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Tag: television
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Vizio’s 4K TV Has Dolby Vision for Under $500
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Basically every major product category has seen massive inflation over the past decade. Every category, that is, except TVs. For some reason, year in and year out, brands compete not only to make the best and brightest but also the best cheap models.
The new Vizio 4K TV (its literal model name) costs $328 for a 55-inch model, has excellent built-in casting and every app you could possibly want, and does Dolby Vision high dynamic range. It doesn’t have fancy backlighting for perfect black levels, but if you need a screen for cheap for a bedroom, office, garage, vacation home, corner bar, what have you, there really isn’t much this one can’t do pretty darn well.
Five years ago, a TV with specs like this would have been around a thousand bucks. Reverse inflation sure is nice for average viewers. Now you can get the massive 86-inch model for under a thousand bucks.
A New Black Box
TVs have gotten so good that the vast majority of us really don’t need to follow trends on the high end anymore. For well under $500, this model has all the features we’ve come to expect from higher-end TVs, including fit and finish.
Photograph: Parker Hall
It’s a simple black box with legs on either side of the screen. I’d prefer a pedestal mount, but I can’t get picky at this price, and you may or may not have a wall mount or other type of mount planned. The legs keep it steady enough on my TV stand, and a nice 2-inch thick case makes it easy to move the TV around without fear of breaking it.
Like all modern TVs, this one has super-thin bezels and is nearly all screen when turned on. It runs on Vizio’s SmartCast operating system, which is one of the better in-house smart TV interfaces we regularly test. It makes for easy casting between both Android phones (thanks to Chromecast) and iPhones (thanks to AirPlay 2), and it has its own variety of decent built-in apps for everything from Netflix to Apple TV. All of them work just fine in my testing, though I prefer my trusty Roku interface when given the choice.
Setup is quick and painless. Just plug in the TV, log in to your apps, and it’s off to the races. It comes with three built-in HDMI ports (one eARC for soundbar or receiver setup), which is more than enough for most modern homes. I plugged in my Nintendo Switch and Panasonic 4K Blu-Ray player and was watching Ferris Bueller in no time.
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Parker Hall
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Anna Sorokin eliminated from ‘Dancing With the Stars’ in first round of cuts
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LOS ANGELES — Anna Sorokin, the convicted con artist who swindled banks, hotels and friends under the guise of being a “heiress” named Anna Delvey, has reached the end of her run on “Dancing With the Stars.”
As a controversial casting choice on the competition reality series, Sorokin had to don an ankle monitor on stage. Described as the “notorious ankle bracelet fashionista” in the announcement of her casting, Sorokin is under house arrest for an impending deportation case.
While she was released from prison in February 2021, immigration authorities picked her up shortly after she got out, claiming she overstayed her visa and must be returned to her native Germany. The “Inventing Anna” inspiration was in ICE custody for over a year before a judge cleared the way for her to switch to home confinement in October 2022 while she fights the deportation case.
After her performance to “Suddenly I See” by KT Tunstall on Tuesday with dance pro Ezra Sosa, Sorokin was cut from the series. Eliminations started in the series’ second week and are based on votes from viewers.
Asked by the hosts Tuesday night what she was going to take away from the competition, Delvey pointedly said: “Nothing.”
She doubled down on “Good Morning America” on Wednesday saying her favorite part of the experience was “getting eliminated.”
Sorokin and Sosa spoke with The Associated Press last week after her initial performance. On dancing with her ankle monitor, which was bedazzled to match her costume, Sorokin said, “It’s actually not a big issue at all. It’s pretty light and I asked them to make it tight so it doesn’t dangle. So it’s not so bad.”
Changes to Sorokin’s house arrest conditions to accommodate filming the show in Los Angeles were unknown and it remains unclear how her lengthy deportation case will proceed.
Also eliminated on Tuesday’s episode was Tori Spelling, an actor best known for “Beverly Hills, 90210.” After her elimination with partner Pasha Pashkov, Spelling described her time on the show as a “crazy transformational journey” and noted that she’s glad she faced her fears despite being cut.
“I just kept looking at my kids who were sitting in the audience and I was just like, ‘I love you. I love you.’ And I wanted them to know that whatever happens, ‘I love you and thank you for being proud of me,” Spelling said. “It goes fast and you’re in your head because it is scary. It’s really scary.”
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Detroit’s ‘Bridgerton Ball’ slammed as a scam
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A Bridgerton-themed ball held at Detroit’s Harmonie Club on Sunday turned into a massive disappointment, with many attendees calling it a scam.
The event, based on the hit Netflix TV show, was organized by Uncle & Me Event Management and left guests frustrated with allegations of poor organization, minimal staff, nowhere to sit, and vendors selling little more than Kit Kats. Attendees were especially shocked when the night’s entertainment turned out to be a single stripper, which was far from the Regency-era theme they had expected.
“My family and I just left the Detroit Bridgerton Ball. It was absolutely HORRENDOUS,” one Redditor posted. “Although the venue was nice, the decor was sparse and extremely tacky. It wasn’t even Bridgerton themed! We spent $400 on tickets for a complete b*s experience! I read that the event company made hundreds of thousands of dollars in revenue for this event.”
Tickets for the event ranged from $150 to $1000, yet many guests reported that no one even checked tickets at the door. The event has been compared to a similarly disastrous Willy Wonka-themed experience in the U.K., another overhyped event that failed to deliver.
Another Redditor dubbed the local event the “Detroit Scammerton Ball” and also shared their disbelief: “Can you imagine walking into a Bridgerton-themed ball with a STRIPPER as entertainment? All seats were taken, even if you purchased a VIP ticket, you had nowhere to sit. Dinner was disgusting. Alcohol was supposed to be included… take a wild guess, no alcohol.”
Frustrated guests, some of whom had spent hundreds or more on tickets and attire, echoed these sentiments across social media threads. Many described the event as overcrowded, with few staff members present to manage the chaos.
Netflix has hosted an official Queen’s Ball: A Bridgerton Experience event. This, however, was not that. Not even close.
This version of the Bridgerton Ball, rescheduled from its original August date and moved from Castle Hall to the Harmonie Club, appears to have fallen short on every promise.
A thread on X revealed even more, stating that the company lied saying the original venue wouldn’t accommodate their guests, while a Castle Hall employee says the venue had to cancel because the organizers did not pay the remaining money of their rent.
Thread about the Bridgerton Ball SCAM in Detroit that I (and hundreds of others) spent $300 on pic.twitter.com/EUgX482w8j
— Rachel Eaton @ Realta (@rayleearts) September 24, 2024
Guests were also disappointed when there was no “diamond of the season” or cash prize for the best-dressed attendee, both of which had been promised in the promotional material.
Now, attendees are desperately hoping for refunds and accountability.
Metro Times reached out to Uncle & Me Event Management for comment, but an email sent to the address provided at detroitbridgertonball.com bounced back as undeliverable.
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Layla McMurtrie
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How the Menendez Brothers’ Therapist and His Mistress Became the Murder Trial’s Circus Sideshow
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As Ryan Murphy’s Monsters: The Lyle and Erik Menendez Story recalls in its controversial, true-crime-camp glory, the tale of Beverly Hills brothers Lyle and Erik brutally murdering their parents, José and Mary Louise “Kitty” Menendez, in 1989 was an American horror story. It had all the elements to transfix a nation—spoiled, attractive Beverly Hills brothers who made some seriously bone-headed decisions (one wrote a screenplay about a character who kills his parents; both spent up to a combined $700,000 in the aftermath of their parents’ deaths) and allegations of sexual abuse in the country’s most elite zip code. While those pulpy issues were at the forefront of the boys’ 1993 trial, the court case also featured two witnesses whose behavior was perhaps just as confounding (though not criminal): Menendez therapist L. Jerome Oziel and his mistress, Judalon Smyth. Eventually, these two managed to temporarily steal the courtroom spotlight from Lyle and Erik. In fact, their testimony became such a circus sideshow that neither was invited back to testify during the brothers’ second trial.
Dominick Dunne, who covered the trial for this magazine, credited Erik’s lead defense counsel Leslie Abramson for taking “what was virtually an open-and-shut case of premeditated murder in the first degree,” complete with confession from the killers, and shapeshifting it before the public’s very eyes. Oziel was the source of the case’s smoking-gun evidence: tapes of the brothers’ therapy sessions, during which they described plotting their parents’ murders (“the perfect crime,” they called it, as Oziel remembered). Abramson fought for the tapes to be excluded from trial. When she lost that battle, she announced that she would discredit the psychologist in “every way known to man and God.”
During the trial, Abramson worked Oziel like a chew toy. She got him to admit he hadn’t told the Menendez family—who hired him after the boys were caught burglarizing two homes—that his license was on probation by the state board of psychology because of what it called an inappropriate “dual relationship”: exchanging therapy for construction work done at his house by a patient. Abramson asked about a 1990 lawsuit Smyth filed against Oziel in Los Angeles Superior Court, alleging that the psychologist assaulted, raped, kidnapped, and medicated her. When Abramson asked whether Oziel settled the case for $400,000 to $500,000, he replied that his insurance company did. (Oziel had also filed a countersuit, alleging that Smyth developed a “bizarre fixation and obsession with him.”)
At the time, the state psychology board was accusing Oziel of engaging in a sexual relationship with another woman who worked in his home as a housekeeper—and said that he improperly gave her medication and assaulted her. (Oziel denied those charges.) It was also revealed during trial that Oziel didn’t turn his Menendez session tapes into authorities. Instead, he put the tapes into a safe deposit box and, according to Smyth, tried to extort money from the brothers by saying that paying him weekly, even if they did not attend sessions, would be good for their defense if they were ever put on trial. By the end of Abramson’s days-long skewering, even she was bored, according to Robert Rand’s book The Menendez Murders. The lawyer told the judge that, during her questioning of Oziel the following day, “I’m going to be briefer than I thought. I’m frankly sort of sick of him.”
Oziel’s testimony was so damaging to his character that, in 1993 the LA Times reported that his cushy existence—he had a 6,000-square-foot canyon home, a psychologist wife, two children, and a waiting list for his $150-per-hour sessions—is “not such a good life anymore…. For Oziel, it is his reputation that is on trial.” He faced state disciplinary hearings due to the revelations in court. In 1997, the Consumer Affairs Board of Psychology charged Oziel with “a variety of offenses,” according to a spokesperson who spoke to CNN, including sharing confidential information about his patients with Smyth; having both a business and sexual relationship with Smyth; supplying her with drugs; physically assaulting her on two occasions; and engaging in sexual misconduct with two female clients. (Oziel’s attorney denied the last charge, claiming the women were not patients.) Rather than go to court, Oziel surrendered his license “while at the same time denying he engaged in any improprieties,” according to his lawyer. “He is not practicing psychology anymore and hasn’t been for several years. It wasn’t worth the expense and interference with his life.”
The defense’s greatest gift, during the first trial, may have been Oziel’s mistress: an attractive woman who first reached out to Oziel in the hopes of getting relationship therapy. After she realized she could not afford Oziel’s sessions, she became sexually involved with the psychologist, and dysfunctionally enmeshed in both his marriage and the Menendez case. After Oziel broke up with her, Smyth told authorities that Oziel possessed taped confessions from the Menendez brothers.
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Julie Miller
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What to Stream: Clooney & Pitt, Will & Harper, a Legend of Zelda game and two Ryan Murphy TV series
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What Ellen DeGeneres says is her last comedy special landing on Netflix and George Clooney and Brad Pitt starring in a sleek, New York City caper are some of the new television, films, music and games headed to a device near you.
Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: Serj Tankian, frontman of the Grammy-award winning Armenian-American nu-metal band System of a Down, releases a solo EP, we get two Ryan Murphy series — “Grotesquerie” on FX and the ABC medical drama “Doctor Odyssey” — and nearly 40 years after the debut of The Legend of Zelda, Nintendo is finally making the title character the star of her own game.
— Hard as this may be to believe, George Clooney and Brad Pitt are good together. Yes, stop the presses and all that. But it’s been a while since Clooney and Pitt, who first teamed up for “Ocean’s 11” had a movie built around their easy charisma. “Wolfs,” streaming Friday, Sept. 27, on Apple TV+, corrects that with a sleek New York caper about two fixers who have been hired for the same clean-up job. In my review of the film by writer-director Jon Watts (“Spider-Man: No Way Home”), I wrote that “Wolfs” is “designed to show you that they can still, without ever really breaking a sweat, get the job done.”
— Some Pixar fans have quibbled in the past when the digital animation studio has leaned too hard into sequels. But the box office for “Inside Out 2” is hard to refute. With nearly $1.7 billion in ticket sales, it’s the year’s biggest box-office hit. On Wednesday, “Inside Out 2” arrives on Disney+ to make one of the most anticipated streaming debuts of the year. In it, Riley has grown up a couple years but entered a new chapter in life: puberty, bringing with it a number of new emotions. In my review, I wrote that “the filmmakers of ‘Inside Out 2’ have managed again to filter complex psychological developments into a bright, entertaining head trip that in its finest moments packs an emotional wallop.”
— Will Ferrell and Harper Steele became friends and collaborators at “Saturday Night Live,” where Steele was head writer from 2004 to 2008. When Steele came out as transgender a few years ago, Ferrell, interested in reconnecting, proposed a road trip. In “Will & Harper,” streaming Friday, Sept. 27, on Netflix, the two embark on a cross-country expedition full of revelations about what this changes and doesn’t change in their relationship.
— Remember the first time you heard “Million Dollar Baby”? The rap record feels like it came out of nowhere — as so many TikTok smashes do — but continues to endure, moving from hit song of the spring to hit song of the summer to hit song of the fall and beyond. But now, fans of Tommy Richman will get to dive deeper into his musical abilities when he releases the full-length “Coyote,” on Friday, Sept. 27. Little is known about the 11-track release, but the lead singles “Whitney,” a disco-funk electro-detour, and “Thought You Were the One” – a hook-heavy R&B ballad – suggest range.
— Serj Tankian, frontman of the Grammy-award winning Armenian-American nu-metal band System of a Down, will release a short solo EP, “Foundations” on Friday, Sept. 27. The release maintains his band’s abrasion but experiments with different forms of audial rebellion. The single “A.F. Day,” for example, is a kind of psychedelic-punk treatise on the absurdity of everyday mundanity. And it sounds explosive.
— There is nothing predictable about the band Being Dead’s sophomore album, “EELS,” produced by Grammy-award winnerJohn Congleton. Across 16 tracks that move from asymmetrical egg punk, Devo-worship, a recording of a bus driver who has had enough, timeless, near-psychedelic harmonies and various other oddball sensibilities that make them the best college radio rock band in recent history – Being Dead’s organized chaos is future-seeking and familiar all at once.
— AP Music Writer Maria Sherman
— Ellen DeGeneres says her next comedy special coming to Netflix will be her last. “For Your Approval” drops Sept. 24 and the comedian is “going there,” by addressing reports that she was difficult to deal with behind the scenes of her daytime talk show, which ended its run in 2022 after 19 seasons. “I got kicked out of show business,” she says in the trailer.
— Ryan Murphy has a new series on FX called “Grotesquerie” premiering on Wednesday. Niecy Nash stars as a detective who agrees to help a nun and reporter (Micaela Diamond) with a Catholic newspaper to investigate a series of gruesome murders. Super Bowl-winning Kansas City Chiefs tight end Travis Kelce (otherwise known as Taylor Swift’s boyfriend), has a secret role in the show.
— If “Grotesquerie” isn’t your bag, there’s another Ryan Murphy series making its debut this week. A medical drama called “Doctor Odyssey” premieres Thursday on ABC. Joshua Jackson plays a doctor on board a luxury cruise ship called the Odyssey. Don Johnson, Philippa Soo and Sean Teale also star. The show also boasts a number of guest stars including John Stamos, Kelsea Ballerini, Shania Twain and Chord Overstreet. A trailer for the show had nearly 78 million views within 48 hours, making it the most-watched trailer for a new broadcast TV show. Episodes also stream on Hulu.
— One might assume a TV show called “Colin from Accounts” takes place in an office setting. Instead, it’s a modern day romantic comedy made in Australia. It’s created by and co-stars real-life husband and wife, Harriet Dyer and Patrick Brammel, who play two people who are brought together by an injured dog named Colin. All eight episodes of season two debut Sept. 26 on Paramount+.
— “The Walking Dead” characters Daryl and Carol, (played by Norman Reedus and Melissa McBride), make up one of the most popular platonic pairings on television. The two unlikely friends bond over similar pasts and share a deep trust. They next co-star in “The Walking Dead: Daryl Dixon – The Book of Carol.” It premieres Sept. 29 on AMC and AMC+.
— Zachry Quinto is back on TV on Monday in a medical drama. But he’s not portraying any dour, by-the-rules doctor — he’s playing Dr. Oliver Sacks, the famed neurologist, path-breaking researcher and author once called the “poet laureate of medicine.” NBC’s “Brilliant Minds” takes Sack’s personality — a motorcycle-riding, fern-loving doctor who died in 2015 at 82 — and puts his career in the present day, where the creators theorize he would have no idea who Taylor Swift is or own a cell phone.
— Nearly 40 years after the debut of The Legend of Zelda, Nintendo is finally making the title character the star of her own game. As The Legend of Zelda: Echoes of Wisdom begins, Link — our usual hero — has vanished, so it’s off to the rescue for Princess Z. She’s hardly a damsel in distress, armed with a “Tri Rod” that lets her duplicate objects she finds outside her castle. She can even make copies of monsters and have them fight on her side. The magical staff gives Zelda the improvisational skills that made last year’s Tears of the Kingdom a smash, while the top-down dungeon exploration will remind old-school fans of early games in the franchise. The Echoes begin reverberating Thursday, Sept. 26, on Switch.
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Sony’s Dazzling Bravia 9 takes LED Screens to New Heights
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The Bravia 9 also offers new “Calibration” modes for Amazon Prime and Netflix. The Amazon version makes some interesting changes for different programming, though the Netflix version seemed to mostly just mirror the dimmer Dolby Vision Dark picture mode in the HDR content I watched.
Mostly Solid Digs
The TV is pretty well stocked on the feature front, starting with audio that rises above the crowd. This is one of the few TVs where I don’t mind cutting my audio system (with the A95L being another prime example). Sound is generally full and clear without getting super tinny. There’s some noticeable soundstage movement, and even effects like explosions come out all right.
I thought Sony’s new Voice Zoom 3 dialog booster was mostly marketing hype, but it works pretty well. At one point, I passively heard the entire story of a Sylvester Stallone anecdote in Guardians of the Galaxy Volume 2 which I’d missed in about 7,000 previous viewings, including with soundbars and speakers. Dialog remained mostly clear and out front over several days, even when things got chaotic.
As expected, you’ll get the latest gaming features, including support for ALLM (Auto Low Latency Mode) and VRR (Variable Refresh Rate) at up to 120 Hz via HDMI 2.1. There’s a dedicated gaming mode for quick adjustments and PS5 optimization features like Auto HDR Tone Mapping and Auto Genre Picture Mode. I’m no competitive gamer, and some have noted that the TV’s input response is relatively high for its price, but I adored playing my favorite RPGs. The shading, the colors, and the overall brightness brought the best out of games like God of War Ragnarok.
It’s frustrating that Sony continues to offer HDMI 2.1 support across only two of the TV’s four inputs, unlike most TVs at this level (and below)—especially since one of those is for eARC where you’ll likely connect a soundbar or receiver. The TV’s great sound means some may not add an audio device, but the potential need to swap cables for multiple consoles is silly at this price.
The Bravia 9 also omits one of the two main dynamic HDR formats, HDR10+, offering only Dolby Vision. If you can only pick one, I’d take the more common DV every time but it’d be nice to get both as you’ll find in midrange models from TCL and Hisense. That’s surprisingly common right now; LG and Panasonic TVs don’t support HDR10+, while Samsung won’t pay for Dolby Vision.
Sony is more inclusive on the audio side, offering both DTS:X and Dolby Atmos support. Other notable Bravia 9 features include AirPlay 2 and Chromecast streaming, and Google Voice search via the remote’s built-in microphone.
Sensibly Surreal
The Bravia 9 is an unadulterated brightness powerhouse. Yet, with Sony’s measured hand at the wheel, it doles out its power judiciously, providing subtlety where warranted and dazzlement when the moment strikes. Utilizing a new proprietary system that dims its backlighting with impressive accuracy, this TV is less a blunt force weapon as a mini LED laser beam, striking with white-hot precision. The result is fabulous contrast mixed with next-gen brightness for serious thrills.
Training the Bravia 9’s fire on one of my go-to test films, Moana, felt like proof of concept for a backlighting system some have clocked at nearly 3,000 nits peak brightness (or around double many OLED TVs). I’ve noted before how realistic the film’s Polynesian sun and surf can look with the best TVs, but here things pushed into the surreal. The sun blazed to near eye-squinting levels which, when mixed with the TV’s quantum dot colors and the stark clarity of Sony’s processing, gave me an almost hallucinatory sensation that I was actually at the beach with Moana and Maui. Other scenes like the glittering golden crab or the molten lava monster rose to exhilarating new heights as the light seemed to nearly bore through the panel.
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Ryan Waniata
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‘FROM’ Exclusive: Harold Perrineau Talks About The Town Targeting Boyd In Season 3, ‘It’s Like A Bully’
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Did you know BOSSIP is Harold Perrineau’s wife’s favorite site? The actor told us himself ahead of the season 3 premiere of his hit show FROM.
Source: Courtesy / MGM +
What Is FROM About?
If you’ve never watched before, FROM unravels the mystery of a nightmarish town that traps all those who enter. As the unwilling residents fight to keep a sense of normalcy and search for a way out, they must also survive the threats of the surrounding forest – including the terrifying creatures that come out when the sun goes down. In the wake of Season Two’s epic cliffhanger, escape will become a tantalizing and very real possibility as the true nature of the town comes into focus, and the townspeople go on offense against the myriad horrors surrounding them.
Check out the Season 3 trailer below:
This show makes it hard for us to sleep at night, but we keep coming back for more!
Source: Courtesy / MGM +
Harold Perrineau Hints At Tensions Ahead Between Boyd And Other ‘FROM’ Characters In Season 3
We spoke with Harold Perrineau about his character Boyd coming under even more intense pressure in the new season. With the town and its terrors showing an increasing amount of hatred for him, we asked how Boyd’s relationships with the other townspeople have been affected.
“The town is is really picking on him,” Perrineau told BOSSIP. “It’s like a bully, they’re just picking on him, like this whole thing and I think playing the character, it felt like at any time he could just explode in the middle of the street, just like a pile of blood. ‘Like wow, that’s it, it’s over.’”
Source: Courtesy / MGM +
‘It’s made his connection with one character in particular really explosive, but with some of the other characters it’s edgy. He’s like, ‘You don’t get in my way and I’m trying to get you home! Don’t make me beat you up to make you safe.”
Source: Courtesy / MGM +
“It’s a really weird place for him to be, but I think he’s got no no choice,” Perrineau continued. “The town is literally like singling him out and picking on him and and it’s a lot to deal with when you’re trying to get everybody home to safety, right? It’s made his relationship with some of the other characters really, really interesting and he has some compassion for other characters, but for some he has zero time. Zero.”
Anybody want to guess which characters Boyd gets most fed up with?
Source: Courtesy / MGM +
We’re super excited to watch this season unfold!
The series stars Harold Perrineau (Lost) leading an ensemble cast which includes Catalina Sandino Moreno (Maria Full of Grace, The Affair), Eion Bailey (Band of Brothers, Once Upon a Time), Hannah Cheramy (Under Wraps, Van Helsing), Simon Webster (Strays), Ricky He (The Good Doctor), Chloe Van Landschoot (Charity, Skin), Corteon Moore (Utopia Falls), Pegah Ghafoori (The Perfect Wedding), David Alpay (Castle Rock), Elizabeth Saunders (Clarice), Elizabeth Moy and Avery Konrad (Honor Society). Season 2 added new series regulars including Scott McCord (East of Middle West), Nathan D. Simmons (Diggstown, This Hour Has 22 Minutes), Kaelen Ohm (Hit & Run, Eumenides Falls), Angela Moore (A Series of Unfortunate Events, Maid), AJ Simmons (Reacher), and Deborah Grover (My Next Door Nightmare, Jann).
Source: Courtesy / MGM +
FROM is created and executive produced by John Griffin (Crater), directed and executive produced by Jack Bender (Lost, Game of Thrones, Mr. Mercedes), and executive produced by showrunner Jeff Pinkner (Fringe, Alias, Lost). Alongside Pinkner, Griffin and Bender, serving as executive producers are Josh Appelbaum, André Nemec, Scott Rosenberg from Midnight Radio, Anthony and Joe Russo, Mike Larocca from AGBO, and Lindsay Dunn. Midnight Radio’s Adrienne Erickson serves as co-executive producer. The series is internationally distributed by Paramount Global Content Distribution.
Source: Courtesy / MGM +
FROM Season 3 will debut on MGM+ on Sunday, September 22, 2024 at 9PM ET/PT.
Will you be watching?
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Janeé Bolden
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Emmy Awards: Full list of winners
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LOS ANGELES (AP) — The 76th annual Emmy Awards were handed out Sunday at the Peacock Theater in downtown Los Angeles.
“Shogun” set a single season record for most wins with 18. “Shogun” won best drama series, and Hiroyuki Sanada and Anna Sawai won acting awards for their roles.
“Hacks’’ won the award for best comedy series. ”Baby Reindeer” and “The Bear’’ won four awards apiece.
Early winners included Ebon Moss-Bachrach, Jeremy Allen White and Liza Colón-Zayas, who won awards for their work in the comedy series “The Bear.”
Stars presenting Emmys to their peers included: Billy Crystal, Viola Davis, Selena Gomez, Steve Martin, Maya Rudolph and Martin Sheen.
Several actors and shows, including Rudolph, won last week. Rudolph won her sixth Emmy Award at last weekend’s Creative Arts Emmys for her voice work on “Big Mouth.” Jamie Lee Curtis also picked up a supporting actress Emmy last weekend for her appearance on “The Bear.”
Here’s a list of winners at Sunday’s Emmys:
Drama series
“Shogun”
Comedy series
“Hacks”
Limited, anthology series, movie
“Baby Reindeer”
Actor in a drama series
Hiroyuki Sanada, “Shogun”
Actress in a drama series
Anna Sawai, “Shogun”
Supporting actor in a drama series
Billy Crudup, “The Morning Show”
Supporting actress in a drama series
Elizabeth Debicki, “The Crown”
Actor in a comedy series
Jeremy Allen White, “The Bear”
Actress in a comedy series
Jean Smart, “Hacks”
Supporting actress in a comedy series
Liza Colón-Zayas, “The Bear”
Supporting actor in a comedy series
Ebon Moss-Bachrach, “The Bear”
Actor in a limited, anthology series or movie
Richard Gadd, “Baby Reindeer”
Actress in a limited, anthology series or movie
Jodie Foster, “True Detective: Night Country”
Supporting actress limited, anthology series or movie
Jessica Gunning, “Baby Reindeer”
Supporting actor in a limited, anthology series or movie
Lamorne Morris, “Fargo”
Reality competition program
“The Traitors,” Peacock
Scripted variety series
“Last Week Tonight with John Oliver”
Talk series
“The Daily Show”
Writing for a variety special
Alex Edelman, “Just for Us”
Writing for a comedy series
Lucia Aniello, Paul W. Downs and Jen Statsky, “Hacks”
Writing for a drama series
Will Smith, “Slow Horses”
Writing for a limited series, anthology or movie
Richard Gadd, “Baby Reindeer”
Directing for a limited or anthology series
Steven Zaillian, “Ripley”
Directing for a comedy series
Christopher Storer, “The Bear”
Directing for a drama series
Frederick E.O. Toye, “Shogun”
Governors award
Greg Berlanti
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For more on this year’s Emmy Awards, visit: https://apnews.com/hub/emmy-awards
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‘Beetlejuice Beetlejuice’ and ‘Sing Sing’ couldn’t be more different — but both show the limitations of the movie industry
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My dream format for writing about movies would be to write about one big and one little movie every week. That way I can be a part of the conversation connected to the newest blockbuster everyone is watching while also trying to bring attention to a smaller movie that deserves more eyeballs aimed at it.
It’s basically like trying to have my cake and eat it, too, but it’s sometimes impossible to find opposing movies every week that are both worth discussing. This week, however, is perfect, with the still-crushing-it-at-the-box-office Beetlejuice Beetlejuice and the much smaller arthouse crowd pleaser Sing Sing.
Also, I will never have another chance to do two movies with identically repetitive alliteration for titles, so my OCD also wins this week.
Listen, I will ultimately watch Michael Keaton read from the phone book for two hours, so I feel like an ungrateful child for complaining about a new Beetlejuice movie. But Keaton, Winona Ryder, Catherine O’Hara, and company deserved a better script to play with. So much of the film feels like it was written by committee, where five or six of the story threads only exist to fill time and don’t focus on the characters we actually care about.
What the original Beetlejuice did so well (aside from weaponizing Tim Burton’s gothic whimsy house style) was how it used the characters. We have a newly dead couple discovering the universe of the afterlife along with the audience, so we meet Keaton’s Beetlejuice and his trickster demon shenanigans are just as shocking to us as they are to our dead protagonists. A bunch of dead people can’t sustain an entire Hollywood movie, so then we’re introduced to the Deetz family, who move into the newly dead couple’s beloved home and start turning things upside down.
Ryder’s Lydia Deetz was such an iconic ’80s character because she was one of the first mainstream goth teenagers in pop culture history, and her blend of dry humor, ideation of death, and plucky badassery made her unforgettable. Picking up with Lydia almost 30 years later in the sequel removes all of what made the character such an original creation. Now Lydia feels like a castoff from a Hot Topic clearance sale, making a living as a television medium and trying to connect with her estranged daughter (played by the typecast Jenna Ortega).
Without going into the plethoric plot machinations, Lydia hooks up with Keaton’s Beetlejuice again to save her daughter from a terrible teenage boy, while he needs Lydia to protect him from his undead ex (played by Monica Bellucci looking like Sally from A Nightmare Before Christmas). Did we need Beetlejuice backstory? Probably not, but at least we could have gotten one more interesting than this.
It’s great to see Keaton hamming it up as the ghost with the most again and Burton seems more energized as a filmmaker than he has since at least Sweeney Todd, but it all feels like cosplay and not a story worthy of these characters. When I most definitely will run into a drunk guy dressed like Beetlejuice on Halloween, if I ask him to tell me about his night, it will almost certainly be a more interesting story than the one “Beetlejuice Beetlejuice” tells.
Still, there are lots of cool practical effects and I love Burton’s vision of the afterlife. So I would probably watch another one of these and, since it’s already made a quarter of a billion dollars, I’m sure we’ll get many more.
Film Details
On the opposite end of the spectrum is Sing Sing, a tiny movie about a prison arts program putting on a play. Shot on 16 mm over 19 days and around several decommissioned prisons, Sing Sing focuses almost exclusively on the transformative power of art, the way that performance can help process pain, and the humanization of people to whom most of the world give little or no thought at all.
The great Colman Domingo plays John “Divine G” Whitfield, an innocent man serving 25 to life in New York’s Sing Sing Maximum Security Correctional Facility. Along with a few other inmates, he puts on performances with the Rehabilitation Through the Arts program (a real thing, by the way), helping men with no outlet for their trauma and emotions find a way to be vulnerable with themselves and others.
Domingo is astonishing, and along with Clarence “Divine Eye” Maclin (an actual participant in the RTA program), creates a living, breathing world that lets us inhabit and empathize with an entire society of people most of us have no context to relate to or understand.
Director Greg Kwedar gives us a beautiful example of the possibilities inherent in the arts and Sing Sing proves that the real importance of cinema has nothing to do with the budget or how much money a single movie makes. I’d be shocked if Sing Sing didn’t get nominated for lots of Oscars come awards season and I’ll be incredulous if Domingo and Maclin aren’t nominated for their performances.
Sing Sing and Beetlejuice Beetlejuice couldn’t be more different, but they do show the limitations of the movie industry. When a movie like 2 Fast 2 Beetlejuice has millions at its disposal for marketing, millions of people are guaranteed to see it, whereas a genuinely important film like Sing Sing has barely made over $2 million since its release.
Word of mouth is where something small and beautiful like this finds its audience. So here I am, yelling into the wind to find and celebrate the art inside all of the noise.
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Jared Rasic, Last Word Features
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What to Stream: Keith Urban, ‘The Golden Bachelorette,’ Zack Snyder series and ‘WandaVision’ spinoff
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Keith Urban’s 12th studio album and Kathryn Hahn starring in the “WandaVision” spinoff “Agatha All Along” are some of the new television, films, music and games headed to a device near you.
Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: season two of the “Frasier” reboot on Paramount+, the debut of “The Golden Bachelorette” and the Strokes’ lead singer Julian Casablancas and his rock band the Voidz will release a new album, “Like All Before You.”
— Writer-director Azazel Jacobs’ latest movie stars Carrie Coon, Natasha Lyonne and Elizabeth Olsen as sisters who gather in the New York apartment of their dying father. A highlight of the fall season, “His Three Daughters” is one of the most memorable tales of siblinghood, and of a death in the family, in recent memory. It’s out on Netflix on Friday, Sept. 20.
— With Election Day fast approaching, Max is looking back to the last presidential race. The HBO documentary “Stopping the Steal,” directed by Emmy-winner Dan Reed, focuses on Donald Trump’s efforts to overturn the 2020 results in Arizona and Georgia, culminating in the attack on the U.S. Capitol. It features interviews with Trump insiders like former Attorney General Bill Barr, former White House Communications Director Alyssa Farah Griffin and White House campaign official Stephanie Grisham. The producers say it “explores and debunks the claims of ballot tampering, illegal immigrants and deceased people voting.” The film premieres Tuesday on Max.
— On Friday, Sept. 20, Keith Urban, a fixture of contemporary country, will release his 12th studio album, “High.” He’s spent quite a bit of time in Las Vegas, doing the residency thing, but it’s clear songwriting — and making new material — has always been a source of creative magic for the veteran perform. And there’s range, from the equal parts self-effacing and empathetic “Messed Up as Me” to the life-affirming “Wildside.”
— Nelly Furtado’s seventh studio album and first in seven years, the appropriately titled “7,” arrives at a point of artistic rediscovery for the Canadian singer-songwriter. Just don’t expect any rehashing of the singles that made her a superstar in 2000 (yes, that means “I’m Like a Bird,” “Turn Off the Light” and the like.) Instead, she’s embarked on a sonic experiment, from the bilingual Latin pop of “Corazón” with Colombian psychedelic cumbia innovators Bomba Estéreo to the electro-pop “Love Bites” featuring Tove Lo and SG Lewis.
— Everyday around the world, or at least, the internet, guitar bands are born out of an obsession with the Strokes. Luckily for those musicians, its members have never ceased music-making, and on Friday, Sept. 20 its singer, Julian Casablancas, and his rock band the Voidz will release a new album, “Like All Before You.” There’s a lot to dig into — like the metallic riffs of “Prophecy of the Dragon,” or the minimalist synth production of “Flexorcist.”
— Paramount+ has cornered the market on new music docuseries, and on Tuesday will continue that title when it premieres the three-part “Nöthin’ But a Good Time: The Uncensored Story of ’80s Hair Metal.” Leather pants optional but strongly encouraged.
— AP Music Writer Maria Sherman
— Since the reveal in 2021’s “WandaVision” that Kathryn Hahn’s nosy neighbor Agnes was really the witch Agatha Harkness, fans have waited to see more of the character. Hahn stars in a spin-off, “Agatha All Along,” debuting Wednesday on Disney+. The witch is now powerless and forms a new coven to get her abilities back. Patti LuPone and Aubrey Plaza are new cast members.
— America fell in love with Gerry Turner’s search for love on “The Golden Bachelor” and now a woman will be courted in “The Golden Bachelorette.” Joan Vassos, 61, has 24 men ages 57 and up to choose from. “Golden Bachelor” fans will remember Vassos as the contestant who opted to leave the show in episode three because her daughter had recently given birth and was experiencing symptoms of postpartum. Vassos, whose husband of 32 years died in 2021 from pancreatic cancer, says her goal going into the show was not to end up engaged, but in a promising relationship. “The Golden Bachelorette” debuts Wednesday on ABC and streams on Hulu.
— If season one of the “Frasier” reboot on Paramount+ was about introducing viewers to Grammer’s return to Boston to fix his strained relationship with his son Freddy (Jack Cutmore-Scott), season two will flesh out the supporting cast. Peri Gilpin revives her Roz character from the original series in a recurring role. Other guest stars include Yvette Nicole Brown, Patricia Heaton, Rachel Bloom and Grammer’s real-life daughter, Greer, as Roz’s daughter. The second season of “Frasier” premieres Thursday.
— Zack Snyder’s“Twilight of the Gods” is an adult animated series featuring well-known Norse mythology characters Thor and Loki but the star in this story is the warrior Sigrid, who saves King Leif in battle and later becomes his wife. An attack by Thor on their wedding night starts a war. It premieres Thursday, Sept. 19 on Netflix.
— Gamers who grew up in the 1980s will never forget UFOSoft, the company behind such classics as Bug Hunter, Pilot Quest and Grimstone. Actually, you’ve already forgotten, because UFOSoft never existed. It’s the brainchild of some of the 21st century’s most talented indie designers, who are paying tribute to the 8-bit era with UFO 50. It’s a collection of, yes, 50 original games, including racing, fighting, shooting, running-and-jumping and dungeon crawling. The creators, who include the masterminds behind real-life hits like Spelunky and Downwell, say every title in the collection is a complete game — this isn’t just a bunch of minigames. You can download the whole package to your PC on Wednesday.
— The Plucky Squire is an intrepid lad named Jot whose exploits have earned him quite the reputation in the storybook land of Mojo. But when the malevolent sorcerer Humgrump gets jealous, he kicks Jot off the page and into our more treacherous 3D world. Our hero has some mad sword skills — but he may find out that the pen is mightier. It’s the debut release from the studio All Possible Futures, whose cofounder is a veteran of Pokémon, and it shares that franchise’s colorful character design and bouncy animation. The tale unfolds on PlayStation 5, Xbox X/S, Switch or PC on Thursday.
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The Latest: Emmy Awards honor the best of TV with father-son duo Eugene and Dan Levy as hosts
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NEW YORK — The 76th Primetime Emmy Awards has launched to honor the best of television.
The hosts, father-son duo Eugene and Dan Levy, opened the show Sunday night. They won Emmys at the 2020 awards for “Schitt’s Creek.”
“Shogun,” “The Bear” and “Baby Reindeer” are favorites going into the night. “Shogun″ is expected to win best drama series after picking up 14 wins at the Creative Arts Emmy Awards held last weekend.
The Emmys are back in their traditional mid-September spot after a single strike-delayed edition in January.
The show began at 8 p.m., Eastern time, and is airing on ABC from the Peacock Theater in downtown Los Angeles.
For more on this year’s Emmy Awards, visit: https://apnews.com/hub/emmy-awards
Here’s the latest:
Ahead of the premiere of the 50th season of “Saturday Night Live” on Sept. 28, cast members from the sketch show’s storied history have gathered for an unforgettable reunion.
Former members Kristen Wiig, Maya Rudolph and Seth Meyers joined current regular Bowen Yang onstage.
The segment leans into the January Emmys’ nostalgia-laden programming, which included Tina Fey and Amy Poehler presenting an award in the style of SNL’s famed “Weekend Update,” along with the casts of “Cheers,” “Martin” and other hit shows reuniting.
Jessica Gunning, who haunts as stalker Martha on “Baby Reindeer,” accepts the Emmy for her performance from a group of actors who have portrayed iconic villains in a fitting pairing. She got emotional as she thanked Richard Gadd, the star and creator of the series.
“I tried so many times to put into words what working on ‘Baby Reindeer’ meant to me and I fail every time,” she said. “It really means a lot. So, thank you, reindeer.”
“Today, a Republican vice president would never attack a woman for having kids. So, as they say, my work here is done,” Candice Bergen wryly said before presenting the lead actress in a comedy series award.
She was referring to her Murphy Brown character being attacked by then-Vice President Dan Quayle for being a single mom.
Her subsequent “meow” got a big laugh and applause from the audience, including Jon Stewart.
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2024 Emmys set for Sunday night
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‘Shogun’ breaks Emmys record with 18 wins as ‘Hacks’ upsets ‘The Bear’
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LOS ANGELES (AP) — “Shogun” had historic wins in an epic 18-Emmy first season, “Hacks” scored an upset for best comedy on what was still a four-trophy night for “The Bear,” and “Baby Reindeer” had a holiday at an Emmy Awards that had some surprising swerves.
“Shogun,” the FX series about power struggles in feudal Japan, won best drama series, Hiroyuki Sanada won best actor in a drama, and Anna Sawai won best actress. Sanada was the first Japanese actor to win an Emmy. Sawai became the second just moments later.
”‘Shogun’ taught me when we work together, we can make miracles,” Sanada said in his acceptance speech from the stage of the Peacock Theater in Los Angeles.
Along with 14 Emmys it claimed at the precursor Creative Arts Emmys, it had an unmatched performance with 18 overall for one season.
Justin Marks, center, and Hiroyuki Sanada, center right, and the team from “Shogun” accepts the award for outstanding drama series during the 76th Primetime Emmy Awards on Sunday, Sept. 15, 2024, at the Peacock Theater in Los Angeles. (AP Photo/Chris Pizzello)
Anna Sawai accepts the award for outstanding lead actress in a drama series for “Shogun” during the 76th Primetime Emmy Awards on Sunday, Sept. 15, 2024, at the Peacock Theater in Los Angeles. (AP Photo/Chris Pizzello) 
The team of “Hacks” pick up their official Emmy statuette for outstanding comedy series at the 76th Emmy Awards Trophy Table on Sunday, Sept. 15, 2024 at the Peacock Theater in Los Angeles. (Photo by Mark Von Holden/Invision for the Television Academy/AP Content Services)
Jen Statsky, center from left, Paul W. Downs, and Lucia Aniello, and the team from “Hacks” accept the award for outstanding comedy series during the 76th Primetime Emmy Awards on Sunday, Sept. 15, 2024, at the Peacock Theater in Los Angeles. (AP Photo/Chris Pizzello) “Hacks” was the surprise winner of its first best comedy series award, topping “The Bear,” which most had expected to take it after big wins earlier in the evening.
Jean Smart won her third best actress in a comedy award for the third season of Max’s “Hacks,” in which her stand-up comic character Deborah Vance tries to make it in late-night TV. Smart has six Emmys overall.
Despite losing out on the night’s biggest comedy prize after winning it for its first season at January’s strike-delayed ceremony, FX’s “The Bear” star Jeremy Allen White won best actor in a comedy for the second straight year, and Ebon Moss-Bachrach repeated as best supporting actor.
And Liza Colón-Zayas was the surprise best supporting actor winner over competition that included Meryl Streep, becoming the first Latina to win in the category.
“To all the Latinas who are looking at me,” she said, her eyes welling with tears. “keep believing, and vote.”
Netflix’s darkly quirky “Baby Reindeer” won best limited series. Creator and star Richard Gadd won for his lead acting and his writing and Jessica Gunning, who plays his tormentor, won best supporting actress.
Accepting the series award, Gadd urged the makers of television to take chances.
“The only constant across any success in television is good storytelling,” he said. “Good storytelling that speaks to our times. So take risks, push boundaries. Explore the uncomfortable. Dare to fail in order to achieve.”
“Baby Reindeer” is based on a one man-stage show in which Gadd describes being sexually abused along with other emotional struggles.
Accepting that award, he said, “no matter how bad it gets, it always gets better.”
Richard Gadd poses in the press room with the award for outstanding writing for a limited or anthology series or movie for “Baby Reindeer” during the 76th Primetime Emmy Awards on Sunday, Sept. 15, 2024, at the Peacock Theater in Los Angeles. (AP Photo/Jae C. Hong) 
Jodie Foster accepts the award for outstanding lead actress in a limited or Anthology series or movie for “True Detective: Night Country” during the 76th Primetime Emmy Awards on Sunday, Sept. 15, 2024, at the Peacock Theater in Los Angeles. (AP Photo/Chris Pizzello) The Associated Press does not typically name people who say they have been sexually abused unless they come forward publicly as Gadd has.
Jodie Foster won her first Emmy to go with her two Oscars when she took best actress in a limited series for “True Detective: Night Country.”
Foster played a salty police chief investigating a mass killing in the round-the-clock dark of an Alaskan winter on the HBO show. While her castmate Kali Reis missed out on becoming the first Indigenous actor to win an Emmy in the supporting category, Foster praised her, and the show’s collaboration with Indigenous contributors.
“The Inupiaq and Inuit people of northern Alaska who told us their stories, and they allowed us to listen,” Foster said. “That was just a blessing. It was love, love, love, and when you feel that, something amazing happens.”
Greg Berlanti, a producer and writer on shows including “Dawson’s Creek” and “Everwood,” received the Television Academy’s Governors Award for his career-long contributions to improving LGBTQ visibility on television. He talked about a childhood when there was little such visibility.
“There wasn’t a lot of gay characters on television back then, and I was a closeted gay kid,” Berlanti said. “It’s hard to describe how lonely that was at the time,”
The long decline of traditional broadcast TV at the Emmys continued, with zero wins between the four broadcast networks.
Hosts Eugene Levy, left, and Dan Levy speak during the 76th Primetime Emmy Awards on Sunday, Sept. 15, 2024, at the Peacock Theater in Los Angeles. (AP Photo/Chris Pizzello)
Hosts Eugene Levy, left, and Dan Levy speak during the 76th Primetime Emmy Awards on Sunday, Sept. 15, 2024, at the Peacock Theater in Los Angeles. (AP Photo/Chris Pizzello) In the monologue that opened the ABC telecast, Dan Levy, who hosted with his father and “Schitt’s Creek” co-star Eugene Levy, called the Emmys “broadcast TV’s biggest night for honoring movie stars on streaming services.”
Though other than Foster, movie stars didn’t fare too well. Her fellow Oscar winners Streep and Robert Downey Jr. had been among the favorites, but came up empty.
“Robert Downey Jr. I have a poster of you in my house!” said Lamorne Morris, who beat Downey for best supporting actor in a limited series, said from the stage as he accepted his first Emmy.
The evening managed to meet many expectations but included several swerves like the win for “Hacks.”
“We were really shocked,” “Hacks co-creator Jen Statsky, who also won for writing, said after the show. ”We were truly, really surprised.”
And “Shogun” got off to a quiet start, missing on early awards and not getting its first trophy until past the halfway point.
Still, it shattered the record for Emmys for one season previously held by the 2008 limited series “John Adams” in 2008. And its acting wins would have been hard to imagine before the series became an acclaimed phenomenon.
Sanada is a 63-year-old longtime screen star whose name is little known outside Japan, even if his face is through Hollywood films like “The Last Samurai” and “John Wick Chapter 4.” Sawai, 32, who was born in New Zealand and moved to Japan as a child, is significantly less known in the U.S. She wept when she accepted best actress.
“When you saw me cry on stage, it was probably the 12th time I cried today,” Sawai said backstage. “It was just mixed emotions, wanting everyone to win all that. I may cry again now.”
“The Bear” would finish second with 11 overall Emmys, including guest acting wins at the Creative Arts ceremony for Jamie Lee Curtis and Jon Bernthal.
The Levys in their opening monologue mocked the show being in the comedy category.
“In honor of ‘The Bear’ we will be making no jokes,” Eugene Levy said, to laughs.
Elizabeth Debicki took best supporting actress in a drama for playing Princess Diana at the end of her life in the sixth and final season of “The Crown.”
“Playing this part, based on this unparalleled, incredible human being, has been my great privilege,” Debicki said in her acceptance. “It’s been a gift.”
Several awards were presented by themed teams from TV history, including sitcom dads George Lopez, Damon Wayans and Jesse Tyler Ferguson and TV moms Meredith Baxter, Connie Britton, and Susan Kelechi Watson.
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For more on this year’s Emmy Awards, visit: https://apnews.com/hub/emmy-awards
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‘Shogun,’ ‘The Bear’ and ‘Baby Reindeer’ are at the top of the queue as the Emmys arrive
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LOS ANGELES — LOS ANGELES (AP) — “Shogun” could be in for an epic night, “The Bear” could clean up for the second time in less than a year, and “Baby Reindeer” has gone from dark horse to contender as the 76th Primetime Emmy Awards arrive on Sunday.
Back in their traditional mid-September spot after a single strike-delayed edition in January, the Emmys will air live on ABC from the Peacock Theater in downtown Los Angeles. The father and son duo of Eugene and Dan Levy, the winning stars of the 2020 Emmys with their show “Schitt’s Creek,” will host.
Here’s a look at the how the evening could play out across the major categories.
The show begins at 8 p.m. Eastern and is being shown live on ABC, which is available with an antenna or through cable and satellite providers.
The Emmys can be also streamed live through live TV streaming services that include ABC in their lineup, like Hulu+ Live TV, YouTube TV and FuboTV. For those without a live TV streaming service, the show will be streaming Monday on Hulu.
It may be impossible to slow the roll of “Shogun.”
With its 14 wins at the precursor Creative Arts Emmy Awards last weekend, the FX series about lordly politicking in feudal Japan has already set a record for most Emmys for a single season of a series.
On Sunday night it can extend its record by six, and industry prognosticators are predicting it will get them all.
The show seized all the Emmy power in the top categories by shifting from the limited series to the drama category in May when it began developing more seasons. And it was in some ways Emmy royalty from the start. During the golden age of the miniseries, the original 1980 “Shogun,” based on James Clavell’s historical novel, won three including best limited series.
If it faces any competition at all for the best drama prize, it could come for the sixth and final season of “The Crown,” the only show among the nominees that has won before in a category recently dominated by the retired “Succession.”
Veteran screen star Hiroyuki Sanada, up for best actor, and Anna Sawai, up for best actress, are in position to become the first Japanese actors to win Emmys.
Sanada could face a challenge from Gary Oldman, who has been quietly creating one of his career defining roles on Apple TV+ as schlubby spy chief Jackson Lamb on “Slow Horses.”
Sawai’s competition comes from Emmy luminary Jennifer Aniston of “The Morning Show,” who has only won once before in 10 nominations. Imelda Staunton could win her first for playing Queen Elizabeth II on “The Crown.”
This looks to be the year of FX, which is also in for a likely victory lap for “The Bear.”
“The Bear” took most of the big comedy Emmys home in January for its first season, and is expected to do the same Sunday for its second, which includes nominations for best comedy series, best actor for Jeremy Allen White and best supporting actor for Ebon Moss-Bachrach.
Ayo Edebiri, reigning best supporting actress, moves to the lead actress category for a character who is essentially a co-lead on the culinary dramedy. That means she’ll be up against Jean Smart, a two-time winner in the category for “Hacks” who is back in the competition after a year off.
Meryl Streep, among several Academy Award winners among the night’s nominees, could win her fourth Emmy to go with her three Oscars. She’s up for best supporting actress in a comedy for “Only Murders in the Building.”
Another multiple Oscar winner, Jodie Foster, could get her first Emmy for best actress in a limited series for “True Detective: Night Country.”
The HBO show that features Foster as a police chief investigating mysterious deaths in the darkness of a north Alaskan winter was the top nominee among limited or anthology series. Kali Reis could become the first Indigenous woman to win an Emmy in the supporting actress category.
A few months ago it looked as though the show would vie with “Fargo” for the top prizes, but Netflix’s darkly quirky “Baby Reindeer” surged on the eve of nominations and is now the popular pick for best limited series, best actor for creator and star Richard Gadd and best supporting actress for the woman who plays his tormentor, Jessica Gunning.
Gadd’s category also includes Andrew Scott for Netflix’s “Ripley,” and Jon Hamm, who has two shots at winning his second Emmy between his nomination here for “Fargo” and for supporting actor in a drama for “The Morning Show.”
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For more on this year’s Emmy Awards, visit: https://apnews.com/hub/emmy-awards
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ESPN and other channels return to DirecTV with a new Disney deal after a nearly 2-week blackout
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DirecTV announced Saturday it had reached a deal with Walt Disney Co. that will restore ESPN and ABC-owned stations to its service after a nearly 2-week dispute that blacked out those networks for millions of viewers across the U.S.
The end of the impasse came in time for sports fans to watch ESPN’s slate of college football games on DirecTV. It also will ensure that ABC’s telecast of the Emmy Awards on Sunday night will be available in more major markets where viewers subscribe to DirecTV’s pay service.
ABC had been unavailable since Sept. 1 on DirecTV in several markets where the station is owned by Disney. Those were located in the San Francisco Bay Area; Fresno, California; New York; Chicago; Philadelphia; Houston; and Raleigh, North Carolina.
DirecTV’s 11 million subscribers abruptly lost access to ESPN, the ABC-owned stations and other Disney-owned channels such as FX and National Geographic during the Labor Day weekend in a dispute over carriage fees and programming flexibility.
Some viewers were watching the fourth round of the U.S. Open tennis tournament when ESPN suddenly went dark and others were getting ready to watch a college football showdown between LSU and Southern California.
The impasse also kept the NFL’s opening game of Monday Night Football off of DirecTV’s service.
Financial details of Disney’s new deal with DirecTV weren’t disclosed as part of Saturday’s announcement. DirecTV’s payments to Disney will be based on “market-based” pricing, according to the announcement about the deal.
The agreement also will give DirecTV the ability to offer Disney’s video streaming services a la carte as well as in its own bundled packages. DirecTV won the right to include ESPN’s forthcoming direct-to-consumer streaming service at an additional cost to its subscribers once it becomes available.
The deal came a few days after the rising tensions led DirecTV to file a complaint with the Federal Communications Commission accusing Disney of negotiating in bad faith.
This is the second consecutive year Disney’s wrangling over the rights to its programming has resulted in its networks gong dark on a pay-TV service. Last year, Disney pulled its channels from Spectrum — the second largest cable-TV provider in the U.S. — for 12 days before settling the dispute just before ESPN was set to show that season’s Monday Night Football opener.
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AP sports: https://apnews.com/sports
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Actors and fans celebrate the ‘Miami Vice’ television series’ 40th anniversary in Miami Beach
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MIAMI BEACH, Fla. — Miami Beach residents and visitors can feel it coming in the air tonight — and the rest of the weekend — as “Miami Vice” cast and crew gather to celebrate the iconic television series’ 40th anniversary.
The show premiered on NBC on Sept. 16, 1984, and ran for five seasons. The “cocaine cowboy”-era crime drama, featuring Don Johnson and Philip Michael Thomas as undercover cops, was revolutionary in its use of pop culture, style and music and spawned a film reboot in 2006. And by filming the show primarily in South Florida, the series helped transform the image of Miami and Miami Beach in a way that would reverberate for decades.
Former cast members, including Edward James Olmos and Michael Madsen, met with fans Friday at the Royal Palm South Beach and were set to return Saturday. Also attending were Saundra Santiago, Olivia Brown, Bruce McGill, Joaquim De Almeida, Bill Smitrovich, Pepe Serna and Ismael East Carlo.
“It was not ‘Hill Street Blues.’ It was not ‘Police Story,’ ” Olmos said on Friday. “It was way different in artistic endeavor on all levels. The creativity, as far as music, writing, production value. The production value was so overwhelming. We spared nothing. I mean, these people were serious, and they spent a lot of time and money for each episode, and it shows.”
Olmos said that the show had a profound effect on introducing Miami to the world and creating an idealized version of South Beach that would later become a reality.
“When we were here, when we started the show in 1984, there was no South Beach,” Olmos said. “There was a South Beach, but it was dilapidated. The buildings were all literally falling into disrepair.”
Years before serious restoration efforts would transform South Beach into a center of fashion, music and tourism, Olmos said productions crews were painting the exteriors of the neighborhood’s historic Art Deco buildings themselves to make them look good on camera.
“We would paint the facades and put out tables, and we did what now became the reality of South Beach,” Olmos said.
While most television production was still being done in Los Angeles or New York in the 1980s, Olmos doubts the show would have been as successful if they had tried to fake South Florida in California.
“They could have never shot this anywhere else in the world,” Olmos said. “Look at the show from the very first episode, and as it went on, the beauty of Miami is unprecedented.”
Premiering just a few years after the launch of MTV, “Miami Vice” embraced contemporary style and music. Besides Jan Hammer’s original scoring, the producers regularly included songs from popular artists like Glenn Frey, Don Henley, Dire Straits and Foreigner.
Fred Lyle, an associate producer and music coordinator for “Miami Vice,” said the importance of music was evident from the first episode, as “In the Air Tonight” by Phil Collins plays while Johnson and Thomas cruise the streets of Miami in their Ferrari convertible.
“And that’s when ‘Miami Vice’ became different musically than anything else,” Lyle said. “Music was going over this scene, that scene. One song was helping to stitch the fabric of the narrative together.”
Aside from the show’s style, the stories and characters also had substance. Veteran television actor Bruce McGill has played countless cops, coaches and other authority figures over several decades, but he said his guest role as a burnt-out former detective in the second season of “Miami Vice” stands out compared to the straight-laced characters that comprise most of his career.
“It was a very good part that they allowed me to make better, to enhance, to ham it up a little,” McGill said. “And it was very satisfying.”
“Miami Vice” fan Matt Lechliter, 39, traveled all the way to Miami Beach from Oxnard, California, to celebrate the show’s anniversary.
“I wasn’t alive when it premiered, but it’s a part of me,” Lechliter said.
Lechliter said he remembers watching the later seasons and reruns with his parents as a child but really became a fan when he rediscovered the show about five years ago.
“I binge-watched it,” Lechliter said. “I was like, ‘Wow, this really is amazing.’ When I heard about this event, I said, ‘I’ve gotta go.’ ”
The anniversary celebration will continue through the weekend with career discussions, as well as bus and walking tours of filming locations.
The Miami Vice Museum is open to the public from Friday to Sunday, featuring a wide range of items never before displayed together since the show’s conclusion in 1989. The exhibit is being hosted at the Wilzig Erotic Art Museum.
And to kick off the celebration on Thursday, Miami Beach Mayor Steven Meiner met with cast and crew at the Avalon Hotel in South Beach to present a proclamation declaring Sept. 16, 2024, as “Miami Vice Day.”
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This Digital Archivist Believes Hollywood’s ‘Competition Era’ Is Over
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On the subject of money and ownership. Earlier this year, following the cancellation of several Black TV shows, you wrote, “studios and streamers no longer care about loyalty or enduring legacy.” Why does Hollywood, in 2024, still have such a difficult time aligning its legacy with its business?
Well, here’s the thing, the legacy business, they feel as if that work is behind them.
But isn’t that what Hollywood is built on?
Yes, but to create new legacy and new inroads, to them, that is less important than extracting every possible dollar from existing IP. It’s more expensive, quote-unquote, to create something than it is to rest on existing laurels. The beginning of the end of this, to me, was when Warner Brothers and UPN merged into The CW. Now, 20 years later, the CW is a shell of itself. In mergers, you’re no longer competing with someone to make the best content. With the merger of Warner Brothers and Discovery, they own, what, one fourth of TV? That competition era of television—it’s over.
Which has a direct impact on the creative side.
The legacy-driven model only happens now in vanity. So a lot of stars are using their own distribution or first-look deals to produce things. And these are the majority of people who are allowed to create. So what does Hollywood mean when the only people who are given freedom are people who have already done the taxing work—if they have at all—to become stars? Hollywood is not in the business of guarantee. Everything must be proven before it’s even created.
And if that’s the case, so many people get left out.
The fight for nostalgia as currency comes in a moment where some of the highest rated things are non-white. That’s not an accident. It’s as if television, media, and filmmaking are becoming manifest destiny in the wrong ways. And there’s nothing sadder.
Perhaps we need better frameworks.
People have upended industries to chase Netflix. And no one has caught up. Everything has fallen in this chase. What’s happening now is, people are only duplicating the best and the most watched. There is no diversity in how things are being delivered.
You once described “post-2020 Black media as akin to a modern day blaxploitation boom.” It got me thinking about platforms like Tubi and AllBlk, which are sometimes mocked as being a kind of streaming ghetto, but those same streamers have also given opportunities to young creators.
Blaxploitation, as I was saying, makes way for Spike Lee, it makes way for the ‘80s independent Black movement that, of course, shapes everything we know about modern Black film and modern Black media. At every valley, there is a peak. It’s the nature of life. So what do I think is a head? We should be thinking about independent models that have existed before our current era. There are many ways to make media. With pilot season essentially dying, as the studios have announced, what are some ways that Black creators can forge together to make what they desire?
I mean, I don’t know if I have the answers, but I do have the curiosity. And oftentimes curiosity and care—and leading with them—can transform how we understand history and the future.
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Jason Parham
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‘Rebel Ridge,’ Jeremy Saulnier, and the ‘Post-Social Next Wave’ era of filmmaking
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Last week I wrote about the New Hollywood movement of auteur filmmaking in the 1960s and 1970s and it got me thinking. I spent a thousand words talking about how seminal this period of cinema was and I realized I was lamenting about not living through that era when it was happening and what it would have been like to go to the theater and catch influential masterpiece after masterpiece — which, yes, would have been amazing.
But I also think I undervalued the current climate of brilliant filmmakers that are painting between the lines of the studio system while making movies that capture our current zeitgeist in the same way Scorsese, Kubrick, Altman, Spielberg, Lucas, et al. did back in the day.
I’m sure some writer much smarter than me has coined a catchy term for the modern generation of filmmakers who are defining today’s cinema, but I think I’ll call it Post-Social Next Wave. It describes this trend where genuine auteurs make deeply personal projects in or adjacent to studios that somehow don’t compromise vision, make lots of money, and exist in such contemporary social spaces that it’s almost impossible to tell whether they’re changing culture and predicting trends or whether they’re sneakily following them.
Contemporary filmmakers like Ari Aster, Greta Gerwig, Sean Baker, Xavier Dolan, The Daniels, Robert Eggers, Jordan Peele, The Safdies, and several others make movies that feel so immediate and instantly a part of culture that they act as spy glasses into the future of not just cinema, but the ever-shifting and mercurial cultural landscape.
Most of these filmmakers have made less than a half dozen films and that’s the point: while they aren’t (at least yet) juggernauts like the Coen Bros., Wes Anderson, David Fincher, Chris Nolan, or Quentin Tarantino, they are the next guardians of the art form and the eventual architects of the entire framework of cinema. No one knew how seminal filmmakers like Altman and Cassavetes were when they were just a few movies into their careers and we probably won’t know the importance or genius of some of today’s artists in our lifetimes.
I think it would be interesting to touch on some of these Post-Social Next Wave filmmakers over the coming months and explore how the culture of filmmaking is changing, even as studios desperately grab for power harder than ever before.
This week is a perfect time to start with the unsung genius of Jeremy Saulnier, a filmmaker that over the course of 17 years and five features has created some of the most visceral and unforgettable films of the era. Saulnier’s new film, Rebel Ridge, was released directly to Netflix last week and is simultaneously an old-school action movie along the lines of First Blood, but also dips its toes into being a legal thriller and a cultural critique of police corruption and the slow degradation of humanity through a thousand cuts.
Rebel Ridge feels much more like a Hollywood blockbuster than any of his earlier work, while still playing very much like a Saulnier picture. Let’s look at his five features.
2007’s Murder Party is a slapstick horror comedy about a lonely schlub that gets invited to a Halloween party where the guests plan on killing him brutally and using the act of his murder as the basis of an art installation. It’s funny, gross, and a scathing takedown of the sometimes facile nature of the art world. It’s a wildly entertaining debut and unlike anything he has made since.
Saulnier followed that film with 2013’s Blue Ruin, a slow-burn revenge thriller about a broken man trying to get revenge against the man that killed his parents — and failing miserably. It’s brutal and bleak, while somehow also being laugh-out-loud hilarious throughout. Saulnier shows with Blue Ruin his uncanny ability to find stillness and beauty in some of life’s darkest detours. His eye for intense action, the impenetrable vastness of nature, and the solitude of human nature is born here and is a theme he carries over to the rest of his work.
Next came 2015’s Green Room, the film that cemented Saulnier as a master of tension and suspense. It follows a young punk band that shows up to a bar in rural Oregon to play a show and ends up surrounded by a gang of bloodthirsty neo-Nazis led by Patrick Stewart. One of the high watermarks of horror in the new century, Green Room is a modern classic that takes the concept of punks vs. Nazis and makes something deeply empathetic and incredibly badass.
Next is 2018’s Hold the Dark. It’s probably Saulnier’s weakest film, but is still a mesmerizing modern fable about a word hunter and the emotionally bereft woman he tries to save. Jeffery Wright is so good in this that it’s impossible to look away. And even when the story veers into ridiculousness, it’s still a work of daring originality.
Now comes Rebel Ridge, featuring a star-making performance from Aaron Pierre, a great villainous performance from Don Johnson, and a simple but effective plot about a group of redneck cops that mess with the wrong former marine. This feels like an amped up action thriller like Jack Reacher, but with the intelligence of Michael Clayton. Every line of dialogue, every beat of action, and all the characters are perfectly calibrated for maximum coolness and almost effortlessly, Saulnier has made a modern action movie that feels culturally important in its exploration of civil forfeiture and backwoods police power trips. It’s also just so very badass and instantly iconic.
So, check out Jeremy Saulnier and any of his five fantastic movies for a sneak peek at the future of cinema. I hope Rebel Ridge catches on and becomes a huge streaming hit (although it would have been awesome to see it in a theater). Whatever Saulnier does next, whether it’s another dark trip down into the human soul or an Avengers movie, I’ll be there, ready to be blown away all over again.
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Jared Rasic, Last Word Features
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CSU Rams announce decision to join Pac-12 Conference
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CSU is joining a revamped and re-stocked Pac-12 Conference.
According to a report published late Wednesday night by Yahoo Sports, the long-standing collegiate league, which was ravaged by membership defections — including that of the CU Buffs — over the past 18 months, is moving forward with plans to expand.
The first wave of that expansion includes four of the top athletic brands from the Mountain West: CSU, Boise State, San Diego State and Fresno State, will all four becoming members on July 1, 2026.
“We are taking control of our future at CSU by forming an alliance of six peer institutions who will serve as the foundation for a new era of the Pac-12,” CSU President Amy Parsons said in a news release announcing the move.
“This move elevates CSU in a way which benefits all our students, bolsters our core mission, and strengthens our reputation for academic and research excellence. CSU is honored to be among the universities asked to help carry on the history and tradition of the Pac-12 as a highly competitive conference with some of the nation’s leading research institutions.”
The Rams, whose football program hosts rival CU in the Rocky Mountain Showdown for the first time at Canvas Stadium on Saturday, are a founding member of the Mountain West Conference, a league which began operations in January 1999.
By accepting an invitation from the Pac-12, CSU will gain association with what the athletic department has sought for decades — membership within a “power” conference.
“This moment has been a long time coming,” CSU authentic director John Weber said. “I know our students, faculty, staff, alumni, donors and fans are hungry for this move and are going to love what comes next as CSU charts a transformational new course as a member of the Pac-12.”
The Pac-12, which was founded in 1915, has historically been the most prestigious collegiate league west of the Central time zone. However, that prestige, and indeed its membership, were crippled by the defections of CU, Utah, Arizona and Arizona State to the Big 12; USC, UCLA, Oregon and Washington to the Big Ten; and Stanford and Cal to the ACC.
Washington State and Oregon State were left with the conference’s holdings, trademarks and media rights. Per Yahoo Sports, the remaining Pac-12 programs believe they can rebuild the brand with the likes of the Rams, Aztecs, Broncos and Bulldogs as peers.
They’re also not done looking at new members, as the NCAA requires a minimum of eight schools to qualify as an FBS conference.
CSU football plays at Oregon State on Oct. 5 as part of a scheduling alliance between the MW and the remains of the Pac-12, a partnership that Yahoo Sports reports will not continue for a second fall.
Mountain West members are contracted to pay a $17 million exit fee to leave the league.
The primary motivations for CSU are the same reasons CU left the Pac-12 this past summer — money, prestige, potential access to the College Football Playoff, and stability.
While the mass defections from the Pac-12 would denounce the latter, Yahoo Sports reports that the remaining Pac-12 members feel a new-look league would reach a media rights agreement worth more than the current or expected payouts presented to MW members.
The Mountain West has a $270 million television contract with CBS and Fox that runs through 2026.
Published reports have estimated that non-Boise members of the MW, including CSU, receive roughly $3.5 million annually from that deal, with the Broncos receiving an additional $1.8 million per year.
CSU noted in its financial report to the NCAA for the 2022-23 fiscal year, the most recent public report available, that its media rights revenues from all sources, including conference distributions, was $3.3 million.
The Yahoo Sports report infers that the Rams could also have access to Pac-12 assets such as “monies from the Rose Bowl contract, College Football Playoff, NCAA basketball tournament units and Pac-12 Enterprises, previously the Pac-12 Network.”
CSU indicated in its announcement Thursday morning that the four new schools “will have immediate voting privileges” within the conference.
“We have nothing but the utmost respect and appreciation for the Mountain West and its members,” Parsons said. “There will be conversations going forward about the Mountain West exit fees and Pac-12 support for our transition. We are confident the path forward will not impact our current university budget and will set CSU up for incredible opportunities to come.”
However, the two-team Pac-12 recently lost its status as a Power 5/”autonomous” conference within the CFP — and it’s not clear whether supplementing the expanded league with Group of 5 programs would restore those privileges.
CSU athletics reported revenues of $64.3 million to the NCAA for the ’22-23 fiscal year this past January. The Rams’ revenues of $61.2 million, per a USA Today database, ranked fourth among known MW athletics budgets in ’21-22, behind Air Force, San Diego State and UNLV. Wazzu and Oregon State had revenues of $85 million and $83.5 million in ’21-22, respectively.
Originally Published:
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Sean Keeler
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