a nominee for a Golden Raspberry for directing the critical and commercial flop “Revolution.” His other credits included “My Life So Far,” “Lost Angels” and “Altamira.” He also co-wrote “Tiger’s Nest,” a 2022 release.

    According to his family’s statement, Hudson is survived by his wife, Maryam, his son, Thomas, and his first wife, Sue.

    [ad_2]

    Source link

  • At Super Bowl, Sheryl Lee Ralph seeks to ‘Lift Every Voice’

    At Super Bowl, Sheryl Lee Ralph seeks to ‘Lift Every Voice’

    [ad_1]

    PHOENIX — Sheryl Lee Ralph is living a career dream: The “Abbott Elementary” star won her first Emmy last year and will lend her powerful vocals as a Super Bowl pregame performer this weekend.

    With all her success, the veteran actor-singer only wishes her late parents were living to witness her recent accomplishments.

    “I wish that my parents were still alive to see it and experience it with me,” Ralph said in a recent interview while promoting the Microban 24 sanitizing spray. Her father was a college professor, while her mother was a renowned Jamaican fashion designer.

    “My parents always believed in me and my success,” she continued. “I know this would’ve been something they would love to have been a part of. I do miss them.

    Ralph will hit this Sunday’s Super Bowl stage to sing “Lift Every Voice and Sing.” The other pregame performances include country music star Chris Stapleton, who will sing the national anthem, while R&B legend Babyface will perform “America the Beautiful.” Rihanna is the featured halftime performer.

    Last year, the 66-year-old Ralph won an Emmy as a first-time nominee for best supporting actress in a comedy for her role as Barbara Howard on ABC’s “Abbott Elementary,” which also stars Quinta Brunson. In her acceptance speech, she bellowed powerful lyrics about being an “Endangered Species” by Dianne Reeves to implore others to never give up on their dreams or aspirations.

    Ralph said she always believed in her abilities. She’s happy to finally receive the positive recognition and energy being served her way.

    “Fame and success can be very daunting,” said the actor who has decades of industry experience with several memorable roles including the Broadway musical “Dreamgirls” in the 1980s and the stepmother to the title character on the 1990s sitcom “Moesha.”

    “It isn’t for the faint of heart,” she said. “It is not to those who are weak. You have to be strong to sustain. You have to have the belief to do what is necessary to keep you able to carry on. To get up and talk to people and convey messages. It’s taken years to learn, and I’ve just been a good student and have paid attention. So now I’m able to do so much of that understanding that this is quite a race. It’s a marathon I should say.”

    ___

    For more coverage of this week’s Super Bowl, including entertainment events around the game, visit: https://apnews.com/hub/super-bowl

    [ad_2]

    Source link

  • At Super Bowl, Sheryl Lee Ralph seeks to ‘Lift Every Voice’

    At Super Bowl, Sheryl Lee Ralph seeks to ‘Lift Every Voice’

    [ad_1]

    PHOENIX — Sheryl Lee Ralph is living a career dream: The “Abbott Elementary” star won her first Emmy last year and will lend her powerful vocals as a Super Bowl pregame performer this weekend.

    With all her success, the veteran actor-singer only wishes her late parents were living to witness her recent accomplishments.

    “I wish that my parents were still alive to see it and experience it with me,” Ralph said in a recent interview while promoting the Microban 24 sanitizing spray. Her father was a college professor, while her mother was a renowned Jamaican fashion designer.

    “My parents always believed in me and my success,” she continued. “I know this would’ve been something they would love to have been a part of. I do miss them.

    Ralph will hit this Sunday’s Super Bowl stage to sing “Lift Every Voice and Sing.” The other pregame performances include country music star Chris Stapleton, who will sing the national anthem, while R&B legend Babyface will perform “America the Beautiful.” Rihanna is the featured halftime performer.

    Last year, the 66-year-old Ralph won an Emmy as a first-time nominee for best supporting actress in a comedy for her role as Barbara Howard on ABC’s “Abbott Elementary,” which also stars Quinta Brunson. In her acceptance speech, she bellowed powerful lyrics about being an “Endangered Species” by Dianne Reeves to implore others to never give up on their dreams or aspirations.

    Ralph said she always believed in her abilities. She’s happy to finally receive the positive recognition and energy being served her way.

    “Fame and success can be very daunting,” said the actor who has decades of industry experience with several memorable roles including the Broadway musical “Dreamgirls” in the 1980s and the stepmother to the title character on the 1990s sitcom “Moesha.”

    “It isn’t for the faint of heart,” she said. “It is not to those who are weak. You have to be strong to sustain. You have to have the belief to do what is necessary to keep you able to carry on. To get up and talk to people and convey messages. It’s taken years to learn, and I’ve just been a good student and have paid attention. So now I’m able to do so much of that understanding that this is quite a race. It’s a marathon I should say.”

    ___

    For more coverage of this week’s Super Bowl, including entertainment events around the game, visit: https://apnews.com/hub/super-bowl

    [ad_2]

    Source link

  • Grammys rebound from COVID years, reach 12.4 million viewers

    Grammys rebound from COVID years, reach 12.4 million viewers

    [ad_1]

    NEW YORK (AP) — An estimated 12.4 million people tuned in to watch stars Harry Styles, Lizzo and Bad Bunny perform at the Grammy Awards, along with a tribute to 50 years of rap history.

    That’s up from the pandemic-affected broadcasts of the last two years, the Nielsen company said on Monday. Live viewership was 8.8 million in 2021 and 8.9 million in 2022.

    While the Grammys bounced back, it didn’t reach the viewership levels of pre-COVID days. Music’s showcase night was seen by 18.7 million people in 2020.

    Live television viewership has declined across-the-board over the past few years, with pro football one of the few events to buck the trend.

    There was no immediate estimate of how viewing broke down between CBS and its sister streaming service, Paramount+, which also covered the awards. The number is likely to increase slightly when delayed viewing is counted later.

    [ad_2]

    Source link

  • ABC’s ‘Not Dead Yet’ is a comedy with a weekly ghost story

    ABC’s ‘Not Dead Yet’ is a comedy with a weekly ghost story

    [ad_1]

    NEW YORK (AP) — While TV writers Casey Johnson and David Windsor were winding down the emotional roller coaster series “This Is Us,” they had another project waiting to soar — one with ghosts.

    Their new “Not Dead Yet,” about a newspaper obituary writer haunted by the subjects she is writing about, lands on ABC this week, less than a year after viewers bid goodbye to “This Is Us” characters Randall, Kate and Kevin.

    “With the end of that show, it was a lot about death. And here we were at the same time giving birth to this other baby,” said Windsor. “It was sort of a nice cycle of life.”

    In “Not Dead Yet,” airing Wednesday, Gina Rodriguez plays Nell, a newly single reporter who returns to her California newspaper 10 years after she quit to follow a love interest to London. Things have changed for everyone.

    She lands on the obituary desk — “Everyone has a story. It’s your job to find it,” she is told — and in the pilot is soon visited by the ghost of her first story. It does not go well.

    “No, uh-uh, I do not see dead people,” she tells the spirit. “This has just got to be the chili cheese fries and the cake and the five cocktails and maybe the half gummy I ate.” To which the ghost deadpans: “Go easy there, Keith Richards.”

    The use of a new ghost each week allows Nell to explore other lives and experiences, and they, in turn, help advise a women who admits she’s a mess, someone who drinks a little too much and wears bathing suit bottoms when she runs out of clean underwear.

    “There’s two things about the people who’ve passed away,” says Johnson. “What can they bring up in Nell’s life that she can explore and what can she learn from this person’s life that’s specific to them. So it’s just kind of this rich territory.”

    Some of the ghosts Nell meets include a jingle writer who teaches Nell about one-hit wonders, a hard-charging success coach who reveals not all advice is useful and a social media influencer who brings up hurt memories of high school. It airs while another spirt-filled comedy — CBS’ “Ghosts” — has begun its second season.

    “Not Dead Yet” co-stars Hannah Simone from “New Girl” as Nell’s best friend, “Superstore” alumna Lauren Ash as her chilly boss, “Cleopatra Jones” star Angela Gibbs as a new friend and “As We See It” star Rick Glassman as her roommate.

    Guest star ghosts over the first series include Martin Mull, Ed Begley Jr., Mo Collins, Deborah S. Craig, Telma Hopkins, Don Lake, Rhea Perlman, Paula Pell, Tony Plana and Julia Sweeney.

    Johnson and Windsor, who created and executive produced “The Real O’Neals,” were coming off a three-year run as co-executive producers of “This Is Us” and based their new series on a book by Alexandra Potter. They managed to get the series filmed before Rodriguez gave birth.

    Both writers had mourned the recent passing of a parent and found themselves missing their loved ones and wishing they still had their guidance.

    “It was almost wish fulfillment thinking like, ‘Wow, what would happen if we could talk to them? What would happen if we could seek them out and and get their advice?’” said Windsor.

    Johnson and Windsor had primarily done comedies before “This Is Us” but they always tried to give their shows a dramatic, emotional heart. “Not Dead Yet” has elements of both.

    “We were wondering if there was a way to kind of meld the two worlds,” said Johnson. “Can we do a comedy that has hard jokes and is a lot of fun, but then also goes for these really emotional, real moments? To us as writers, that was a really exciting experiment and we were really thrilled that ABC was on board.”

    “Not Dead Yet” is also a workplace show, one that makes fun of co-workers who bring large salads to work and the cliques that form, like the adult jocks and the forever nerds.

    Johnson notes that leading a TV show mirrors a lot of office culture and offers plenty to mine: “We’re in a writers’ room with bad fluorescent lights and dried up Sharpies and lunches out of plastic containers,” she said, laughing.

    They said that when writing episodes there were times when the notion of the ghost came first and other times the idea for Nell to explore something in her life dictated the arrival of a certain ghost.

    For the episode when Nell confronts a nemesis from high school — guest actor Brittany Snow plays her perfectly as a conceited adult social influencer — the writers started with a past bully.

    “We knew we wanted to tell that story because we thought that was so unique and potentially funny,” said Johnson. “We didn’t yet know what story we wanted to tell for Nell. So the ghost came first. And then we found the story that we wanted to do. But I think in other instances, it’s come a different way.”

    The writing duo have many more ghosts on tap. Windsor said the writers room has about 100 cards of potential dead people. “We just can’t wait to tell them all. Hopefully we get the second, third, fourth season to do it.”

    ___

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

    [ad_2]

    Source link

  • Clues hidden in The Last of Us credits

    Clues hidden in The Last of Us credits

    [ad_1]

     

    It makes sense that creativity in title sequences was shifting from film to television as TV itself became increasingly cinematic. The Sopranos ushered in the era of prestige TV – and its opening credits set the scene for something special.

    “When you think about that title sequence, with Tony driving from New York into New Jersey, establishing his domain, showing exactly where his kingdom lies and the way the camera frames and establishes him as a leader, the kingpin, and as this mysterious figure… it just lent so much gravitas, and gave you so much insight into the situation of the show,” says Lola Landekic, editor in chief of Art of the Title, a publication dedicated to title sequence design in TV and film. “It became such an important bridge into the world of the show.”

    The theme song – Alabama 3’s Woke Up This Morning (which the band apparently licensed to the show for just $500) – is now inextricably linked with Tony Soprano, too. “I think whenever anyone hears that song now, it’s so impossible to think of it on its own. It has taken on this entire character of the show now,” says Landekic. “Something like that can really extend the life of a show and embed it so deeply into viewers’ minds that it just creates this deeper appreciation and deeper connection.”

    Landekic, a graphic designer, has been editor since 2011 of the Art of the Title site, where the mission is “to make people aware of the blood, sweat and tears that goes into these beautiful pieces of art that they experience”.

    But when there’s now the option to skip the intro completely, why are shows still putting so much effort into them? Landekic says the rise of streaming services and sheer amount of TV we have to choose from demands it. “There’s a sort of titles arms race to compete for viewers. This branding of the show becomes much more intense, much more important to draw in viewers and maintain that foothold in someone’s memory in a field that is so saturated now with product. Ultimately, when you’re creating any kind of cultural product, what you’re looking for is connection. The branding of that show, or that product, is what gets you there. I think not paying attention to that is a huge mistake.”

    [ad_2]

    Source link

  • ABC’s ‘Not Dead Yet’ is a comedy with a weekly ghost story

    ABC’s ‘Not Dead Yet’ is a comedy with a weekly ghost story

    [ad_1]

    NEW YORK — While TV writers Casey Johnson and David Windsor were winding down the emotional roller coaster series “This Is Us,” they had another project waiting to soar — one with ghosts.

    Their new “Not Dead Yet,” about a newspaper obituary writer haunted by the subjects she is writing about, lands on ABC this week, less than a year after viewers bid goodbye to “This Is Us” characters Randall, Kate and Kevin.

    “With the end of that show, it was a lot about death. And here we were at the same time giving birth to this other baby,” said Windsor. “It was sort of a nice cycle of life.”

    In “Not Dead Yet,” airing Wednesday, Gina Rodriguez plays Nell, a newly single reporter who returns to her California newspaper 10 years after she quit to follow a love interest to London. Things have changed for everyone.

    She lands on the obituary desk — “Everyone has a story. It’s your job to find it,” she is told — and in the pilot is soon visited by the ghost of her first story. It does not go well.

    “No, uh-uh, I do not see dead people,” she tells the spirit. “This has just got to be the chili cheese fries and the cake and the five cocktails and maybe the half gummy I ate.” To which the ghost deadpans: “Go easy there, Keith Richards.”

    The use of a new ghost each week allows Nell to explore other lives and experiences, and they, in turn, help advise a women who admits she’s a mess, someone who drinks a little too much and wears bathing suit bottoms when she runs out of clean underwear.

    “There’s two things about the people who’ve passed away,” says Johnson. “What can they bring up in Nell’s life that she can explore and what can she learn from this person’s life that’s specific to them. So it’s just kind of this rich territory.”

    Some of the ghosts Nell meets include a jingle writer who teaches Nell about one-hit wonders, a hard-charging success coach who reveals not all advice is useful and a social media influencer who brings up hurt memories of high school. It airs while another spirt-filled comedy — CBS’ “Ghosts” — has begun its second season.

    “Not Dead Yet” co-stars Hannah Simone from “New Girl” as Nell’s best friend, “Superstore” alumna Lauren Ash as her chilly boss, “Cleopatra Jones” star Angela Gibbs as a new friend and “As We See It” star Rick Glassman as her roommate.

    Guest star ghosts over the first series include Martin Mull, Ed Begley Jr., Mo Collins, Deborah S. Craig, Telma Hopkins, Don Lake, Rhea Perlman, Paula Pell, Tony Plana and Julia Sweeney.

    Johnson and Windsor, who created and executive produced “The Real O’Neals,” were coming off a three-year run as co-executive producers of “This Is Us” and based their new series on a book by Alexandra Potter. They managed to get the series filmed before Rodriguez gave birth.

    Both writers had mourned the recent passing of a parent and found themselves missing their loved ones and wishing they still had their guidance.

    “It was almost wish fulfillment thinking like, ‘Wow, what would happen if we could talk to them? What would happen if we could seek them out and and get their advice?’” said Windsor.

    Johnson and Windsor had primarily done comedies before “This Is Us” but they always tried to give their shows a dramatic, emotional heart. “Not Dead Yet” has elements of both.

    “We were wondering if there was a way to kind of meld the two worlds,” said Johnson. “Can we do a comedy that has hard jokes and is a lot of fun, but then also goes for these really emotional, real moments? To us as writers, that was a really exciting experiment and we were really thrilled that ABC was on board.”

    “Not Dead Yet” is also a workplace show, one that makes fun of co-workers who bring large salads to work and the cliques that form, like the adult jocks and the forever nerds.

    Johnson notes that leading a TV show mirrors a lot of office culture and offers plenty to mine: “We’re in a writers’ room with bad fluorescent lights and dried up Sharpies and lunches out of plastic containers,” she said, laughing.

    They said that when writing episodes there were times when the notion of the ghost came first and other times the idea for Nell to explore something in her life dictated the arrival of a certain ghost.

    For the episode when Nell confronts a nemesis from high school — guest actor Brittany Snow plays her perfectly as a conceited adult social influencer — the writers started with a past bully.

    “We knew we wanted to tell that story because we thought that was so unique and potentially funny,” said Johnson. “We didn’t yet know what story we wanted to tell for Nell. So the ghost came first. And then we found the story that we wanted to do. But I think in other instances, it’s come a different way.”

    The writing duo have many more ghosts on tap. Windsor said the writers room has about 100 cards of potential dead people. “We just can’t wait to tell them all. Hopefully we get the second, third, fourth season to do it.”

    ___

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

    [ad_2]

    Source link

  • Hasty Pudding celebrates Coolidge as its Woman of the Year

    Hasty Pudding celebrates Coolidge as its Woman of the Year

    [ad_1]

    CAMBRIDGE, Mass. (AP) — Dressed up as a dolphin and forced to give someone a lightning-fast makeover, “The White Lotus” actress Jennifer Coolidge was roasted Saturday before being honored as the 2023 Woman of the Year by Harvard University’s Hasty Pudding Theatricals.

    As the oldest theatrical organization in the nation and one of the oldest in the world, since 1951, Hasty Pudding Theatricals has bestowed this award annually on women “who have made lasting and impressive contributions to the world of entertainment.”

    Coolidge, who saw a career resurgence following her Emmy-winning turn as Tanya McQuoid-Hunt in the acclaimed HBO series “The White Lotus,” headlined a parade through the streets of Cambridge Saturday afternoon. Dressed in a leopard print coat and donning a fluffy pink hat, she waved to the crowd that had come out despite unusually frigid temperatures.

    Coolidge, who also played Stifler’s sultry mom in the film “American Pie” and sage manicurist Paulette in the “Legally Blonde” movies, grew up in the Boston area. Her other film credits include roles in “Best In Show,” “A Mighty Wind” and “Shotgun Wedding,” and she has appeared in multiple television shows, including “Seinfeld,” “2 Broke Girls” and “Nip/Tuck.”

    “It’s been very fun. I’m really having a blast,” said Coolidge before she was presented with her Pudding Pot award. ”I got to meet all these young students who are so much smarter than me.”

    Coolidge later got emotional, recalling how her late father who went to Harvard would have loved to have witnessed this moment.

    “I’ve been so blown away that this experience is happening. I never saw it coming. It blows away any sort of movie or television show I have ever done,” she said. “Seriously, my dad went here. I wish he was here. His brothers went here and everything so it’s a big deal.”

    Producers roasted Coolidge with several zingers about her career, including at one point suggesting they wondered whether she was chosen only after Reese Witherspoon dropped out. They went on to poke fun at her lack of serious roles and noted how she left Boston for New York where she made a splash “as an incompetent cocktail waitress.”

    “Patrons raved at your unpredictable movement patterns and your quote haunting rendition of happy birthday,” one of the producers, Sarah Mann, joked. Fellow producer Aidan Golub then noted how she waitressed with Sandra Bullock, “marking the first and last time that you would get the chance to work with an Oscar winner.”

    Coolidge was then made to judge a contest of four people doing impressions of her, choosing a man dressed in a pink dress who uttered the words from an iconic scene she did in “Legally Blonde.” And after noting how Coolidge recently said her dream role was to play a dolphin, producers dressed her in a dolphin outfit and asked her to sing in the style of a dolphin.

    She made a series of dolphin-like squeaks before shooting a water pistol at two people dressed as menacing sting rays — a scene similar to the one in second season of “White Lotus” where she guns down several people on a boat. “These rays are trying to murder me,” she said.

    Previous winners of the Woman of the Year Award include Meryl Streep, Viola Davis and Debbie Reynolds.

    On Thursday, award-winning actor and bestselling author Bob Odenkirk was honored as the 2023 Man of the Year. Odenkirk, best known as shady lawyer Saul Goodman on “Breaking Bad” and “Better Call Saul,” received his Pudding Pot award at the celebratory roast ahead of a preview of Hasty Pudding Theatricals’ 174th production, “COSMIC RELIEF!”

    [ad_2]

    Source link

  • Hasty Pudding celebrates Coolidge as its Woman of the Year

    Hasty Pudding celebrates Coolidge as its Woman of the Year

    [ad_1]

    CAMBRIDGE, Mass. — Dressed up as a dolphin and forced to give someone a lightning-fast makeover, “The White Lotus” actress Jennifer Coolidge was roasted Saturday before being honored as the 2023 Woman of the Year by Harvard University’s Hasty Pudding Theatricals.

    As the oldest theatrical organization in the nation and one of the oldest in the world, since 1951, Hasty Pudding Theatricals has bestowed this award annually on women “who have made lasting and impressive contributions to the world of entertainment.”

    Coolidge, who saw a career resurgence following her Emmy-winning turn as Tanya McQuoid-Hunt in the acclaimed HBO series “The White Lotus,” headlined a parade through the streets of Cambridge Saturday afternoon. Dressed in a leopard print coat and donning a fluffy pink hat, she waved to the crowd that had come out despite unusually frigid temperatures.

    Coolidge, who also played Stifler’s sultry mom in the film “American Pie” and sage manicurist Paulette in the “Legally Blonde” movies, grew up in the Boston area. Her other film credits include roles in “Best In Show,” “A Mighty Wind” and “Shotgun Wedding,” and she has appeared in multiple television shows, including “Seinfeld,” “2 Broke Girls” and “Nip/Tuck.”

    “It’s been very fun. I’m really having a blast,” said Coolidge before she was presented with her Pudding Pot award. ”I got to meet all these young students who are so much smarter than me.”

    Coolidge later got emotional, recalling how her late father who went to Harvard would have loved to have witnessed this moment.

    “I’ve been so blown away that this experience is happening. I never saw it coming. It blows away any sort of movie or television show I have ever done,” she said. “Seriously, my dad went here. I wish he was here. His brothers went here and everything so it’s a big deal.”

    Producers roasted Coolidge with several zingers about her career, including at one point suggesting they wondered whether she was chosen only after Reese Witherspoon dropped out. They went on to poke fun at her lack of serious roles and noted how she left Boston for New York where she made a splash “as an incompetent cocktail waitress.”

    “Patrons raved at your unpredictable movement patterns and your quote haunting rendition of happy birthday,” one of the producers, Sarah Mann, joked. Fellow producer Aidan Golub then noted how she waitressed with Sandra Bullock, “marking the first and last time that you would get the chance to work with an Oscar winner.”

    Coolidge was then made to judge a contest of four people doing impressions of her, choosing a man dressed in a pink dress who uttered the words from an iconic scene she did in “Legally Blonde.” And after noting how Coolidge recently said her dream role was to play a dolphin, producers dressed her in a dolphin outfit and asked her to sing in the style of a dolphin.

    She made a series of dolphin-like squeaks before shooting a water pistol at two people dressed as menacing sting rays — a scene similar to the one in second season of “White Lotus” where she guns down several people on a boat. “These rays are trying to murder me,” she said.

    Previous winners of the Woman of the Year Award include Meryl Streep, Viola Davis and Debbie Reynolds.

    On Thursday, award-winning actor and bestselling author Bob Odenkirk was honored as the 2023 Man of the Year. Odenkirk, best known as shady lawyer Saul Goodman on “Breaking Bad” and “Better Call Saul,” received his Pudding Pot award at the celebratory roast ahead of a preview of Hasty Pudding Theatricals’ 174th production, “COSMIC RELIEF!”

    [ad_2]

    Source link

  • Hasty Pudding celebrates Coolidge as its Woman of the Year

    Hasty Pudding celebrates Coolidge as its Woman of the Year

    [ad_1]

    CAMBRIDGE, Mass. — Dressed up as a dolphin and forced to give someone a lightning-fast makeover, “The White Lotus” actress Jennifer Coolidge was roasted Saturday before being honored as the 2023 Woman of the Year by Harvard University’s Hasty Pudding Theatricals.

    As the oldest theatrical organization in the nation and one of the oldest in the world, since 1951, Hasty Pudding Theatricals has bestowed this award annually on women “who have made lasting and impressive contributions to the world of entertainment.”

    Coolidge, who saw a career resurgence following her Emmy-winning turn as Tanya McQuoid-Hunt in the acclaimed HBO series “The White Lotus,” headlined a parade through the streets of Cambridge Saturday afternoon. Dressed in a leopard print coat and donning a fluffy pink hat, she waved to the crowd that had come out despite unusually frigid temperatures.

    Coolidge, who also played Stifler’s sultry mom in the film “American Pie” and sage manicurist Paulette in the “Legally Blonde” movies, grew up in the Boston area. Her other film credits include roles in “Best In Show,” “A Mighty Wind” and “Shotgun Wedding,” and she has appeared in multiple television shows, including “Seinfeld,” “2 Broke Girls” and “Nip/Tuck.”

    “It’s been very fun. I’m really having a blast,” said Coolidge before she was presented with her Pudding Pot award. ”I got to meet all these young students who are so much smarter than me.”

    Coolidge later got emotional, recalling how her late father who went to Harvard would have loved to have witnessed this moment.

    “I’ve been so blown away that this experience is happening. I never saw it coming. It blows away any sort of movie or television show I have ever done,” she said. “Seriously, my dad went here. I wish he was here. His brothers went here and everything so it’s a big deal.”

    Producers roasted Coolidge with several zingers about her career, including at one point suggesting they wondered whether she was chosen only after Reese Witherspoon dropped out. They went on to poke fun at her lack of serious roles and noted how she left Boston for New York where she made a splash “as an incompetent cocktail waitress.”

    “Patrons raved at your unpredictable movement patterns and your quote haunting rendition of happy birthday,” one of the producers, Sarah Mann, joked. Fellow producer Aidan Golub then noted how she waitressed with Sandra Bullock, “marking the first and last time that you would get the chance to work with an Oscar winner.”

    Coolidge was then made to judge a contest of four people doing impressions of her, choosing a man dressed in a pink dress who uttered the words from an iconic scene she did in “Legally Blonde.” And after noting how Coolidge recently said her dream role was to play a dolphin, producers dressed her in a dolphin outfit and asked her to sing in the style of a dolphin.

    She made a series of dolphin-like squeaks before shooting a water pistol at two people dressed as menacing sting rays — a scene similar to the one in second season of “White Lotus” where she guns down several people on a boat. “These rays are trying to murder me,” she said.

    Previous winners of the Woman of the Year Award include Meryl Streep, Viola Davis and Debbie Reynolds.

    On Thursday, award-winning actor and bestselling author Bob Odenkirk was honored as the 2023 Man of the Year. Odenkirk, best known as shady lawyer Saul Goodman on “Breaking Bad” and “Better Call Saul,” received his Pudding Pot award at the celebratory roast ahead of a preview of Hasty Pudding Theatricals’ 174th production, “COSMIC RELIEF!”

    [ad_2]

    Source link

  • Longtime AP country music chronicler Joe Edwards dies at 75

    Longtime AP country music chronicler Joe Edwards dies at 75

    [ad_1]

    NASHVILLE, Tenn. — Journalist Joe Edwards, who chronicled country music and helped “Rocky Top” become a Tennessee state song during his four-decade Associated Press career, has died. He was 75.

    Longtime AP colleague Randall Dickerson said Edwards’ wife called him to share the news that her husband died Friday after a lengthy illness in Nashville.

    Edwards documented the ascent of country music through interviews with stars ranging from Dolly Parton to Taylor Swift. He wrote the AP’s Nashville Sound country music column from 1975 to 1992 and did commentary for The Nashville Network cable TV station in the 1980s.

    When Edwards retired in 2012, Reba McEntire said in a video tribute: “I’ll never forget the first time you interviewed me at the very beginning of my career, and I’ll never forget how sweet you were always to me.”

    In 1982, a story Edwards wrote about the popularity of the song “Rocky Top” led the General Assembly to declare it a state song.

    “He got the ball rolling,” Boudleaux Bryant, the song’s co-writer, said at the time.

    He also covered sports and a variety of other topics during his AP career, which was spent entirely in Nashville. He worked most of the jobs in the Nashville bureau, including sports editor, broadcast editor and day and night supervisor.

    Edwards was among those covering the death of Elvis Presley in 1977. He also reported about or edited stories from more than 20 Country Music Association awards shows.

    He was nominated for several AP writing awards in the 1970s and 1980s.

    “I just show up on time and do what I’m told,” he once said.

    He wrote often about the syndicated TV show “Hee Haw,” and he once appeared on camera with its cast members.

    Edwards began his AP career in 1970 after graduating from Eastern Kentucky University. Prior to that, he attended Vincennes University in Indiana.

    While in college, he worked for the Cincinnati Enquirer and the Crawfordsville, Indiana, Journal-Review.

    Shortly after taking the job in Nashville, he periodically played basketball with Al Gore, then a reporter for The Nashville Tennessean. Gore later became vice president.

    “He was a pretty good rebounder,” Edwards recalled.

    Country music stars he interviewed also included Garth Brooks, Willie Nelson, Kenny Rogers, Barbara Mandrell and Loretta Lynn. For several years, Edwards voted on nominees for the Songwriters Hall of Fame.

    He specialized in writing obituaries, including those for music stars Johnny Cash, Porter Wagoner, Roy Orbison, Bill Monroe and Carl Perkins.

    In 2010, he wrote extensively about the Nashville flooding that left much of the city submerged for several days. But he preferred reporting about more light-hearted topics, such as the taster at the Jack Daniel’s distillery in Lynchburg, Tennessee.

    Also, Edwards traditionally wrote a year-end story annually wrapping up Tennessee’s offbeat happenings of the year.

    “People call and ask if I’m going to do the weird story again,” he said.

    In the early 1970s, as bureau sports editor, Edwards spearheaded an effort to include girls high school basketball scores on the AP wire and to have a girls poll join the one for boys.

    [ad_2]

    Source link