[ad_1]
2×7: Arrivederci
Albie asks Dominic for a karmic payment to help Lucia. Tanya grows wary of Quentin’s motives. Ethan confronts Cam.
Mike White
ONTD, who did you hope were the murder victims (multiple choice so pick as many as you like)?
Who do you hope is the returning character in S3?
[ad_2]
silverstarry
Source link
[ad_1]
Image via SKY/HBO Max
With the White Lotus finale happening this weekend, we are certain of one thing only: anyone could die. Countless fan theories are swirling around the internet and it’s taught us that we don’t know who to believe anymore. Every White Lotus theory seems correct, but we know to expect the unexpected with this show.
Our editors have our theories, too:
Langa
This time last week I was convinced that it was over for Ms Tanya — and her little Portia too. But now I’m less sure. I — along with half the internet, so I can’t take credit — called the connection between Greg and the gays. The working theory: they were conspiring to kill Tanya for her fortune. However, Episode 6 revealed that they videotaped Tanya’s fab tryst with the Italian drug dealer. It seems Greg will use the tape to get Tanya’s money in the divorce. With this in mind, a murder plot seems superfluous. With the bag secured, there’s no ned for violence. I’m still putting a big pin in the gun in the bag though. Much to think about.
And so now I am left with these theories:
Jenna
PSA: I don’t have TikTok so I feel like I’m missing out on valuable clues. Regardless, this is going to be so embarrassing come Monday when all my theories are wrong. Here’s what I’m thinking:
Also, can I get bonus points if Laura Dern shows up?
Jai
My roommate, Brynn, has sent me a plethora of White Lotus theories on the Tok and the theories make me feel like I haven’t been watching the same show. Granted, you would have to pause every single scene to know what’s happening here. But here are my most solid ones:
Report back on Monday to see who was wrong, and who was even more wrong.
[ad_2]
Jai Phillips
Source link
[ad_1]
“If everything’s so perfect, why are we so miserable?” That’s a line that could come straight out of any number of characters on The White Lotus, the second season of which deepens its examination of how real happiness eludes the well-heeled. Instead, it’s a line spoken by the ship purser Gopher (Fred Grandy) on the luxury ocean liner Pacific Princess, in the 1977 pilot of The Love Boat.
That’s notable, as The White Lotus creator Mike White recently revealed that his own prestigious hit series, whose second-season finale lands Sunday on HBO, is heavily influenced by his steady diet of crowd-pleasing hit shows that he watched as a kid. “I’m definitely in the Fantasy Island [and] Love Boat generation,” White told NPR earlier this week. “I was probably 10 to 13 years old when they were in their heyday. And I love those shows.”
His longtime love for those shows is evident in the bloodline of The White Lotus, but seems more as if he watched them on acid. He also reportedly admits to taking cues from the cliff-hangers of the reality TV show Survivor, on which he appeared as a contestant, and Laverne & Shirley, whose wacky working-girls hijinks influenced plot lines for local sex workers Mia (Beatrice Grannò) and Lucia (Simona Tabasco).
The Love Boat, which ran from 1977 to 1986, features affluent passengers cruising through Mexican resort beaches to forget their troubles, only to find that, removed from real-world distractions, those troubles are laid bare to a claustrophobic degree. It attracted a slew of top-notch actors of the day (or those who would soon become famous), from Betty White and Olivia de Havilland to a young Tim Robbins and Tom Hanks, and it ranked among the top-watched shows of the era.
Part of a wildly popular double hitter of Saturday-night programming on ABC, The Love Boat was followed by Fantasy Island, a show where guests visited a tropical island (some on-location shots were filmed in Hawaii) and paid a handsome sum to have their deepest desires fulfilled, only to learn that they should’ve been careful what they wished for. Their fantasies took somewhat darker, unexpected turns than The Love Boat, sometimes even involving the supernatural or time travel. The show also drew top actors or soon-to-be-stars of the day to guest-star spots (Geena Davis, Don Knotts, LeVar Burton).
Both shows were produced by Aaron Spelling, whose pitch to ABC execs for Fantasy Island, funnily enough, echoes the underlying premise of The White Lotus. “Leonard [Goldberg] and I were sitting, and the head of ABC out here at the time [Brandon Stoddard] came in, and he wanted us to do some more TV movies for him,” Spelling told the Television Academy Foundation in 1999. “And we pitched some very touching subject matter and he said, ‘No, that’s too down. No, that’s too family. No, we need something exciting.’ We must’ve pitched six ideas trying to mull it down, and I said as a joke, ‘Oh, so what do you want, this great island where people can go to and all their sexual fantasies will be realized?’ And he said, ‘Yeah, I love that!’”
While it’s unlikely that’s how The White Lotus pitch to HBO went, it’s interesting that White alludes to the ways in which prestige is not really so different from classic TV hits. “When you’re on HBO and there’s all this sense of, ‘It’s prestige TV and blah, blah, blah,’ I’m doing basically a reboot of Laverne & Shirley meets Fantasy Island with some Survivor dropped into it,’” he told NPR. “I think those early entertainment things that capture your imagination definitely stick with you.”
What seems to have stuck with White from those shows is that their guests are also seeking escape from the drudgery of real life. They also expect the best of everything. And they’re bummed or even outraged when the service, the rooms, the food, or the thrills don’t quite match their unrelenting expectations. And when pitted against one another for resources, shit gets dark.
But modesty aside, his twist on those formulas is absent in the original shows’ DNA. He’s bringing something entirely of his own here. This was, after all, an era of laugh tracks, tidy resolutions, and simplistic moral lessons about just being honest with your partner or finding a compromise in a relationship. Sure, some guests narrowly escaped death in fulfilling their deepest desires on Fantasy Island (fighting in a war; escaping a well-guarded prison and getting shot at), and the passenger problems on The Love Boat were titillating for the era (one woman desperately wanted to prevent her congressman fiancé from finding out she’d posed naked in Kitten Magazine). But by today’s standards, those are about as controversial as anything on The Brady Bunch. On both shows, though, everything could always be counted on to turn out just fine by the time the credits rolled.
[ad_2]
Tracy Moore
Source link
[ad_1]
You can always tell it’s going to be an eventful vacation when it starts with the discovery of a body—sorry, bodies—during a carefree ocean meander, right? That’s where we started this season of Mike White’s celebrated resort mystery show, where there’s as much drama as there is Aperol (read: so much).
The first episode of the series set up the central mystery in the first scene, when Daphne (Meghann Fahy) giddily wades into the Ionian Sea on the final day of her vacation, only to bump right into the pale leg of a corpse, floating facedown in the water. Talk about a buzzkill.
Like the show’s first season, this isn’t just a whodunit but a who is it as well. In that same opening scene, we learn through conversation that “a few” hotel guests “have been killed,” not just the owner of that calf we spotted. Undisclosed number! Undisclosed identities! Talk about a PR crisis.
We’ve been following the lifestyles of the rich and the miserable on Still Watching all season as they vacation and absolutely hoover cocaine in Sicily, but all good things must come to an end. With the season finale looming on Sunday, here are the VF staff’s theories on who’s going to bite the big one on The White Lotus, and how.
Maybe the most boring possibility, but it still feels true. Greg (Jon Gries), who we now know to be apparently in cahoots with scheming Quentin (Tom Hollander), is still planning to return to Sicily. And though Tanya (Jennifer Coolidge) is the one who is most obviously in danger, Mike White still doesn’t seem like the kind to willingly kill off Jennifer Coolidge. So we imagine that poor, hoodwinked Tanya gets her moment of redemption, pushes Greg off that giant cliff we saw in episode four, and rides off into the sunset…hopefully on her way to The White Lotus season three. —Katey Rich
I think Ethan (Will Sharpe) could take out Cameron (Theo James) in a deliberate Jet Ski collision. I think the hospitalized piano player (Federico Scribani) could return and, seeing he has been replaced by Mia (Beatrice Grannò), will spike her drink (she always seems to carry around a tall plastic cup with a straw), maybe even working in cahoots with the former front desk guy (who was moved poolside by Valentina, played by Sabrina Impacciatore). I think Jennifer Coolidge’s Tanya, who always seems to shake out of her fog at the right moment, could well awaken to the scheme Greg, Quentin, Jack (Leo Woodall), and the new Romeo are all plotting—and, possibly with Portia’s (Haley Lu Richardson) help—deliberately or inadvertently kill whoever turns out to be Coolidge’s would-be assailant (either from a balcony or the back of the yacht). Assailant overboard!
And maybe Dominic’s wife (Laura Dern) shows up and surprises the Di Grassos—or, in a coda, the Di Grassos return home to LA, Lucia (Simona Tabasco) in tow—and Dern’s character knifes poor Dominic (with a blade similar to one we’ve seen in the murals in the show’s opening-credits sequence). —David Friend
If The White Lotus’s sophomore season has turned our masculinity crisis into a slow-motion car crash, then its ultimate victim must be someone who believes himself to be in the driver’s seat. Sure, Cameron, Ethan, and the Di Grasso men are suffering, but, at the end of the day, they have their place within the system. Quentin, however, does not. His likely ties to Tanya’s husband—and “relationship” with Jack—belie a character who desperately wants a power he’s without. Wouldn’t it be fitting to see that blow up in his face? Whatever Quentin and Greg have planned, Portia will return in time to save her boss from the worst-possible outcome. In the process, Jack will accidentally kill the man who once rescued him. Daphne will discover his corpse in the water. And, though Portia will want to help him, Jack, a man with no goals, will allow himself to be arrested for his crimes. —Tyler Breitfeller
Let’s zoom out for a moment, shall we? He’s a pompous, entitled jerk with apparent money troubles and a passion for adultery. He hits on Harper (Aubrey Plaza), even as he tries to siphon an investment out of Ethan, and he doesn’t pay Mia and Lucia when it’s time to settle up, even though they know where he’s staying. He’s right on the verge of pushing the wrong person too far, landing him squarely in the dead-body pileup mentioned in the first episode. Even Daphne, his smiley wife (and iconic series breakout), has her reasons to want him gone. Who’s to say she isn’t using this trip as a sun-soaked chance to put him out to pasture, skitter back home, and collect his life insurance? She’s a self-professed Dateline obsessive who has already done some chilling stuff. (Kidnapping Harper in Noto? The casual trainer/baby daddy reveal??) She’s also laid the groundwork for a strong alibi, from that dramatic opening beach scene in the first episode, to letting slip to Harper that Cameron’s coworkers are evil psychopaths. Either way: Cameron’s spent their entire vacation making enemies. It’s only a matter of time before it blows up in his face. —Yohana Desta
I’m going to say there are four dead people, because Rocco says “a few,” which means more than two more (in addition to the one in the ocean), but probably not more than three more, which would be “a lot” or “molti.” And I am going to spread my bets on the manner: accidental, intentional, natural, and some combination of accident/intent.
[ad_2]
Vanity Fair
Source link
[ad_1]
20. Top Boy
Netflix may be facing a reckoning at the moment, financial, critical and otherwise, but among its few 2022 highpoints is undoubtedly the return of this brilliant British drama, which was cancelled by its original UK broadcaster Channel 4 but then picked up by the streamer (via the rapper Drake, who pushed for its revival and these days is the show’s executive producer). Now in its second Netflix series, or fourth series overall, it tells an at-once densely detailed yet narratively propulsive story of East London life, which deftly covers everything from gang crime and drug deals to gentrification, coercive relationships and immigration policy, and has only got better and better. The way it films East London is both harsh and beautiful, capturing its vibe in a way that feels truer than any other film or show in recent memory, while the performances are remarkable in their naturalism – among them rapper Kano as the brooding Sully, now living on a canal boat, and Jasmine Jobson as the hard-edged Jaq. (HM)
Available on Netflix internationally
21. This is Going to Hurt
A harrowing, deeply important and, most of all, funny portrait of the British healthcare system, the National Health Service (NHS), This is Going to Hurt is based on the memoir of the same name by former doctor Adam Kay. Having been a junior doctor in a busy London hospital’s obstetrics and gynaecology ward, Kay paints a nuanced portrait of the working conditions he and many others endured, and the serious toll that long hours and intense pressure takes on your life. Ben Whishaw’s performance as Kay is a tour de force, delineating the inner turmoil of a man determined to at least try to do the right thing, but who doesn’t always pull it off. What’s so special about this show is that Kay isn’t a likeable character, but you continually root for his success, desperately wishing him, his patients and his colleagues well. It’s not a rosy portrait of the realities of life in British hospitals, and there are some truly devastating moments throughout, but the show steadfastly keeps going with humanity and gallows humour, despite the horrors: just as healthcare professionals do every day. (AC)
Available on BBC iPlayer in the UK and AMC in the US
Love film and TV? Join BBC Culture Film and TV Club on Facebook, a community for cinephiles all over the world.
If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter.
And if you liked this story, sign up for the weekly bbc.com features newsletter, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.
[ad_2]
[ad_1]
Everyone knows you’re trying it because you’re playing Glinda in a two-movie attempt at a block-buster that I’m betting is gonna flopp-
But, I’m not having it.
SHE ACTUALLY HAS THE NERVE TO CALL THIS MAKE-UP RELEASE “MOD VANILLA”.
For those of us that still remember and have eyes to see…
ONTD are you multi-racial?
[ad_2]
ichabod_crake
Source link
[ad_1]
It’s funny how stories can still shock. That feeling of—ah!—surprise hasn’t dissipated or blunted for some of us, despite all the shocking things that have happened, especially all the shocking things that have happened in the last 10 years or so. The pandemic. Government officials partying during the lockdown. Don*ld Tr*mp. El*n M*sk. An airplane just…disappeared. The guy who made deliveries of things a thing is now delivering people to the edge of space. It’s been an outrageous couple of decades. But no matter how many crazy things happen, we retain the capacity for shock.
Best example I’ve got: this Good Morning America thing. You saw the news, right? Truly shocking stuff. Did everyone know that somewhere along the way GMA extended to a third hour every day? It’s called GMA3 (!), and it airs weekdays at 1 p.m. ET. I’m shocked!
We learned about the third hour of daytime television because there were photos published in the Daily Mail that appear to be taken by a private investigator, and they’re of the third hour’s hosts, Amy Robach and T.J. Holmes, canoodling all over the place—upstate New York, in Times Square—despite both being married to other people.
Robach is married to Andrew Shue, formerly of Melrose Place, and Holmes is married to Marilee Holmes, immigration lawyer handling modeling visas. (Vanity Fair has reached out to GMA3 for comment on the situation involving its hosts, and neither have offered a statement to any outlet.) So it doesn’t exactly appear to be a victimless situation. We all suffered from not knowing there’s a third hour of Good Morning America, and now we know about it and can tune in. Silver linings are everywhere. You just have to look.
The Mail and its tabloid cohorts have been very quick to package and promote the story according to the familiar beats, even if, if you’ll allow us to put on our media-criticism hat here a second: there is a third hour of GMA? Page Six even reported that the show’s runners were considering letting this lightning out of the bottle. “While producers had been freaking out and having meetings about whether it was right to put them back on air again together, they showed up as a couple and said they were ready and totally fine to go on air,” Page Six’s anonymous source claims. “Their attitude seems to be that they are both separated, and now they are together, so there’s nothing to hide.” Then came word from People that actually the pair have been “dating in the open” after they separated from their respective spouses back in August.
It’s giving Joe and Mika, if Joe and Mika were on the niche third hour of Good Morning America. Now, there’s one detail from the story that is totally understandable. Fully plausible. Absolutely expected. The Daily Mail reports (though an anonymous source disputes it) they started their alleged dalliance while overseas reporting on the Queen’s Jubilee—an assignment steeped in the heady brew of exotic locale and first-wave romanticism that’s historically produced the kind of passionate journalistic affairs they used to make movies about. There’s nothing shocking about that.
[ad_2]
Kenzie Bryant
Source link
[ad_1]
South Korean actor Oh Young-soo speaks during a press conference at the Welcome Daehakro Festival 2022 in Seoul, South Korea, Sept. 21, 2022. Award-winning “Squid Game” actor Oh will stand trial on charges of indecent assault after a woman accused him of inappropriately touching her in 2017, a South Korean court said. (Park Jin-hee/Newsis via AP)
[ad_2]
[ad_1]
10 The Witcher: Blood Origin
A Christmas treat for fantasy fans comes in the form of this prequel series to Netflix hit The Witcher, set 1,200 years before the original series, which fortuitously stars the wonderful Michelle Yeoh, who may well soon be an Oscar- winner, thanks to her performance in dazzling multiverse drama Everything Everywhere All At Once. Here, she plays a character Scian, who is the last in the line of so-called sword-elves (ie she can do nifty things with a blade), and is on a mission to hunt down a stolen sacred sword. Expect Yeoh to put her action skills to good use, and lots of bone-crunching violence – so you may want to make sure you’ve fully digested your Christmas dinner before starting a binge.
The Witcher: Blood Origin premieres on 25 December on Netflix internationally
Love film and TV? Join BBC Culture Film and TV Club on Facebook, a community for cinephiles all over the world.
If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter.
And if you liked this story, sign up for the weekly bbc.com features newsletter, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.
[ad_2]
[ad_1]
Argentina’s 2-0 win over Mexico was the most-watched Spanish-language World Cup group stage broadcast in U.S. history, draw 8.9 million viewers on Telemundo television and the streaming services of Telemundo and Peacock
DOHA, Qatar — Argentina’s 2-0 win over Mexico was the most-watched Spanish-language World Cup group stage broadcast in U.S. history, drawing 8.9 million viewers on Telemundo television and the streaming services of Telemundo and Peacock.
The game, which started at 2 p.m. EST Saturday, topped the previous group stage mark of 5.7 million set in Brazil’s 2-0 win over Serbia, a 2 p.m. EST kickoff on Nov. 24. The overall U.S. Spanish-language record is 9.2 million on television for the Netherlands’ 2-1 win over Mexico in a round of 16 game on June 29, 2014, a Sunday match that kicked off at noon EDT.
The Argentina-Mexico match set a record with 2.08 million viewers of the streams on Telemundo and Peacock, topping the 1.35 million for Mexico’s 0-0 draw against Poland on Tuesday, the networks said.
Telemundo and Peacock are part of NBCUniversal, which is owned by Comcast Corp.
Fox has U.S. English-language television rights.
———
AP World Cup coverage: https://apnews.com/hub/world-cup and https://twitter.com/AP—Sports
[ad_2]
[ad_1]
NEW YORK (AP) — The United States’ 0-0 draw against England in the World Cup drew 19.98 million viewers for English- and Spanish-language broadcasts, the third-most watched men’s soccer game on U.S. television.
The match, which kicked off at 2 p.m. EST on Friday, was seen by 15,377,000 viewers on Fox, the most for a U.S. English-language men’s soccer telecast. The figure was 6% above the 14.51 million for Brazil’s penalty-kicks win over Italy in the 1994 final at the Rose Bowl in Pasadena, California, a Sunday 3:30 p.m. EDT start that July 17 viewed by 14,510,000 on ABC, according to Fox.
The U.S.-England game was viewed by 4.6 million on Telemundo, a division of Comcast Corp.‘s NBCUniversal. It was the third-most-watched Spanish language World Cup telecast in the U.S. since at least 2006, topped by the United States’ 2-2 group-stage draw with Portugal in 2014, seen by 6.5 million on Univision with a 6 p.m. EDT start in mid-June, and Brazil’s 2-0 win over Serbia on Thursday, a 2 p.m. EDT game seen by 5.7 million on Thanksgiving.
According to Nielsen, the only men’s soccer matches with more viewership on U.S. television were Germany’s win over Argentina in the 2014 final, seen by 22.67 million, and Spain’s victory over the Netherlands in 2010, seen by 21.36 million. Both those matches, televised by ABC and Univision, were on Sundays in July, with kickoff at 2:30 p.m. EDT in 2010 and 3 p.m. EDT in 2014.
___
AP World Cup coverage: https://apnews.com/hub/world-cup and https://twitter.com/AP_Sports
[ad_2]
[ad_1]
NEW YORK — The United States’ 0-0 draw against England in the World Cup drew 19.98 million viewers for English- and Spanish-language broadcasts, the third-most watched men’s soccer game on U.S. television.
The match, which kicked off at 2 p.m. EST on Friday, was seen by 15,377,000 viewers on Fox, the most for a U.S. English-language men’s soccer telecast. The figure was 6% above the 14.51 million for Brazil’s penalty-kicks win over Italy in the 1994 final at the Rose Bowl in Pasadena, California, a Sunday 3:30 p.m. EDT start that July 17 viewed by 14,510,000 on ABC, according to Fox.
The U.S.-England game was viewed by 4.6 million on Telemundo, a division of Comcast Corp.‘s NBCUniversal. It was the third-most-watched Spanish language World Cup telecast in the U.S. since at least 2006, topped by the United States’ 2-2 group-stage draw with Portugal in 2014, seen by 6.5 million on Univision with a 6 p.m. EDT start in mid-June, and Brazil’s 2-0 win over Serbia on Thursday, a 2 p.m. EDT game seen by 5.7 million on Thanksgiving.
According to Nielsen, the only men’s soccer matches with more viewership on U.S. television were Germany’s win over Argentina in the 2014 final, seen by 22.67 million, and Spain’s victory over the Netherlands in 2010, seen by 21.36 million. Both those matches, televised by ABC and Univision, were on Sundays in July, with kickoff at 2:30 p.m. EDT in 2010 and 3 p.m. EDT in 2014.
———
AP World Cup coverage: https://apnews.com/hub/world-cup and https://twitter.com/AP—Sports
[ad_2]
[ad_1]
NEW YORK — The United States’ 0-0 draw against England in the World Cup drew 19.98 million viewers for English- and Spanish-language broadcasts, the third-most watched men’s soccer game on U.S. television.
The match, which kicked off at 2 p.m. EST on Friday, was seen by 15,377,000 viewers on Fox, the most for a U.S. English-language men’s soccer telecast. The figure was 6% above the 14.51 million for Brazil’s penalty-kicks win over Italy in the 1994 final at the Rose Bowl in Pasadena, California, a Sunday 3:30 p.m. EDT start that July 17 viewed by 14,510,000 on ABC, according to Fox.
The U.S.-England game was viewed by 4.6 million on Telemundo, a division of Comcast Corp.‘s NBCUniversal. It was the third-most-watched Spanish language World Cup telecast in the U.S. since at least 2006, topped by the United States’ 2-2 group-stage draw with Portugal in 2014, seen by 6.5 million on Univision with a 6 p.m. EDT start in mid-June, and Brazil’s 2-0 win over Serbia on Thursday, a 2 p.m. EDT game seen by 5.7 million on Thanksgiving.
According to Nielsen, the only men’s soccer matches with more viewership on U.S. television were Germany’s win over Argentina in the 2014 final, seen by 22.67 million, and Spain’s victory over the Netherlands in 2010, seen by 21.36 million. Both those matches, televised by ABC and Univision, were on Sundays in July, with kickoff at 2:30 p.m. EDT in 2010 and 3 p.m. EDT in 2014.
———
AP World Cup coverage: https://apnews.com/hub/world-cup and https://twitter.com/AP—Sports
[ad_2]
[ad_1]
NEW YORK — The United States’ 0-0 draw against England in the World Cup drew 19.98 million viewers for English- and Spanish-language broadcasts, the third-most watched men’s soccer game on U.S. television.
The match, which kicked off at 2 p.m. EST on Friday, was seen by 15,377,000 viewers on Fox, the most for a U.S. English-language men’s soccer telecast. The figure was 6% above the 14.51 million for Brazil’s penalty-kicks win over Italy in the 1994 final at the Rose Bowl in Pasadena, California, a Sunday 3:30 p.m. EDT start that July 17 viewed by 14,510,000 on ABC, according to Fox.
The U.S.-England game was viewed by 4.6 million on Telemundo, a division of Comcast Corp.‘s NBCUniversal. It was the third-most-watched Spanish language World Cup telecast in the U.S. since at least 2006, topped by the United States’ 2-2 group-stage draw with Portugal in 2014, seen by 6.5 million on Univision with a 6 p.m. EDT start in mid-June, and Brazil’s 2-0 win over Serbia on Thursday, a 2 p.m. EDT game seen by 5.7 million on Thanksgiving.
According to Nielsen, the only men’s soccer matches with more viewership on U.S. television were Germany’s win over Argentina in the 2014 final, seen by 22.67 million, and Spain’s victory over the Netherlands in 2010, seen by 21.36 million. Both those matches, televised by ABC and Univision, were on Sundays in July, with kickoff at 2:30 p.m. EDT in 2010 and 3 p.m. EDT in 2014.
———
AP World Cup coverage: https://apnews.com/hub/world-cup and https://twitter.com/AP—Sports
[ad_2]
[ad_1]
LONDON (AP) — “The Flatshare” stars Jessica Brown Findlay and Anthony Welsh got to do all their own stunts in their new rom-com TV series.
The stunts in question? Writing Post-it notes, which sometimes required multiple takes: “I got so many sent back being like, ‘It’s great, but that’s not how you spell that word,’” Brown Findlay laughed.
Based on the bestselling book by Beth O’Leary that was translated into more than 25 languages, “The Flatshare” revolves around two strangers who live in the same apartment — one at night and the other in the day. They communicate through the sticky notes. It begins airing on Paramount Plus on Dec. 1.
“We did all our own handwriting,” Brown Findlay explained.
Welsh added that they had to write out about five of each note note.
“Jessie knows this now, but I was in like secret competition with her because every day the props department would be like, ‘You’ve got like a batch to do today.’ And I’m like, ‘How many we got?’” he described. ”‘We got 40.’ ‘OK, 40 — damn. How many has Jessie done?’ ‘She’s done all of them.’”
The television series follows the relationship that develops between Leon and Tiffany, played by Welsh (“Fleabag,” “The Great”) and Brown Findlay (“Downton Abbey,” “Brave New World”).
Most of the show is set in the London apartment that the characters share, which had panels that could be removed to enable filming in the small space.
As soon as Tiffany moves in, she takes over the space, Welsh said.
“It felt like Tiff’s flat from day one. And I was like, ‘OK Peter (Cattaneo, director), tell me what’s mine and what’s hers,’ and like, 85% of this stuff is Tiffany’s,” he said. “Leon lives a very, like, simple, minimalist life almost, but she brings a lot of color into the set.”
Brown Findlay said she’s “had loads of flatmates and like, mad flats.”
“I rented a flat once because there was Harry Potter wallpaper in the loo. I just failed to see any other, like, everything else about the flat was terrible and I just ignored all of it,” she said.
She admitted worrying she “was like the weird flatmate who wouldn’t come out of their room a lot” in her past flatsharing arrangements.
“Sometimes you’re just like, ‘I just need some space’ or like taking really long baths and stuff, and then they’re like, ‘You’ve used all the hot water,’” she said. “Yeah, I don’t know if I was always great.”
But for their own flatsharing arrangement, the lead actors — who hadn’t met before — were delighted to work together.
“We kind of both fangirled each other,” Brown Findlay said.
___
For more television coverage, visit https://apnews.com/hub/television
[ad_2]
[ad_1]
LOS ANGELES — The Thanksgiving afternoon game between the New York Giants and Dallas Cowboys set the mark for the most-watched NFL regular-season game on record.
The Cowboys 28-20 victory on Fox averaged 42 million viewers, according to Nielsen, surpassing the 41.55 million average for the Dec. 3, 1990, Monday night game between the Giants and San Francisco 49ers on ABC. Average viewer record numbers date to 1988.
The average viewership for the three Thanksgiving Day games on Thursday was 33.5 million, surpassing the previous high of 32.9 million in 1993, when two games were aired.
The average was also up 6% over last year’s average of 31.6 million.
The Buffalo Bills 28-25 win over the Detroit Lions on CBS was the most-watched early Thanksgiving Day game on record with a 31.6 million average.
The night game between the New England Patriots and Minnesota Vikings averaged 25.9 million, the second-highest audience for a Thanksgiving night contest. The Vikings’ 33-26 victory was surpassed only by the 2015 game between the Chicago Bears and Green Bay Packers (27.8 million).
———
AP NFL: https://apnews.com/hub/nfl and https://twitter.com/AP—NFL
[ad_2]
[ad_1]
WASHINGTON — ABC’s “This Week” — Reps. Michael McCaul, R-Texas, and Mike Turner, R-Ohio; Dr. Ashish Jha, White House COVID-19 response coordinator.
——
NBC’s “Meet the Press” — Gov. Jared Polis, D-Colo.; Rep. James Comer, R-Ky.; Dr. Anthony Fauci, the president’s chief medical adviser.
——
CBS’ “Face the Nation” — Fauci; Polis; Rep. Jim Clyburn, D-S.C.; Jeh Johnson and Michael Chertoff, former homeland security secretaries.
———
CNN’s “State of the Union” — Rep. Adam Schiff, D-Calif.; Gov. Asa Hutchinson, R-Ark.; Sen. Chris Murphy, D-Conn.
———
“Fox News Sunday” — Rep. Brian Fitzpatrick, R-Pa.
[ad_2]
[ad_1]
WASHINGTON — ABC’s “This Week” — Rep. Adam Schiff, D-Calif.; Paul Ryan, former Republican speaker of the House.
——
NBC’s “Meet the Press” — Former Vice President Mike Pence.
——
CBS’ “Face the Nation” — Pence; Rep. Zoe Lofgren, D-Calif.; Rep. Karen Bass, D-Calif., mayor-elect of Los Angeles.
———
CNN’s “State of the Union” — Reps. Hakeem Jeffries, D-N.Y., and Adam Kinzinger, R-Ill.
———
“Fox News Sunday” — Sens. Tom Cotton, R-Ark., and Mark Warner, D-Va.
[ad_2]
[ad_1]
WHITTIER, Calif. — Multiple Los Angeles County Sheriff’s Department recruits were struck by a vehicle early Wednesday, authorities said.
TV news helicopter broadcasts showed a large response of firefighters and ambulances in Whittier, a vehicle on a sidewalk as well as numerous individuals nearby in uniform workout clothes.
County fire senior dispatcher Martin Rangel confirmed that incident involved sheriff’s recruits but said there was no immediate patient count.
Sheriff’s Department spokesperson Deputy Grace Medrano said the incident involved a sheriff’s academy class.
Medrano said there were injuries but she did not have a confirmed number or information about the severity of the injuries.
[ad_2]
[ad_1]
NEW YORK — Kevin Costner’s Paramount epic “Yellowstone” reached 12.1 million viewers for the opening night of its fifth season on Sunday, the most popular scripted series episode so far in the new television season, the Nielsen company said.
That it was a cable network series — instead of a big broadcaster like CBS, NBC or ABC — makes the achievement that much more impressive.
The total viewership involved a little trickery: the show simultaneously aired on Viacom networks CMT, TV Land and Pop, and there were some same-day reruns. Even with that, there were 9.4 million viewers who saw the premiere episode on Paramount alone.
“We’ve been able to create a show that didn’t start out being popular but did it on its own terms,” Costner said in a recent interview with The Associated Press.
“Yellowstone” is one of the most appointment viewing-friendly shows on television now, in part because it appeals to an older audience more used to watching TV in a traditional way, said Josef Adalian, West Coast editor of New York magazine’s Vulture.com.
“People want to watch it and they want to watch it now,” Adalian said. It also proves the enduring popularity of the Western as a genre and, in some respects, it’s surprising there haven’t been copycats.
The show is overwhelmingly popular in red states. States with Republican governors — topped by Texas — watch “Yellowstone” three times as much as states with Democratic governors, according to Philo, a live TV streaming service.
No scripted series on a broadcast network has reached more than 8 million same-day viewers this season, although audiences usually increase when delayed viewing is taken into account.
For instance, the most popular broadcast scripted show last week, CBS’ “Young Sheldon,” was seen by 7.14 million people, Nielsen said.
While “Yellowstone” is a huge success for Paramount, the company is also making money for a corporate rival. Streaming rights for previous seasons of the series are owned by Comcast’s Peacock service, because the Paramount+ streaming outlet did not exist when they were up for grabs.
Among the broadcast networks, NBC had the most viewers in prime time last week, averaging 5 million. Fox had 4.6 million, ABC had 3.9 million, CBS had 3.7 million, Univision had 1.2 million, Ion Television had 950,000 and Telemundo had 750,000.
Fox News Channel was the most popular cable network, averaging 3.15 million viewers in prime time. ESPN had 2.19 million, MSNBC had 1.66 million, Paramount had 1.58 million and Hallmark had 1.23 million.
ABC’s “World News Tonight” led the evening news ratings race, averaging 8 million viewers. NBC’s “Nightly News” had 6.8 million and the “CBS Evening News” had 5 million.
For the week of Nov. 7-13, the most popular prime-time programs, their networks and viewership:
1. NFL Football: Dallas at Green Bay, Fox, 18.13 million.
2. NFL Football: L.A. Chargers at San Francisco, NBC, 15.84 million.
3. “NFL Pregame,” NBC, 12.37 million.
4. “Yellowstone” (8 p.m.), Paramount, 9.41 million.
5. NFL Football: Baltimore at New Orleans, ESPN, 9.36 million.
6. “Yellowstone” (9:14 p.m.), Paramount, 8.44 million.
7. Election Night Coverage (9 to 10 p.m.), Fox News, 7.81 million.
8. “CMA Awards,” ABC, 7.45 million.
9. Election Night Coverage (8 to 9 p.m.), Fox News, 7.27 million.
10. Election Night Coverage (10 to 11 p.m.), Fox News, 7.19 million.
11. “Young Sheldon,” CBS, 7.14 million.
12. “Football Night in America,” NBC, 6.83 million.
13. “60 Minutes,” CBS, 6.77 million.
14. “Ghosts,” CBS, 6.61 million.
15. “The Equalizer,” CBS, 6.45 million.
16. “Chicago Fire,” NBC, 6.14 million.
17. “Chicago Med,” NBC, 5.98 million.
18. “The Voice,” NBC, 5.87 million.
19. “NFL Pregame,” ESPN, 5.53 million.
20. “911,” Fox, 5.09 million.
[ad_2]