Monday June 5, 2017

Season 2 of Flaked was a major let down.  If you are going to watch, make sure to read a quick recap of season 1 so that you're not lost.

Bill Maher dug himself a hole on Friday night, huh?

John Oliver's Last Week Tonight remains the smartest show on television IMHO.  

Peyton Manning golfed with Donald Trump over the weekend and it created a bit of a stir on social media.

Erin Hayes is leaving Kevin Can Wait.

At the same time, Leah Remini has signed as a series regular.

Lifetime has pushed season 3 of UnReal back to 2018.

A review of Amazon's new Grateful Dead documentary.

"You might be able to take the broad out of the city, but you’ll never be able to take the city out of the broad. In the first trailer for Broad City’s fourth season, our lovely rapscallions Abbi (Jacobson) and Ilana (Glazer) are seemingly up to their old tricks — taunting abortion protestors with marijuana; hanging around the apartment with strap-on dildos — except this time around, we’re getting a nice change in scenery and some very special guest stars. (Hello, Steve Buscemi and RuPaul.) To the west coast and Florida they go for some adventure! Yaaaas! It’s back on August 23."  Check out the trailer here.

"Gwyneth Paltrow’s and Jennifer Lopez’s trainer Tracy Anderson is bringing her fitness tips to the masses with a Sirius­XM radio show. Each episode will welcome a celebrity or influencer and an expert on a specific topic, but Anderson says it won’t be phony. 'This is a real opportunity for me to have an influencer who is breaking down walls and saying, "I have to work hard on my body, I have to work hard on wellness,”' Anderson tells us. 'I’m looking forward to demystifying what really goes on.' Adding, 'I think it’s gonna be really empowering for a lot of women. There’s gonna be so much take-away.' The show will air Mondays at noon starting June 19."

Everything you need to know before Bill Cosby's rape trial begins.

A new digital network launches today that is looking to disrupt the DIY / HGTV marketplace.  Armed with long-time DIY / HGTV hosts such as Jason Cameron and Chris Lambton, Build. Design. Live. is aiming to steal a piece of that $1B in ad revenues that Scripps brought home in 2016.  With 20 short-form episodes flanked by outtakes and how to videos, along with some muscle behind it courtesy of a handful of heavy hitting blogger and influencers, I think this is poised to be a huge success.  Per the network itself: "[w]elcome to Build. Design. Live., an internet-only network, offering original programming and content with you, the homeowner, aspiring designer, DIYer and home / renovation TV show fanatic in mind!

"With original programming now available across mobile, streaming services, web sites and broadcast networks, we have built a destination for you, an active and engaged audience   As an over-the-top service, BDL is your new go-to space for fun and creative ideas that will help you make your house into a home, and that home into a place that feels uniquely yours!

"We are bringing you a collection of authentic and engaging original series, exclusive blog posts, and a series of podcasts, and we will be offering several home makeover contests and sweepstakes because, well, we want to come to your house and redo a room for you!

"Our initial launch of content is hosted by popular talent from HGTV, DIY and A&E. Each episode is guided by featured professionals such as Jason Cameron (Man Caves, Desperate Landscapes), Chris Lambton (Yard Crashers), Peter Souhleris and Dave Seymour (Flipping Boston) and Andy and Candis Meredith (Old Home Love).

"We are also going to be showing you outtakes and how to’s so you can see the lighter side of our hosts and hopefully learn a thing or two as well."

Please click through and enjoy!

The Hollywood Reporter spoke with Hank Azaria.  Here's a pared down version:

I'm watching the ESPN Game of the Week a couple of weeks ago and there you are popping up in the booth for an inning. When you do something like that, does it feel like promotion for a show or does it feel like an opportunity that still makes you giddy?

Both, is the simple answer. One of this weird, joyous side effects, I don't know if that's the right word for it, of this whole thing has been the cross promotion with sports. I'm a huge sports fan, huge Mets fan. One of the great things about the nice response this show has gotten is the sports world has sort of invited me to participate every once in a while like that. I was in heaven sitting there looking at the Mets game saying nonsensical things in the booth. 

One thing that really amused me about that appearance was that the other guys in the booth really didn't seem to know if they were talking to Hank or to Jim Brockmire and which one they were supposed to be talking to. Is that a new thing? Obviously no one is going to confuse you with Moe, people know that you're two different people. But you're in the booth and I really didn't feel like they knew who they were talking to at certain times. 

Well, in fairness to them, I kept slipping in and out of character because there were some things that seemed appropriate to respond to as Jim Brockmire and some jokes that I had ready to go as Brockmire that if they set me up for that perfectly, I just slid right into it. Once I start doing that voice, I tend to get addicted to it and keep going. Then I would switch back out to Hank and say whatever. It was a fairly schizophrenic appearance.

What have you learned about the difference between the way that Jim Brockmire sits and watches a baseball game versus the way that Hank Azaria sits and watches a baseball game?

Well, Jim Brockmire first of all was getting almost unbelievably drunk, by definition, if he's watching a ball game and he's describing, as every professional is trained to do, he's describing it in detail and analyzing it, and giving it his thoughts, while never missing the count, never missing the action of the ball game. And Hank, especially at the Mets game, I'm sitting it watching it as a fan. In fact, that even happened at one point in the game, I got so caught up in the at-bat, it was bases loaded, two out. I was like "Guys, can we just shush for a second" I got into what's going on here.

My impression listening to you interact with those guys is that you're going to have to be fighting sports people off with a bat to cameo in the second season. What is going to be the secret to who actually works well playing themselves versus who is going to be too hammy and who you really aren't going to want there?

You never know what you're going to get until folks show up. We wrote these cameos for Joe Buck, Brian Kenny, Tim Kurkjian, Jonah Keri, and had really no idea how they were going to do with it. They all did really great. Joe in particular was like a virtuoso. We were shocked. We wrote a lot for him, and were like "I hope he can do it, we'll see." We designed it all to be fairly cut-able if it didn't work, but we ended up keeping everything because he, no pun intended, knocked it out of the park over and over again. Joe's gotten so busy, as we all know, that we weren't so sure we'd be able to get him schedule-wise on there. So the plan B was to hire an actor to play a Joe Buck-type. We were thinking the upside to that is, "It's a bummer if we don't get Joe, cause that's so cool, but it won't be so bad to have a professional actor come in and doing that." I swear, within two scenes we were like, "No professional actor we would have hired would have been anywhere near as good as Joe is being in this." The guy's got genuine chops, it's amazing.

Going back to the original development process, how long did it take you and the writers to become convinced that this was a character who could support actually being on screen for 30 minutes at a time, on screen for eight episodes at a time, rather than just being a sketch character?

We honestly really didn't know that for sure until we were in the editing room saying "I think this ...", and a couple of cuts too, cause your first cut's always long and horrible. After a couple cuts we were like "You know, I think this might be working". And the Funny Or Die short that we did about 10 years ago made us realize that this could definitely be funny, but like you say, you don't know that it's more than a sketch. Again, I want to credit Joel Church-Cooper. He wrote great scripts. Whether it's Brockmire in the center of it, it doesn't matter. After 30 years I feel like I know a good script when I see it, and these were good, funny scripts. So I'm like "Well I think this is going to hold?" 

Then the other question became whether a character like this, talking like this, is it going to get weird? Will it sustain? That we didn't know until we saw it. I've got to credit Tim Kirkby, who directed all eight, very much for that as well, because he was always making sure that the story was working on an emotional, believable, human level. So however much Joel and I were concerned about the jokes, and I was concerned about being the guy who talked like this convincingly, Tim was always keeping his eye on the believable darkness of the thing, and the relatable-ness of the thing. I think that he deserves a lot of credit for that.

So much of why we take Brockmire seriously, as you say, is because Jules takes him seriously. Was that something that you guys immediately realized as you were writing, is that there had to be an equal foil who was going to tap into that real side of him as opposed to just the humorous side?

Absolutely. And that's what Joel wrote, and that's another surprise. Mike Farah from Funny Or Die and I, we had worked on the story a little by the time Joel came on, and all we gave him was "He should probably have a romance or fall in love with the woman who owns the team, or is promoting the team." That's about it, that's the premise we gave him. And he came back with this specific, well-observed unsentimental yet highly romantic, sybaritic love affair between these two people that is arguably the best thing about the thing. Nothing to do with baseball, they both love baseball and that's how they come together, that's their common ground. But I was like "My God man, what have you written here, this is lovely!" I was really not expecting it. What I did in the short is what I was shooting at. Pretty sophomoric, pretty funny, pretty smart, well-observed. And Joel hit those notes, but then Tim and Joel brought this realistic, dark humanity to the thing, which I was tremendously overjoyed about.

A lot of the humor obviously comes from finding things that aren't funny on the surface that magically become funny when Jim Brockmire says them. Did you ever reach a threshold where you said something and you're like "Okay, that I just can't make funny with my Brockmire voice"?

I'm a big believer in trying things, so I would never ahead of time X something out, because you can always slice it in editing, why not give it a try. I'll tell you this though, in scenes like that with Amanda, where it was real emotional, and I had to say some ridiculous Brockmire things, for example, when I tell her I love her, I basically say it, "We both have the same exact level of functional alcoholism," that's his declaration of love to this woman and I would do some takes making sure that I was much more focused on being emotionally honest, and playing the scenes as I would as Hank Azaria in that circumstance, just making sure it was a little of the Brockmire voice and I would do other takes where I was just highly aware of making sure I sounded like an announcer the whole time, like "Never mind the emotion of the scene, I just want to make sure that I am delivering it like an announcer might." It was funny, we never knew in editing what was going to make it in any moment. Sometimes it was really funny to sound announcer-y in a moment that should be rather touching. And sometimes it was completely inappropriate, we never knew until we cut it together. 

As you guys approached the second season, what did you feel emboldened to do, from having learned what worked in the first season that you couldn't do when you were charting out the first season cause you didn't know what would work?

It's shocking how much worked in the first season, really, to me. I'm overwhelmed but he positive response and thrilled by it.  The only thing we really had to adjust was we realized that any B or C stories we had, anything that was off the point, because the narrative ended up being so strong and such a big part of the show, is you have to stick with A story, meaning you just have to stick with the main story you're telling, and anything extraneous to that tended to get sliced out in editing.  So we wasted a lot of time shooting stuff we didn't need to. And we don't have a big budget and we had to get this done fast, so scripts in season two are two to three pages shorter, and stick to the story as it's rolling along. And that's kind of about it. 

We certainly realized that the deep, deep, dark aspects of the thing are absolutely free to keep going there. We sensed we were anyway, in this modern era of cable you're really allowed to do that. I'll give you an example of something I never thought would work off the page, but I did it anyway and I was sure it was going to get cut. When Brockmire in one of the middle episodes is very upset cause his ex-wife is back in town, and he goes and tells her off but she doesn't care and just gives him a hug and he's furious and then he goes and has this boxing match with this wind-sock puppet and he's just punching it, his punching bag? I thought it was broad, like, "Well, broad comedy doesn't work with this character, it's not worth it, let's shoot it but we're going to cut this." I was shocked by how funny that ended up coming out. I think cause we had emotionally earned it. You just really buy how angry the guy really is, and it's such an absurd expression of that anger that it just worked. So I think I will trust more the more crazy, broad comedic places we get to sometimes, physically, that we kind of have earned it.

So broader and deeper somehow?

Exactly. Like snorting an abortion pill is just wildly absurd. It's just such a crazy moment. But I really loved that off the page. I was like, "I can't even think of a weirder, wilder thing for a character like this to be doing." Yeah, there's a lot more of that kind of thing in season two as Brockmire sinks down even further.

And IFC has just given you free rein for that?

Not only do we have free rein, but we got the delightful news that season two will air with no bleeps! I mean we can't have like, seven F-bombs a show, but we can have two or three. It's kind of gratifying, because I know when they air on Hulu they'll air un-bleeped and you can find them un-bleeped eventually, but you know sometimes it really does take the comedy away if you bleep the curses. Joel Church-Cooper, I think he's a brilliant writer, and he chooses his words carefully. We weren't just tossing out F-bombs for fun. In fact, when we were told we were going to get bleeped, we had to go through the scripts, in eight episodes, there were 73 F-bombs, 73! And we ended up chopping them down to 29 or something in eight episodes. And there were two or three that we really lobbied hard, we were just like "Can you please not bleep these, cause they kill the joke if you don't hear it,"  but we couldn't get that through, they said "No, you've got to bleep them all." But we're still not allowed in season two to use the C-word, which we're really fine with."

Per The Hollywood Reporter, "T.J. Miller is breaking his silence on leaving Silicon Valley.

"A week after HBO announced that the actor best known for his role as Erlich Bachman on the comedy wouldn't be returning for season five, Miller went on Larry King Now to discuss the reason behind his upcoming departure.

"'It was the right time,' Miller told King during the episode, which will be available to watch June 14 on and Hulu. 'HBO and I kind of decided that this was a time that the character could leave. We'd written it in a place where there was an organic departure.'

"When King suggested that Miller perhaps grew too big for the show, the comedian disagreed. 'No, I'm so happy that I was on the show,' he said, later adding that he's "really, really grateful" to have gotten a chance with Mike Judge. 'Those guys I do think are the best in the game. I mean … there is no one funnier working in television.'

"Seemingly unsatisfied, King continued to press Miller on the real reason he was leaving, probing whether HBO approached him about an exit plan or if it was the other way around. As the official statement read, Miller insisted it was a mutual decision between the two parties.

"'Why would they want you to leave?' asked an incredulous King, to which Miller responded: 'Let's be honest, there's no way that the show isn't going to change and become better.'

"The Deadpool actor then went on to share some relevant advice he'd received. 'My wife, Kate, has always quoted David Bowie as saying that somebody is at their best creatively when they're in the water and their toes are barely touching the bottom. I think that's a really cute quote,' he said. 'It is good to be in an unstable and unsafe place.'"

From Variety: "Katherine Langford started off the 13 Reasons Why FYC panel with a small twist on the show’s familiar opening line: 'It’s me — live and in Australian.'

"Yes, for those who don’t know, Langford, who plays Hannah Baker in her breakout role on the Netflix drama, is in fact Australian.

"Langford was joined by her co-stars Dylan Minnette and Kate Walsh, executive producer Brian Yorkey, and executive producer and director Tom McCarthy at Netflix’s FYSee Space in Beverly Hills on Friday night for a panel hosted by Jenelle Riley, deputy awards and features editor of Variety.

13 Reasons Why does not shy away from dark, graphic and intense scenes, making the show no stranger to criticism.

"Still, McCarthy said the series did its job — to spark the conversation in a broader way.

“'I respect the opinion of experts, but being an adult myself I sometimes think, "Well, maybe we should listen to the people who are driving the viewership,”' he told Variety. 'Young people want to have this discussion. Maybe they are telling us something.'

"To depict the scenes of sexual violence and suicide, the cast had psychiatrists on hand advising them to ensure an accurate portrayal of victims and their friends and family.

“'My main concern and objective was just being faithful and do honor to parents who have had to undergo and endure the unimaginable,' said Walsh, who plays Hannah’s mom, Olivia.

"As a high school sophomore, Hannah’s death came at a time when children tend to become private and rebel from their parents, Walsh noted. At the end of the season, Hannah’s parents get a chance to listen to the tapes their daughter left behind.

“'I don’t think any parent could ever imagine the secret life of their child,' Walsh told Variety. 'To start hearing about your child’s life and their feelings and what’s happened in a whole different world than you imagined is massive.'

"Although Hannah is a fictional character, Langford grew close to the story she was helping to share. She got emotional as she described filming episode 13, the last episode of the series where Hannah ultimately takes her life.

“'At that point I’d been playing her for six months, so there was this sort of pseudo memory of living through someone’s life vicariously,' Langford said tearfully. 'I just didn’t want to let her go because at that point she’s a person and you’re dealing with real issues.'

“'I put these three through a certain kind of hell,' Yorkey said of Langford, Walsh, and Minnette.

"It was particularly hard for Minnette, who plays main character Clay Jensen, to listen to all of his star-crossed lover Hannah’s tapes.

“'We really did like to beat the s— out of Clay whenever we had the opportunity to,' Yorke said.

"Minnette added, 'I think he gets hurt at physically at least once in every episode.'

“'And there’s a season two,' Yorke hinted.

"And while cassette tapes won’t be used the second time around, there is much more of Hannah’s story to tell in Season 2, Yorkey said.

“'Hannah told her version of events, but there are at least 12 kids who have another version of those events that we actually haven’t really heard from yet,' he said. 'I don’t think Hannah told any untruths on her tape. She reclaimed her narrative, which had really been taken from her.'”

Per The Ringer, "[i]t’s long been the running joke that House of Cards reflects Washington, D.C., as it sees itself, while Veep shows D.C. as it is. The two series have been tied together since their inception, less than a year apart: Both feature a vice president who managed to inherit the position of commander-in-chief, but craves the validation of a clean electoral victory. Both feature endless wheeling and dealing among pathological narcissists whose self-interest transcends ideology. (Veep never bothers with party ID; on House of Cards, it’s the Democrats fronting the new War on Terror.) Both shows have election subplots focusing on the same bizarre procedural tangle — what happens when neither candidate grabs 270 electoral votes? — that our Constitution technically allows but our electorate hasn’t yet pulled off. But House of Cards vision of the capital as a snakepit of Machiavellian masterminds is inherently flattering, while Veep’s flailing incompetence tends to inspire performative assurances that politicos are laughing with the show, not being laughed atJust look at the casting: Cards regularly attracts flotillas of game guest stars from inside the Beltway, while Veep recruits the likes of Patton Oswalt and Hugh Laurie from the ranks of its fellow comedians.

"Five seasons into House of Cards and six seasons into Veep, there has been an obvious shift in context: Two shows conceived in the Obama era debuted their newest seasons in the middle of a new and drastically altered political epoch. Neither show had time to respond to the current firestorm — both shows were in production during the 2016 election and its immediate aftermath — though both will seem like they’re responding to it anyway. But there’s another, smaller change, too — one that has less to do with being a TV show about politics and more with just being a TV show. Both House of Cards and Veep are decidedly in their late periods, when the novelty has worn off. Those two changes are connected: Both shows’ attempts to address their potential stagnation have become hopelessly tied up in their newfound resonance.

"Because House of Cards is often criticized for being nowhere near as insightful as it presents itself to be, this newfound topicality is a boon — resonance granted by chance rather than achieved through effort. And because Veep aims to one-up Washington’s own insanity, landing too close to the genuine article — or having to deal with a reality that’s veered into the nonsensical — is more burden than advantage. After all, even based-on-a-true-story fiction is supposed to invent as well as embellish. The real world’s increasingly outlandish politics makes that harder by the day.

"Veep’s challenges are mostly rooted in bad timing: The show is now neck-and-neck with its satirical subjects rather than three steps ahead. Season 5 ended by having the first female president lose her bid for proper election, and resumed in a world where the first female major-party candidate had just suffered a crushing defeat. Getting Selina Meyer out of the White House was the next logical step in a story about high-level failure, and then a pragmatic plot decision became an accidental premonition. When the moment of truth arrived, Selina couldn’t grab the brass ring; less than five months later, Hillary Clinton couldn’t either. As both Meyer and Clinton plunge forward, the parallels continue: A major subplot this season involves Selina drafting her memoirs; a recent Clinton profile focused on her book-writing process. Selina doesn’t want our pity, and Veep doesn’t want to inspire it, but emotions far messier than laughter are now an unavoidable part of the Veep experience. The election got tragedy in Veep’s schadenfreude.

"With its cast no longer united under the roof of 1600 Pennsylvania Ave., Veep began Season 6 by scattering its characters to the winds, with each of their new homes offering a novel angle on the political ecosystem. Dan Egan personified the vapidity of cable news; Jonah Ryan, now a congressman, became a tea party Republican in all but name. (He’s bankrolled by a blatant Sheldon Adelson type and just instigated a government shutdown over the debt ceiling.) In virtually every new direction Veep has gone, however, it’s been beaten to the punch by the real world. It’s not easy to snicker at the inanity of TV journalism now that its repercussions are under such a microscope — and behind-the-scenes harassment scandals just aren’t the comic fodder they used to be. Even if the headlines Veep were inadvertently echoing weren’t so grim, however, they rob the show of one of the core elements of comedy: surprise. The insults remain acrobatic and the performances committed, but they’re now more likely to provoke a knowing headshake than an outright guffaw.

"Where Veep was blindsided as it tested out some new tricks, House of Cards has doubled down on the histrionics. For Netflix’s neo-Macbeth, the off-screen shake-ups have proved slightly more advantageous. The show’s aspirations to trenchant commentary were dealt a seeming death blow in its lackluster third season. In 2015, the series gave its antihero exactly what he wanted — the presidency — only to realize that all Frank Underwood wanted to do with the authority he’d spent his life acquiring was preserve it. That state of affairs presented an obvious “What now?” problem, while calling into question the entire project of the show. Season 4 recovered with a pleasantly wild assassination attempt and a bit of electoral intrigue. The show had reverted to its first-season style: not necessarily smart, but at the very least entertaining.

"Season 5 has a leg up House of Cards has never enjoyed before: seeming clairvoyance. The dominant theme this year is fearmongering, complete with Frank’s travel-ban-like restrictions, deliberate distraction from an investigative committee, and voter suppression during an election. These events aren’t disruptions in the context of the show itself; House of Cards has been hammering home just how far the Underwoods are willing to go for so long that their manufacturing of a cyberthreat is par for the course. What saves otherwise well-trodden themes and character beats from exhaustion comes from the familiarity audiences now bring to the show, not new sensations the show delivers to audiences. “This is beyond the norm,” a scandalized congressman gasps at Frank in the premiere. 'I don’t care,' he growls. The exchange feels right at home in this fictional D.C.; this is what Frank Underwood has been doing all along. It’s in the real world where trampling over custom has felt so disconcerting.

"Throughout their extensive runs — Julia Louis-Dreyfus has been the reigning Emmy champion for a full half-decade; House of Cards numbered chapters now extend, remarkably, into the 60s — Veep and House of Cards have served as each other’s fun-house mirror images. Though they see D.C. through radically different lenses, both series are working from the same starting point. Which is why it’s so surprising that the rupture in their mutual inspiration has affected them in opposite ways. Together, the shows feel like a lesson in how the television viewing experience can be as much a matter of what audiences bring to the table as what the shows themselves serve up. Veep is the more technically accomplished show, but in satirizing a hard-to-laugh-at moment, it’s got the tougher task. House of Cards can be slapdash and soapy, but it’s a fit for the current moment. In fictional D.C., it’s harder to laugh than to cry."

Per Nylon, "[i]f Tia Landry were a real person living in 2017, her life would likely follow that of the actress who played her, Tia Mowry. Meaning, she’d be married with one child, an entrepreneur with her own cookbook and cooking show on the Cooking Channel; she’d have bravely opened up about her life with endometriosis, and confidently embraced her gray hairs

"We say this because that’s what Mowry herself would like for Landry to be doing. 'I would want her to replicate my life, and what’s going on in it right now,' she tells us while celebrating the global launch of Pepsi’s new drink Lemon Lemon. 'Just a mom with a family trying to make ends meet and see how that works.'

"We say this also because, during Mowry’s run on Sister, Sister from 1994 to 1999, the plotlines on the show paralleled the actual lives of Tia and her identical twin sister, Tamera. 'A lot of people might not know this, but every year at the beginning of the season, me and my sister would sit down with the producers and tell them what’s going on with our lives in real life, and they would turn those into stories,' she tells us. 

"Sometimes, when their busy professional lives interfered with normal teenage activities, the Mowry twins got to experience things on set, rather than in reality. Like, when Tia and Tamera couldn’t go to prom, they had their own (probably better) version on television; and when they learned to drive for the first time, they were doing it on set. 'As a teenager working on a television show, I wasn’t able to experience certain things that a lot of teenagers experienced,' she says—or, at least, not in real life.

"That’s not to say, if given the chance, Mowry wouldn’t do it all again. She tells me that she absolutely would; in fact, she’s hoping that she’ll be able to do just that sooner rather than later. Sister, Sister reboot rumors have been swirling for some time now, and Tia confirms that she wants it to happen, but that the process is taking longer than she’d like. 'We’re looking, right now, for a producer and a writer, someone who can kind of be a leader of the pack in regards to running the show,' she says. 'I thought people would kind of be jumping on it, but it’s a lot harder than my sister and I thought it would be. Everything in my career has always been a challenge.'

"Mowry lists RoseanneTwin Peaks, and Will and Grace, as just a handful of the shows getting the revival treatment. The demand is there, so is the interest amongst the cast; they’re just looking for the proper support. 'It’s not dead in any kind of way,' she says. 'We’re moving forward, we’re taking those strides. They’re slow strides, but we’re pushing as hard as we can to make people happy and make our fans happy.'

"When that happens, we hope that some of the celebrity guests from the ’90s make it a point to stop by again. Mowry says some of her favorite memories from the show were her times on set with late actress Brittany Murphy, Kobe Bryant before he was Kobe Bryant, Gabrielle Union, Christina Milian, and Taraji P. Henson.

"In the interim, Mowry’s hoping to continue seeking out more fun and inspiring ways to get people in the kitchen, but she also plans on taking on more acting roles. 'I’m doing drama roles because people know me as a comedic actress, and I want to stretch myself and do roles that people wouldn’t necessarily see me in,' she says. Though a little familiarity doesn’t hurt, either."