Trevor Noah has been renewed by Comedy Central through 2022! More below.
An episode of Big Brother is set to air tonight. No description available. I'm guessing it's a BS recap show.
The Emmys air on Sunday night.
All episodes of American Vandal are now streaming on Netflix.
Vice Principals returns Sunday night. More below.
Harvey Levin's new Fox News show Objectified debuts on Sunday.
Fergie and Josh Duhamel have separated after 8 years.
I would have taken Kevin to final 3.
"Jim Carrey is making a return to television in his first series-regular role in more than two decades. The In Living Color alum will be headlining Kidding, a new half-hour comedy series for Showtime, where he executive produces drama I’m Dying Up Here, recently renewed for a second season. Carrey is reuniting with his Eternal Sunshine of the Spotless Mind director Michel Gondry on Kidding, which has received a 10-episode straight-to-series order from Showtime with Jason Bateman among the executive producers. Created by Dave Holstein (Weeds, Raising Hope) and to be directed by Gondry, Kidding stars Carrey as Jeff, aka Mr. Pickles, an icon of children’s television, a beacon of kindness and wisdom to America’s impressionable young minds and the parents who grew up with him – who also anchors a multimillion-dollar branding empire.But when this beloved personality’s family – wife, two sons, sister and father – begins to implode, Jeff finds no fairy tale or fable or puppet will guide him through the crisis, which advances faster than his means to cope. The result: a kind man in a cruel world faces a slow leak of sanity as hilarious as it is heartbreaking."
"Entertainment One has partnered with Israel-based Armoza Formats to co-produce Sex Tape, a provocative new hour-long social experiment reality series for the U.S. market. As the title suggest, it will feature couples making sex tapes. Per the producers, Sex Tape showcases real couples confronting their issues head on by filming their most intimate moments. Each episode features three couples who self-shoot their lives for an entire week — the ups, the downs, and yes, the sex. The couples then meet with a relationship expert to watch the footage…together (all three couples) — and then discuss and debate each other’s various relationship issues." PLEASE STOP!
Case in point: "British broadcaster ITV is looking to build on the summer success of surf-and-sex show “Love Island” with Celebrity Showmance, in which pairs of celebrities use social media to try to fool the public into believing they are an item. The show features six celebrities who form three unlikely couples and then set out to get as much attention as possible from unwitting members of the public on Twitter, Instagram, and other social media. The faux couple that gets the most “likes” wins the show. Keshet U.K. is making Celebrity Showmance, which was created by its creative director David Williams, and ITV will launch the show in a primetime slot on its ITV2 channel next month."
"History is digging back into former President Bill Clinton's impeachment for its next scripted drama series.
The cabler has greenlighted a six-part series from Emmy winner R.J. Cutler titled The Breach: Inside the Impeachment of Bill Clinton, The Hollywood Reporter has confirmed.
"The series is described as a 'political thriller' that offers an extremely detailed account of how the Monica Lewinsky scandal unfolded. The drama aims to take viewers inside the war rooms on both sides of the political aisle, the clashes amongst the president's advisors, the secret negotiations between the White House and Congress and the pressure from both sides to either push Clinton out or force him to resign.
"In addition to Clinton himself, other major players in the historic 1998 events include then-first lady Hillary Clinton, Republican politician Newt Gingrich, prosecutor Ken Starr and congressman Bob Livingston, among others.
"The project is based on Peter Baker’s New York Times best-seller The Breach: Inside the Impeachment and Trial of William Jefferson Clinton.
"Cutler penned the pilot with David K. Israel and will also direct. Cutler will executive produce alongside A+E Studios' Barry Jossen. FremantleMedia North America will produce in association with A+E Studios, and FremantleMedia International will also handle global distribution. Casting is currently underway.
"The order comes as History has been pushing further into scripted series with Vikings, which recently earned an early season six pickup, and the military drama Six. Upcoming projects include the Jeremy Renner-produced Knightfall and the UFO drama Blue Book from Robert Zemeckis.
“'Featuring an array of well-known modern political figures, The Breach will bring audiences behind the scenes of an event that changed Washington forever — the first impeachment of an elected president in American history,' History exec vp programming Eli Lehrer said Thursday in a statement. 'This drama builds upon our core scripted programming slate of compelling, contemporary storytelling that embraces our recent history and we are confident R.J. will bring a unique vision to President Clinton’s gripping story.'
"For FremantleMedia, The Breach joins a growing list of scripted series that includes Starz' American Gods and HBO's The Young Pope.
“'This is a moment in American history that altered the direction of this country,' said Dante Di Loreto, FremantleMedia North America's president scripted entertainment. It’s a deeply emotional and personal story that caused one of the biggest political storms in our history. FremantleMedia is home to some of the finest creative talent around the world. We’re thrilled to now be partnering with R.J. and History on The Breach.'
"Cutler famously made a name for himself as a producer on the Oscar-nominated 1992 documentary The War Room that documented Clinton's first presidential campaign. He also directed the political films A Perfect Candidate and The World According to Dick Cheney, in addition to his work on scripted series like Nashville."
Per Variety, "This Is Us now has an official soundtrack to accompany the show’s emotionally charged moments.
"Cast members Chris Sullivan and Jon Huertas were joined by music supervisor Jennifer Pykenand composer-musician Siddhartha Khosla at the This Is Us (Music from the Show) album release at Clutch in Venice, Calif. on Wednesday night.
"The soundtrack opens with Death With Dignity by Sufjan Stevens and concludes with This Is Us Score Suite by Khosla. Filling out the album are classics such as Paul Simon’s You Can Call Me Al and Ringo Starr’s Photograph, along with newer tracks like Willin' by Mandy Moore and We Can Always Come Back To This by Brian Tyree Henry.
“'Our older songs are already legacy artists, I’m hoping our newer artists will be legacy artist 30, 40 years from now,' Pyken said.
"The album itself, which includes 20 tracks featured in the first season, tells it’s own story, Sullivan said, adding, 'Music, not only in this show but in any show, is a very universal and very specific way to evoke memory, emotion in a large group of people.'
"Pyken, along with creator Dan Fogelman and Khosla, collaborated to select songs for both the show and the album.
“'It can be magic and happen very quickly, or it can take weeks to find the right song for a scene,' Pyken said. 'Sometimes I have the scene and I know the song I’m going to put in. Sometimes I have to start listening to indie artists. We don’t have a formula.'
“Watch Me by Labi Siffre, the song scoring the closing scene at the hospital from the pilot episode, is one that particularly resonated with Khosla.
“'You couldn’t pick a better song to capture those emotions,' he said. 'Anything that’s heartbreaking and uplifting at the same time, that’s an oxymoron, but that song does it.'
"The generation-spanning element of the show lends itself to a unique selection of songs, Huertas said.
“'It’s important to make those scenes believable. To have music that represents, and the best music of that time to play in the background lets the audience feel like they really are there,' he said. 'Music is super important to grounding that, to making that authentic.'
"UMe will release This Is Us (Music from the Series) on Sept. 15. Season 2 premieres Sept. 26 at 9 p.m. on NBC.
Comedy Central President Kent "Alterman talks with THR about the big extension for Noah as well as the state of Comedy Central's other franchises:
Talk us through the decision to keep Trevor under contract well beyond the next presidential election. Why was it important to do that?
We had a multi-year deal in place and extended it. We have always believed in Trevor and now that he's been in this chair for two years, he just keeps elevating on all fronts: Creatively he really hit his stride during the election. He continues to have a more potent, strong, comedic voice in the late-night landscape. We found the world has caught up to the belief that we always held. We see that in all quarters, most important, we see that in our audience and the ratings keep going. The show is up 28 percent among total viewers for the quarter. It's up 17 percent among adults 18-49, and it's growing faster than any other show in late-night. It's the only late-night talk show that's up year-over-year among both total viewers and adults 18-49. It's also the most engaging show among the late-night shows. It feels like Trevor is always part of the national conversation now, whether it's critical pieces or think pieces, and everyone has taken notice now of what an incredible force Trevor is.
We've seen what the arms race has been for talent among late-night personalities with Colbert, Bee and Oliver all going to other outlets. How is this deal reactionary to what you've gone through in the past and the challenges that you've experienced finding someone to sit at the Daily Show desk?
We hope we prevail with Trevor the same way we did with Jon Stewart. May we get 16-plus-years with Trevor as well.
What kind of message does this kind of commitment to talent send to the town about the state of your late-night lineup?
We've never wavered in our belief in Trevor. It's been gratifying to see Trevor get more powerful as a critical, comedic and satirical voice. I can feel how the comedy community has really embraced him. He's really revered now and it's fantastic to see.
When we spoke in July, you were considering reinventing @midnight. Any update there?
We're focused on launching The Opposition With Jordan Klepper. We're looking at everything one piece at a time and we're excited about the way The Opposition will be a unique show in late-night. It's really aiming in a different direction than all the other shows and yet at same time it feels totally connected to The Daily Show in very complimentary way. We're excited about rebuilding the power hour we've been accustomed to in the past with Trevor and Jordan. Where we go from there remains to be seen.
Do you have a timeline for when Amy Schumer will be back on Comedy Central?
No, nothing has changed there.
Is she coming back?
It's like what Larry David evolved to with HBO and Louis C.K. did with FX. We have an agreement for a season in place. We're respectful of if and when she's ready to have something to say in that format, we're here for her. We talk to her all the time. She has been exec producing several of our specials in the last year or so.
Broad City returned for season four last night and is already renewed through season five. How much longer do you see that going?
That's going to be a matter of how long is that show going to feel like it serves those characters for the time and place of the lives that they're at. Abbi Jacobson and Ilana Glazer are really flourishing with the show. At the same time, it's a very specific show about these characters at a certain age living in New York City. And there will be some limit about how far they can take it.
Do you see them as being producers and parts of the Comedy Central brand beyond the show? Are you talking to them about a larger deal as Viacom looks to lock in more talent?
We've had discussions with them about producing and we did the miniseries with Ilana. We have a great relationship with them and we're talking to them all the time about wherever they're aiming.
Tosh.0 is still going strong. Does that have an end date?
Daniel is still as sharp as ever and still hitting an audience. We're continuing more with Daniel as well.
South Park also returned for its 21st season and is renewed through season 23. Are you talking with Matt and Trey to expand beyond the show?
That's the ultimate miracle: that Matt and Trey are just as vital, relevant, funny and sharp as ever. They're supreme social satirists. It's beyond comprehension to me that they can that kind of maintain edge for so long. But so far, they show no signs of getting bored or losing interest in it. We always have ongoing discussions with them. We don't have anything to announce right now.
Per Vulture, "'[a]t this very specific moment in America, do we really need to be laughing at two white dudes having so much fun trying to destroy a black woman?,' my colleague Jen Chaney wrote in her review of Vice Principals last year. I get it. I almost quit too. During its first season, the HBO comedy’s embodiments of toxic masculinity, Neal Gamby (Danny McBride, who co-created the show with frequent collaborator Jody Hill) and Lee Russell (Walton Goggins), did everything they could to undermine and terrorize Dr. Belinda Brown (Kimberly Hebert Gregory), all because they felt entitled to the principal job that she earned. In an early episode, they even burn down her house, but I actually found certain actions later in the season harder to stomach. I won’t spoil them just in case you want to catch up. Because I think you should. If you can.
"After seeing much of Vice Principals season two, which was entirely directed by David Gordon Green instead of Hill, who directed season one, I can say it’s definitely worth it. As McBride explained to me, season one was about building a certain tension, about delaying judgment, and season two is the release. It’s Judgment Day. Even the people who like the first season said it was fascinating but laughless; that isn’t the case anymore. Vice Principals definitely feels like a comedy this time around and a special one at that. After watching an episode where Gamby, forced to substitute teach A.P. History, flails while trying to explain the Reconstruction period, I remembered feeling lucky that I stuck with it. In era of binge-watching, it is a rare experience, but by forcing the audience to sit in its discomfort, the payoff on the other end is magnified.
"McBride still isn’t sure how he feels about it, though. He wanted to tell a different kind of comedic story, but he’s aware that doing so means that people who might have appreciated Vice Principals will never finish it. Ahead of Sunday’s season-two premiere, McBride and Goggins discuss the show’s unique structure, why they don’t want you to feel sympathetic for Gamby and Russell, and what a story conceived of a decade ago means under a Trump presidency:
Vice Principals was originally conceived as a film, but then turned into a TV series with specifically two seasons. What impact did a two-act structure have on the story?
Danny McBride: When we were looking at opening it up to tell it over the course of two seasons, we were looking at it like it was a first semester and a second semester. These guys embarked on this devious, reprehensible quest in the first season, and they achieved what they set out to do. The second season is about them getting what they asked for and how that plays out for both of them. We said it’s like Crime and Punishment. The first season is the crime and the second season is the punishment.
There was a certain criticism in early reviews that it was unclear if the show was indicting the actions of these characters. And I felt that as I watched the show in real time, but then it all clicked with that final shot of season one, pun intended, with Gamby bleeding out on the pavement. The indictment came, but you wanted to give the audience the experience of sitting in that feeling as long as possible.
Walton Goggins: [Clapping] Well done, you.
DM: Our hope was to use people’s knowledge of what they’ve seen in other movies and shows against them, presenting these guys like they’re the heroes, and instantly, in the second episode, having them burn down their boss’s house. It keeps you, as an audience member, not sure of what you’re rooting for or what you want to have happen. It’s why we didn’t make it as a feature: In an hour and a half, we felt like you could see the writing on the wall, but spreading it out over 18 episodes, you’re allowed to take these detours and explore other characters and it suddenly makes you feel conflicted about where it’s heading. The type of comedy Jody and I have created before is not stuff you can give to a test audience. The average person isn’t necessarily going to gravitate towards it, and I think that’s because there’s a lot more going on than would appear.
You’ve said you wanted to make something edgy. I often think about how some complain that people are too easily offended nowadays, but for comedy to be truly edgy, it demands somebody be offended. If no one’s offended, what’s the edge? How do you feel about people being offended by the show, about people who might’ve dropped out after an early episode?
DM: One thing Jody, David, and myself talked about with this show that we thought was cool is that we were seeing a lot of trends in theaters. Even the biggest movie in the world has its weekend, but after that, there’s all these other things to occupy your time. With TV, it owns you if you’re into it for ten weeks. A lot of the biggest cultural experiences that I’ve had were with Lost, Sopranos, Six Feet Under because I spent a week in between episodes hypothesizing and wondering where it was going.
What I didn’t see happening was that people would make such assumptions about what we were saying. It was crazy to read reviews and think, Man, this critic has only seen two episodes and they think that they know more about our characters’ intentions and where the story’s going than we do. And they feel so bold that they’ll go on to say they didn’t watch any of the other ones! We did talk about, “Man, I wonder if this show would’ve worked better out the gate if it had been available for people all at once to go at their own pace.” But then again, you work yourself into the idea that someone spins it out on a weekend and they’re on to the next thing.
It’s a give-and-take. Forcing people to watch it week over week and building that tension about the end goal is a more satisfying experience, but it means some people will lose out. A lot of both seasons is showing how bad these characters’ home lives are. How do you walk a line of explaining their behavior, but not necessarily justifying it?
DM: Ultimately, we’re not asking the audience to show sympathy for these guys. We’re just presenting what their story is. That’s the thing that’s most frustrating about these characters: You will see something in them that you might identify with, and then they still do shit you don’t want them to do. It’s not justifying behavior. It’s just making you frustrated at the way people are. It’s a character study, as much as Taxi Driver is on Travis Bickle. At the end of that movie you’re not like, “Man, isn’t he so sympathetic, these things he did?” It’s a fucked-up journey!
WG: I don’t wake up in the morning, judging this person. That’s not my job. I don’t have to fall in love with him or condone his behavior. My job has been around for thousands of years, man. I’m a storyteller and I try to look for stories that challenge me. For me, Lee Russell and Neal Gamby start off in such an emotional hole. They’re six feet under before they even step out of bed in the morning. I was just really, really curious about the source of this pain and their desire to share it with someone.
Last summer, during the press tour for the first season, you were often asked about how the show seemed to perfectly line up with a political moment. And then the election happened. With Trump winning, all culture, regardless of what the creators initially intended, is suddenly viewed through this lens. How does it feel to have the second season come out now?
DM: Maybe it’s a fault of mine, but I don’t equate art and things that are out there as everything lining up with what’s happening in politics. Even though, when the first season came out, everyone was equating it: “Oh, this is about the Trump voter,” “This is about the angry white male.” It isn’t notabout that, but that wasn’t the intention. I remember joking with Walt, “Man, if people thought that lined up in the first season, it’s pretty insane how the second season lines up!” Ultimately what that means is that we are not in a unique time period. This is the pitfalls and perils of leadership, good or bad.
I was rewatching some press thing you guys did for the first episode, and it had a quote I hadn’t seen anywhere: “Vice Principals is a dark, strange, twisted tale about leadership, friendship, loyalty, and the fall of Western civilization.”
I was like, “He knew!” The show taps into a thing, coincidentally, that some might fear will lead to the collapse of Western civilization. Do you think as Southerners who’ve grown up more around certain people, you understand something that those in the Hollywood “bubble” might not?
DM: I don’t even think it has to be the South. It’s human nature. There can be a guy in the hills of L.A. or a guy in the hills of the Appalachian Mountains who act this way when they’re hurt, or don’t have what they need in life. I don’t know why, but we have been obsessed with the angry Southern man! Jody Hill and myself grew up in the South, and we’re proud of that, but we would’ve been considered the most liberal guys in the South. When you come to Hollywood, you’re considered conservative just because you’re from the South! And yet we went to art school! I didn’t hunt. I wasn’t into NASCAR.
WG: For example, I really don’t believe that the racial element was injected into the first season. I think that was an interpretation. It’s really more of a study of greed! Outside of this pain that these two guys obviously have from things that have happened in their life, it’s a narcissistic, unempathetic fucking nature that really can reflect our culture at times. Hopefully at the end of this, they’re going to be able to step outside of that and see what they truly can be and what they do need from other people.
Do you have a sense of who these characters would’ve voted for?
WG: Themselves! Lee Russell would’ve wrote in his own name.
DM: I have no idea. I don’t think he would’ve registered to vote.
There’s an episode where Gamby teaches A.P. History and he has to talk about the Reconstruction period. It becomes quickly clear he doesn’t know anything about it. Was that intentional?
DM: [Laughs.] It totally was! We wanted to play around with this guy’s ignorance. When we first broke down these two characters, Lee and Neal, they were really one character split into two people. There’s two different types of leaders: leaders who are so dumb that they don’t know the right things to say, and leaders who are so smart that they know what they’re not supposed to say. There are pitfalls to both of those types of leaders. Neal Gamby has a heart underneath it all, but he’s not equipped to deal with these kids. The idea of choosing Reconstruction was just playing around with the idea of, “This is a story set in the South, and this guy would be characterized as a [proud Southerner], but he has no understanding of the history of the place where he lives.” It has to do with probably a lot of people that I know in the South! [Laughs.] They don’t even understand the history they’re being branded with.
You said a lot of the characters you create are based on people you knew in high school. If they watched the show, what do you think they’d think of these people?
DM: I always wondered that about Eastbound, what some of the assholes I went to high school with would think about me playing that role. Luckily, I don’t keep up with any of them! I wonder if some of the people I was heavily influenced by, if they ever understand that they’re being channeled.
WG: And it’s a negative view of themselves in that. Some people just love Kenny Powers! Somebody could look at that and go, “Yeah, maybe this is about me because I’m so fucking cool.” He still sees it that way!
Eastbound allowed people to go, “Yeah, this is about a cool guy!” With this show, however, I don’t think people want to see themselves. You have said that both this show and Eastboundare about dreams and dreamers, but considering how this season goes, what are you saying about dreams and idealism?
DM: Sometimes you have to assess why you’re following a particular dream. With these guys, they both think that this principal job is the answer to the holes in their lives. They’re willing to push themselves outside the realm of what they ever would’ve thought possible to get this. By doing it, they basically destroy themselves. Dreams are important, and I wouldn’t be where I am if I didn’t have a firm belief that I wanted to do something specific, but I think it’s also a cautionary tale about being careful about what you think is going to fix you.
From The New York Post: "[m]om-to-be Cameran Eubanks is putting her Southern manners aside to set the record straight about breastfeeding.
“'First of all, it is none of your dang business how I plan to feed my child,' she ranted in an Instagram video on Wednesday. 'But to answer everyone’s question so that they will shut their yappers, yes, of course I plan on breastfeed my child.'
"The Southern Charm star, who announced in April that she’s having a baby girl, continued, 'If it doesn’t work, I will then pump. And if the pumping doesn’t work then I will happily stick a bottle of formula in my baby’s mouth and she will turn out just fine.'
"And if that doesn’t work out, the 33-year-old has a less conventional back-up plan:
“'If the formula doesn’t work then I will go to Chik- Fil-A and get a No. 3 value sized, put that in a blender and spoon feed her,' she joked. 'And I’m fairly certain she’s going to like that ’cause it’s the only thing she’s been eating for the past nine months anyway.'
"Eubanks is married to Jason Wimberly, who has chosen to not appeared on the Bravo reality show. This will be their first child together.
"Last year the Charleston real estate agent, who also appeared on The Real World: San Diego, told Page Six that a baby was barely on her radar.
“'No plans as of yet, but I’m leaving the door wide open,' she said.
"Obviously she’s had a change of heart, and even knows what she’ll get her daughter at Chik-Fil-A."