Michael Rapaport’s candidness has found a new home: Barstool Sports. 'It’s a place where I can be free within reason, and I’m excited about that,' he told Page Six about lending his voice to the sports news site known for its unfiltered commentary. 'I love that they’re irreverent [and] I love that they don’t give a f–k.' Rapaport, 47, who has his own podcast and also has a gig with Fox Sports 1, explained he’s 'gotten light slaps on the wrist' for his rants on different platforms. But now, serving as a representative of Barstool as of Monday, he’s happy to be in a 'home' where uncensored comments can fly free."
A Better Call Saul finale post-mortem. More below.
Last Man Standing will not end up at CMT.
I'm way behind on Casual this season. That can't be a good sign as this show has failed to hold my interest.
I'm secretly still enjoying Downward Dog on ABC. If you're a canine lover, you likely will as well.
Season 2 of Queen Sugar premieres tonight.
Ditto for season 2 of Wrecked on TBS.
Duck Dynasty creators Scott and Deirdre Gurney are positioned to regain control of their company, Gurney Productions, amid an ongoing legal dispute with ITV America.
Deadline spoke with Better Call Saul's Michael McKean and Peter Gould about last night's season 3 finale: "'He felt he was infallible, and he felt if he was questioned or if he was confronted he knew that he knew, or he felt, that he had moral right on his side, and he felt that he could do no wrong — that’s a terrible place to be,' says Michael McKean of his Better Call Saul character Chuck McGill, Jimmy McGill’s eccentric sibling and Albuquerque legal powerhouse who seemingly met his end during tonight’s Season 3 finale on AMC.
"As Bob Odenkirk’s Jimmy spins faster and closer to becoming the slippery Saul Goodman, the Lantern episode of the Breaking Bad prequel created by Vince Gilligan and Peter Gould started off pretty hot, with the once electromagnetic hypersensitivity-suffering and lawsuit-threatening Chuck being bought out of the Hamlin, Hamlin & McGill law firm he co-founded with his protege Howard Hamlin (Patrick Fabian) for millions out of Howard’s own pocket. As a bruised and broken Kim Wexler (Rhea Seehorn) recovers from the car accident suffered in last week’s Fall episode, Jimmy tries to make things right in the worst way in the Sandpiper case, a realization that also leads to he and Kim closing their law office.
"I spoke with McKean and executive producer Gould about the real fate of Chuck McGill and how it will impact Jimmy/Saul as the world of the prequel moves steadily toward the Breaking Bad universe. With McKean now on Broadway in Lillian Hellman’s The Little Foxes, the duo also pulled back the space blanket on how the character evolved from what Gilligan and Gould first considered his relationship to Jimmy to be and the relationship between the two actors that play the brothers. There was also some hints about where Jimmy and Kim find themselves going into Season 4 of the Sony TV-produced series, and a certain multimillion-dollar This Is Spinal Tap lawsuit against Vivendi, and who should pay what in Gould’s opinion"
So, Peter, we saw fire through the window in the house but we never saw a boy. Is Chuck McGill really dead?
GOULD: We haven’t opened the writer’s script for Season 4 yet, so it’s very hard to be definitive. It sure looks that way and I think there would be something a little ingenuous if we have this big build-up and it being a season ender and then we found out that he got out at the last second. Having said that…
McKEAN: Yeah. And he’s now being played by Patrick Duffy (both laugh).
Working on the premise that you wouldn’t play the audience like that, and the fact he never showed up in Breaking Bad, if Chuck is dead, how did you find out it was over, Michael?
McKEAN: Not until Peter and Vince called me a few months ago and I was out tooling around in Albuquerque, and the phone rings. “Hi, guys, shall I pull over?” Because I had a feeling, I knew this was coming and…
GOULD: The way I remember it and I wrote it down, Michael. You actually said, “If this is the death call, let me pull over.”
McKEAN: That’s exactly what I said.
Looking back from that call and over the three seasons of Saul, how did the character of Chuck evolve for you, Michael, to the point of the finale, where he is destroying his own house and causing his own death?
McKEAN: Well, listen he’s a very task-oriented person and he’s a dog with a bone and he’s a person who just doesn’t give up. And if there’s an itch that he can’t quite get to, to scratch, he might have to go a little bit out of the norm, and I think that’s what happened. It was an attempt at a physical solution for a problem that was probably not physical, and he got outside of himself and took that hammer and started tearing the walls out to try and track down what was wrong with his life.
Peter, was that how Vince and yourself initially saw the character of Chuck?
GOULD: When we started off, we always had the idea of the allergy to electricity, but one of our other initial ideas about Chuck was that maybe he’s actually aiding and abetting Jimmy. Maybe he’s old like Mycroft Holmes, you know, the genius behind the scenes.
Seems like that idea didn’t last long, did it?
GOULD: Well, we thought of Chuck really in a lot of ways, the way he thinks of himself as a righteous man who was unjustly taken away from his work by this illness, and we weren’t entirely sure how real the illness was ourselves to start with.
But I remember vividly watching Michael and Bob do the very first scene between those two characters, which was a scene that I had written actually in that particular script. Michael brought so much to the scene that I hadn’t expected or thought of.
Michael, what was that like for you as an actor, playing this new and pivotal addition to the Breaking Bad universe?
McKEAN: Well, to be very honest, he was a character that I knew was sort of a hot-house flower to begin with and, thank God, I wasn’t the one who was charged with cultivating it. There were people cooking up some wonderful things about this character and things that, as they were created in the writers’ room, when they were presented to me, it was just so delightful because I was really kind of going on the adventure with them.
So it was an enormously rewarding experience, I have to say. It sounds a little corny, but that’s exactly what it was. It was a way to play a character, it was an opportunity to play a character that was not someone I felt warm and cozy with, but I certainly understood a man with great power wanting to hold onto that power, and a man who thought that he had the right on his side, seeing that slowly slip away. It was fascinating.
You make it sound like Chuck McGill dying by his own obsessive hand was inevitable…
McKEAN: He felt he was infallible, and he felt if he was questioned or if he was confronted he knew that he knew, or he felt, that he had moral right on his side, and he felt that he could do no wrong. That’s a terrible place to be.
You know, he’s a man living inside his own metaphor, really. If you can’t change who you are essentially, sometimes you’ll repaint your house or blow up your car, or you know, these things don’t really work, but at least you’re doing something. And I think the combination, there’s a combination of his inability to get at what was really destroying him caused him to take that last step over the cliff.
Talking about steps off cliffs, the opening of the finale saw Howard buy Chuck out of the firm for millions out of his own pocket. The move ended what was really the anchor in Michael’s character’s life and certainly his main motivation in many ways. Why did you guys decide to use that as the trigger point for, what seems to be, a fatal finale?
GOULD: Well, I don’t know that it was the trigger point. I think there’s room for debate because just to look at it closely, when Jimmy comes to visit Chuck later in the episode, Chuck is fully dressed, he is listening to music, He has the energy and the wherewithal to pull himself together and say some pretty terrible things to Jimmy.
This problem that Michael talks about doesn’t really manifest itself until after he’s had the thing with Jimmy. So you can wonder what is the cause of his breakdown, but it’s absolutely true that this is a guy who, one step at a time, has lost everything that he really cared about and everyone he cared about. It’s so ironic to me because in so many ways he’s won every encounter he’s had. I love the moment when Howard says to Chuck, you won, because in some ways Chuck got what he asks for, and I think there’s something very sad about the idea that you can win every battle and still lose the war.
McKEAN: I think that’s absolutely right. I also think that his last interaction with Howard was really one of those things. It’s like we’re not only planning to legally have you off our backs, but I’m going into my own pocket to do so. That made it a personal thing. This isn’t about a law firm any more. This is about this kid that I tutored for the bar. This is about my law partner who is also, in essence, a surrogate son, and he’s the one who’s pulling the plug on me. And he’s doing so too, at his own loss, that means you don’t like me, you really don’t like me, to paraphrase Sally Field.
GOULD: Certainly, in the case of this show, the performances so frequently exceed anything that I could’ve imagined when we were writing this show.
To go back for a second to that first time I saw Michael and Bob together in a scene in the show, you know, and Michael brought, you know, this imposing aspect to Chuck, a pride to Chuck that really rocked me on my heels because I hadn’t thought of the character quite that way. When we got back to the writers’ room after shooting that first episode, one of the first things that we said was, well, we know what Chuck is to Jimmy, but what is Jimmy to Chuck? And that really is what lead us down the path that we took, frankly in the whole show to date, is once we realized that maybe Chuck wasn’t too happy about Jimmy being a lawyer in the first place, once we started understanding Chuck’s pride, a lot of things that have happened subsequently really grew out of those insights or decisions, and so many of those grew out of the moments that we saw between Bob and Michael.
What were those moments like for you Michael?
McKEAN: Bob is a great hang. I mean, with just getting to do most of my work in the first season, especially, with Bob Odenkirk is like going to camp. I mean, it’s just a lot of fun. The guy knows his stuff and he’s an awfully good actor and you know it’s just a lot of fun plus, you know, between takes we hang out, we talk about stuff, and he’s just a good friend and a great guy and that’s kind of on that level.
As far as who Jimmy and Chuck are together, that gets complicated. All siblings are complicated. This is beyond that. I think that the way that this story has rolled out over the last three years has been very, very interesting and the people have reacted to what a bad brother Chuck is.
Pivoting from that, to look at another story from the very busy finale besides the fate of Chuck, which you’ve pretty much put a period on. Where are Jimmy and Kim at in terms of their relationship now as we’re moving forward, now that their office has closed down and Kim nearly died in that car crash last week?
GOULD: I’m getting feedback whenever I talk to people about the show as soon as they see Episode 9. Clearly the accident that happened at the end of that episode completely rocks Jimmy. Jimmy has been living out a theory and his theory, whether or not he’s able to say it out loud or even completely understand it himself, seems to be that he and Kim need to keep this office in order for the two of them to have a relationship.
For Jimmy this office is sort of tantamount to a marriage, and he’s been doing everything to defend the office and defend this little enterprise in Wexler McGill, and this accident to the point that he’s willing to really do a terrible thing to this innocent elderly woman in Episode 9. And then here we are in Episode 10, Kim has had this accident and it’s jolted Jimmy, and it’s caused him to re-evaluate everything that he’s been doing, and to try to reconnect with his brother and also to try to undo some of the damage he did in the previous episode.
Having said all of that, you have to wonder how far that resolution is going to go because once he’s gone to that dark place he knows he can go there – and we know he can go there, how long is going to be before it happens again? And most of all, what’s his reaction going to be when he finds out what happened to Chuck?
And what will that reaction be?
GOULD: We’ll have to see.
OK, Speaking of lawyers, Michael, you and the rest of the guys in the band, so to speak, and Rob Reiner, are in this $400 million fraud and breach of contract lawsuit against Vivendi for profits from 1984’s This Is Spinal Tap…
McKEAN: Yeah. You’re going to hear silence and crickets from this end.
GOULD:I could say something. They should pay up.
McKEAN: I didn’t say anything.
GOULD: Well, I can say whatever I want, I’m not a party to it. The work you guys did is just a cultural keystone, and the fact that you haven’t been compensated is really shocking.
Michael, to go back to a non-crickets topic, what would be your last take on Chuck McGill and Better Call Saul?
McKEAN: It’s three seasons that will go down in my history book as being just so much fun. And so much of a challenge and so much just delight in working with the people in the cast and the crew and the writers of this project has been just, you know, three scoops and a cherry on top.
GOULD: Well, I couldn’t say it any better than that.
McKEAN: You’re a writer, come on.
GOULD: Yeah, I take my sweet time. That’s why we’ve only got 10 episodes a season."
An interesting piece penned by Jerrod Carmichael: "I grew up hearing it constantly but you don't learn about the meaning behind it until there is some type of clash over it. You learn about it in conflict.
"We actually have had this conversation in my family a bunch. My mother is just against everybody using the word. She doesn't want white people to use it, she doesn’t want black people to use it, she doesn't like hearing it. She associates it with pain and thinks that the removal of the word is the removal of pain. And my grandmother, who lived through Jim Crow '60s, thought the word was fun. She would say it and we would joke and she would laugh. It was fun watching my mom get really angry while my grandma and I just said 'n—.'
"My grandmother's way of thinking breaks a certain unspoken rule of society and that's inspiring — realizing that sometimes your thoughts aren't in line with the majority. That inspired me to find my truth and not be afraid to express truly how I feel about the word. My family being in conflict showed me different people can think different things even on such a heavy topic.
"My perspective is that I just don't want us to be controlled by a word. I don't want it to be used as a weapon. We have the power to dilute words and a lot of times, we use that in the wrong way. Donald Trump was called a racist and that should have been a strong accusation but we use the word "racist" so much. Can you imagine [President] Jimmy Carter being called a racist? That would have been a crazy New York Times cover story with every journalist trying to get to the bottom of what happened. Now that we use it so much it doesn’t mean what it did. That's a negative way of doing that. I think a positive way is how my friends and I grew up saying [the n-word]. So I don't associate it with pain if I'm being truthful.
"That's the thing I just wanted reflected. More than anything, it's saying that even black people who have been both victims of and beneficiaries of the fun and ubiquitous use of it; we don't all have the exact same opinion on it. It's a discussion that has just evolved over time, from having earlier conversations with my family: my mom, my dad and grandparents, and even going on to having life experience with the word and saying it and having people upset with me over it. I am a product of that discussion. There's just so much experience around it, it was kind of hard not to do the episode.
"Having the word itself said on the show came out of a deeper conversation about do you feel beholden to these unspoken rules for being a black person, or being a woman or being gay or being whatever you are? It just naturally went to the n-word and the rules around it and that's where it came from. Then we said to the network, 'We want to say it but it has to go on air.'
"[NBC President of Entertainment] Jen Salke and I had a great conversation about it. She called and she was like, 'Jerrod, what are doing to me?' She approached it with a lot of heart and understanding and I'm thankful for that. It's just that caution because if you don't use it correctly, you risk losing sponsors, you risk the foundation of why we're here in the first place.
"The network came back and they approved one. Before we were going off to write the script, our showrunner Danielle Sanchez-Witzel said, 'At most write two,' because Danielle knew I wasn't just going to write one. We wrote four and then we somehow ended taping and will air six. It was that snowball effect of, 'Alright, we said it once, what are we going to do? Not say it again? They already heard it, we've already breached it, let's use it a couple more times. That's kind of the point of the episode too: We're adults, and saying it once versus six times... we can grow up and have a conversation.'
"The intention is to genuinely explore and do it with as much integrity as we can so it's never just buzz words, it's never us just saying it for the shock value. Bill Maher really took a hit because the intention was an easy joke, a cheap joke that's dismissive and belittling. If you're going to say it, you better have an intention behind saying it. People know the difference between you just saying something to get arise of them and when you really just want to explore something. His intention is what brought this on. People read that intention.
"These things just come out of the blue and become topics in the news every now and then and we have a brief conversation about it, but I hadn’t heard a lot of new perspectives portrayed on television about it. I hope viewers realize there's a spectrum of perspectives on this. Like anything else, every voice on it is worth hearing, every voice on it is worth sharing and saying out loud and having discourse. If people talk to their families and friends about it, it lends itself to people having thoughts on it that they've never had before. That's what we all want."
Per Deadline, "Netflix has slotted a premiere date of Friday, August 11 for its new comedy series Atypical starring Jennifer Jason Leigh and Keir Gilchrist, and unveiled a first-look clip.
"Atypical is a coming-of-age story from the point-of-view of Sam (Gilchrist), an 18-year-old on the autism spectrum. Sam decides it is time to go on a date, find a girlfriend and hopefully love, a journey that sets Sam’s mother, Elsa (Jason Leigh), on her own life-changing path as her son seeks more independence.
“'Mom, I’m getting older and I really, really hope that at some time I get to see boobs,' deadpans Sam in the clip.
"Sam’s entire family must adjust to change, all while exploring the question: What does it really mean to be 'normal'? Michael Rapaport plays Sam’s father, Doug, who wants to better connect with and understand his son.
"Atypical hails from The Goldbergs writer/co-executive producer Robia Rashid and director/executive producer Seth Gordon."
Check out the clip above.
"After setting up a power struggle between the inmate-in-charge and Litchfield's head guard last season, the fifth season charted Red's (Kate Mulgrew) obsession with bringing Piscatella (Brad William Henke) down to disturbing proportions. After spending nearly half of the fifth season of the Jenji Kohan prison dramedy (now streaming on Netflix) hopped up on speed, Red grew too paranoid for any of her prison family to listen to her warnings that Piscatella had infiltrated Litchfield, which was under the control of the inmates. As a result, a chagrined Piscatella kidnapped Red and her most-loved pals and proceeded to emotionally and physically break her down, while they watched in horror.
"For Mulgrew, one scene in particular was one of the most difficult to shoot in her storied career.
"'Over the days we shot it, I felt debased, I felt reduced. Mission accomplished,' Mulgrew tells The Hollywood Reporter of experiencing her own feelings of pain when Red, with her signature hair, was nearly scalped by Piscatella. The scene, which went down in a janitor's closet while Nicky (Natasha Lyonne), Piper (Taylor Schilling), Alex (Laura Prepon), Big Boo (Lea DeLaria) and Blanca (Laura Gomez) were forced to watch, took two days to film and was directed by Prepon. 'I’ve been beaten up a lot and have done a lot of physical stuff in my lifetime, but something about this very quiet, precise debasement was absolutely harrowing to me.'
"Below, Mulgrew speaks with THR about the demanding torture scenes; how, despite opting to not kill Piscatella in the end, Red will be forever altered; and why the chances that the 10 women left standing in the finale will all emerge unscathed is an unlikely choice for season six: 'There has to be a price to pay.'
How would you describe Red’s mindset at the start of this season?
It was an intense season and a long ways to go back. When it all begins and Daya [Dascha Polanco] is holding a gun to one of the CO’s heads, I say to Frieda [Dale Soules], “Here it is.” Meaning, in all of my 15 years of being in prison, I had half-expected this moment to come, but it never had, and suddenly here it is. I know that not only the demise of Litchfield is at hand, but also possibly some of people I have grown to love. I also know, given my experience and street sense of prison, that we’re all going to split off and a split atom is not a good thing. It creates a rupture and that’s exactly what happens. The riot ensues and everyone goes on her path. Mine takes me rather unexpectedly down a dark alley of revenge and that light wanes very quickly. We go down the rabbit hole with Red in a way we have never before gone down with this woman.
What was it like to shoot the scenes where Piscatella is torturing you in the janitor's closet?
I have been beaten up six times, I have been abused in every conceivable fashion, but that was nothing to compare to my drive for revenge vis-a-vis Desi Piscatella, who is a monstrous figure, and I am going to bring him down. But in the face of my fearlessness there is a terrible kind of gruesome — if not altogether grotesque — hubris that takes place. Red is so convinced she will take him down, but of course in the end, as is often the case with evil, he triumphs in that really sort of inimitable scene when I was scalped. Shooting that scene far surpassed anything I've ever done from a physical nature. Laura Prepon directed that episode and she was very generous and patient, but of course this is Laura Prepon anyway. That was tricky business and she did it quite well.
A lot of castmembers have spoken about how they end up merging with their characters. After playing Red for five seasons and being so close to her, what was it like to play out the abuse?
Just as I think she would have, had it been real. It was very hard because there’s only one way to go and that’s total. I couldn’t act it in a way that I am accustomed to doing. I couldn’t step outside of myself and let it rip. I had to be utterly and completely in the moment and devastated by what this monster was doing to me, and surprised. In order to do that, I had to clear yourself and that’s what I did. I didn’t talk a lot to Brad Henke. We were extremely polite, we were maybe ultra polite. We set the stage for the kind of suspicion that existed between us, blowing up into something far more grotesque than that. They had to find a way to take Red down that would be so effective, so unspeakably bad, and this was the most cogent way. There always a price to pay for that and I think I paid it, too.
How many times did you shoot the scenes where he was cutting your scalp?
We did that a lot. You imagine that you have to survive for the girls in that room whom you love, but at the same time, you are losing a part of yourself with every flick of that knife edge. It was diabolical, it was evil. And that’s exactly what it was meant to be. But Red also suffers from a big egotism where she thinks she can take a guy like Piscatella down. He’s a psychopath and she’s not, which is beautifully depicted I think in the scene when we have him in the hold in the pool. I could kill him, I could torture him, but I elect to let him go. You could say it’s an epiphany, but it’s a sort of a remarkable moment and a shift back to the reality of who I really am. I think that is Red’s essential decency and her craving to survive prison as a decent human being, her desperate need to have retained some measure of character, that’s exemplified in that scene and I liked that very much.
When you read the scene, was there any part of you that wanted Red to kill Piscatella?
No, I loved the choice. I loved the writers’ choice and I love that they made it on behalf of Red. Nobility is far too strong a word. The reason she has survived on a level at which she has survived is because of an essential need to be her most excellent self within the confines of this impossible situation, whereby everything is reduced to monochromatic nothingness. She has attempted time and again to lift herself out of it. She has elected herself to be a vivid survivor of this bleakness and so I think in this stroke of humanity directed at Piscatella, she reveals once again her longing to rise above it.
Do you think that Red sparing Piscatella’s life would have had an effect on him as a person, if he had survived?
I think that in that moment when I let him go, I’m not thinking about him at all. I’m thinking only about myself. That’s why I call it an epiphany. If I cared about what was going to happen to Piscatella, I would have shot him in the head in that moment. I’m fully armed, I’ve got the vest and the grenades and all the equipment that I need. But I don’t hurt him. So what happens to him going down, there might be some schadenfreude when I find out he’s been shot by his own men. There might be a moment, but it will be briefly lived. What we see in this journey of season five is that Red’s great interest is in her own humanity, versus her own evil. She will overcome it. She must. Although Kate Mulgrew found it absolutely terrific that he got shot in the head. I was thrilled!
Red doesn’t get to see Piscatella’s flashback, but when you read it, did you understand Piscatella more and why he was the way he was?
Yes but don’t forget that when he tortured and examined me in season four under that harsh light in that little back room, his homosexuality is revealed to me and I laugh at him. From Red’s point of view, she finds him altogether a despicable article of being. He is repulsive to me on every level but foremost, because he is capable of taking with him all that is good, and this is represented by my daughters, I cannot allow this to happen. I love those girls. That’s what gets you though the scene. That’s how you find the arc from the beginning of the scene to the end. As long as they live, I have something to live for, I can survive the next nick of the knife, and even when he goes after my sweatshirt and it looks like he might be thinking of raping me, I could survive that too, if only he wouldn’t touch them. It’s the choice of love.
In the final moment of the finale as Red stands with Nicky and nine others facing the unknown, what is going through her head?
“I’m with the people I love, win lose or draw, so bring it on.” I know in that moment — Red’s not a fool — that the riot has decimated the reality of Litchfield, but what I don’t know is, will we all survive, the 10 of us holding hands in that empty pool flanked by Blanca Florez and Freida Berlin, are we all going to survive this? What will this mean going forward? We’re all culpable and complicit in many, many interwoven plots, murder not the least among them. There has to be a price to pay, I don’t know how it will be made manifest, I don’t know what Jenji will choose. She is absolutely a master of the unexpected so for me to speculate would be silly because I would be 100 percent wrong.
What do you hope Red’s future will look like, given how riots historically end up for prisoners — from extended sentences to harsher punishments?
I think all of that will be very interesting. There has to be some kind of reckoning with our respective sins. There has to be a confrontation with our own darkness. Each one of us in season five has done something less than great. And in season four leading up to it, of course. So what does this mean? I don’t know. My instinct says that we will be separated, which will in itself be a terrible kind of punishment, punishment enough for Red would be that kind of isolation. But we will really just have to see. I have learned the hard way not to guess.
How did you react when you found out Jenji Kohan was making Red the vehicle to tell this story of injustice and do you think it has the power to effect change in the real prison system?
It feels mighty. It’s a powerful weeping tool. It is skillfully, not to say masterfully, deployed by Jenji Kohan and to be the channel is thrilling when it works. Bringing awareness is what television — good television — is all about, and certainly what pop culture is all about. You’re hoping to convey a larger message. God only knows what the greater metaphors are but we are talking about a prison situation so it is a Petri dish of life and Jenji is emboldened to bring to the floor issues of great moment. The privatization of prison, the bureaucracy of prison and incarceration alone. Our prison system is in tattered and in desperate shape right now. She’s just illustrating all of it quite beautifully and to be a part of that is a wonderful thing."
This interview has been condensed.
I spoke personally with Brad William Henke and in addition to telling him how great I thought he was this season, I asked him how much fun he had filming those prison scenes. He immediately referenced how intense the moment was when Red held the gun on him as well as the aforementioned scalping scene. Hopefully we get a chance to see more Piscatella in season 6.
From AdAge: "Time Warner will invest $100 million in producing TV-like shows and advertising on Snap Inc.'s Shapchat over the next two years, in a push by the the media giant to reach young audiences on the social network, according to a person familiar with the matter.
"The deal will see Time Warner make shows for Snapchat in a range of genres, including scripted dramas, comedies and documentaries, according to a statement from both companies. Time Warner's properties like HBO, Turner and Warner Bros. will also invest in advertising on Snapchat.
"The partnership will help boost the number of shows on Snapchat, which are three- to five-minutes long, to three a day from one. Eventually, New York-based Time Warner will make as many as 10 shows a year, according to the person, who asked not to be identified discussing private information. Warner Bros. will likely market its upcoming movies on Snapchat as part of the deal and revenue from ads sold during the Time Warner shows will be split evenly with Snap, the person said.
"For Time Warner, the agreement with Snap will drive larger audiences to its shows and to new direct-to-consumer online services it introduces, Gary Ginsberg, a Time Warner spokesman, said in the statement.
"The shows will be produced specifically for Snapchat's vertical format -- or how people would watch on their phones.
"Snap, the app that people use to send disappearing photos, already has several deals with networks and studios to showcase their content in the form of mobile magazines and shows. For Snap, the content is intended to get users to spend more time on the app, while media companies are looking for access to a young audience, which is harder to find these days on TV.
"Snap shares closed at their IPO price of $17 on Thursday amid concerns about the company's growth rate. The stock rose on Monday.
"The deal comes as Time Warner awaits approval to be acquired by AT&T, whose CEO, Randall Stephenson, has said the future of video will be on mobile devices."
Per TheWrap, "Tony Danza is returning to TV as the star of Netflix’s new dramedy series The Good Cop, the streaming platform announced Monday.
"The 'odd couple' style one-hour dramedy will see Danza playing Tony Sr., a disgraced, former NYPD officer who never followed the rules. He lives with his son, Tony Jr., an earnest, obsessively honest NYPD detective who makes a point of always following the rules. Father and son become unofficial partners as Tony Sr. offers his overly-cautious son blunt, street-wise advice on everything from handling suspects to handling women.
“'We’re excited to bring viewers the return of Tony Danza, one of television’s most beloved icons,' said Cindy Holland, Vice President, Original Content for Netflix. “The Good Cop is a funny, charming procedural series that we think our members will love.'
"Andy Breckman, the creator of Monk, will serve as showrunner and executive producer, with Randy Zisk and Howard Klein also serving as executive producers. Zisk will also direct the first episode and Danza will also serve as a producer."