Tuesday April 3, 2018

Season 2 of Legion premieres tonight.

As does the much hyped The Last O.G. on TBS, starring Tracy Morgan.

Morgan was a trip on yesterday's Howard Stern radio show.

"The CW has renewed 10 of its current series, the network announced Monday. The renewed series are: Arrow (Season 7), Crazy Ex-Girlfriend (Season 4), Legends of Tomorrow (Season 4), The Flash (Season 5), Jane the Virgin (Season 5), Riverdale (Season 3), Supergirl (Season 4), and Supernatural (Season 14). In addition, freshman shows Black Lightning and Dynasty have been picked up for second seasons. Specific premiere dates for each series will be announced at a later time. The network will make decisions on their originals Life Sentence, Valor, iZombie, and The 100 in May."

Season 4 will be the last for Crazy Ex-Girlfriend according to Rachel Bloom.

Initial reaction to ESPN's Get Up!

Marc Maron's house is for sale.

James Kennedy > Stephen McGee, and it's not even close.

Channing Tatum and Jenna Dewan Tatum have split after nearly nine years of marriage, the couple announced on Monday.

Eliza Coupe‘s husband Darin Olien filed for divorce on Monday after nearly four years of marriage.

"Jared Leto launched his weeklong tour of America from The Tonight Show Starring Jimmy Fallon on Monday. The trip is in celebration of the April 6 release of 30 Seconds to Mars’s newest album, America. While it sounds a little crazy for the Oscar-winning actor to hitchhike across the U.S., Leto insisted that the trip is legitimate. 'This isn’t a gag,' he said. 'I’m actually doing this.' Though he didn’t get into the specifics, Leto said he hopes to ride some donkeys in the Grand Canyon and catch a lift in a hot air balloon. But his first jump on departing 30 Rock was provided by A$AP Rocky. The trip will culminate with 30 Seconds to Mars performing in Los Angeles on April 6 — that is, if someone is willing to pick up a hitchhiker who looks like Jared Leto."

Behind the Nazi storyline on season 2 of Santa Clarita Diet.

An interview with Louie Anderson.

 "One of Hollywood’s most outrageous couples, Jason Biggs and Jenny Mollen, host the new relationship comedy game show, My Partner Knows Best. How well married couples know one another will be put to the test as they compete in a series of hilarious challenges based on real-life relationship obstacles. Three couples compete each week, but only one will walk away with the money and be able to say My Partner Knows Best! Ten one-hour episodes have been ordered from Propagate, working in association with Kanal D. Ben Silverman, Howard T. Owens, Irfan Sahin, Jason Biggs, Jenny Mollen, Kevin Healey and Kalissa Miller serve as executive producers. David Hillman executive produces for Lifetime."


Per The New York Times, "Kate Mara isn’t onscreen much in Chappaquiddick, John Curran’s account of the maelstrom surrounding July 18, 1969, when Senator Edward M. Kennedy drove his Oldsmobile off a narrow bridge into a pond on the Massachusetts island, leaving the scene and his passenger, Mary Jo Kopechne, who died. And effectively killing his presidential aspirations.

"As Kopechne, Ms. Mara was determined to find justice for a campaign aide who, after her death, was reduced by some to a groupie who was having an affair with the married Kennedy, played here by Jason Clarke. (Chappaquiddick opens on Friday, April 6.)

“'Like a lot of people, I’m fascinated with the Kennedys and their history and their achievements and the tragic stories that follow them,' Ms. Mara said. But she insisted on portraying Kopechne 'as the brilliant, hard-working woman that she was and not just some tabloid story.'

"It isn’t the first time Ms. Mara’s character has suffered at the hand of politics. As the dogged D.C. reporter Zoe Barnes in House of Cards, she slept with the House majority whip, Frank Underwood (Kevin Spacey), who pushed her in front of a train once he was tagged for the vice presidency.

"This summer, she’ll play a 1980s New Jersey housewife whose husband works for the Trump organization in FX’s Pose, which is currently shooting in New York.

"As a snowstorm approached, Ms. Mara, 35 — chatty in bare feet in the downtown Manhattan apartment where she’s living temporarily with her husband, Jamie Bell, and her elderly Boston terrier, Bruno — discussed her harrowing scenes as Kopechne and the recent sexual assault allegations against Mr. Spacey.

"Here are edited excerpts from the conversation:

Kopechne joined Senator Robert F. Kennedy’s secretarial staff in 1964 and then became a “boiler room girl.” What’s that?

It’s a term they used for the girls who worked on Kennedy’s 1968 presidential campaign. Their office was boiling hot because there were no windows, and it was in this dark area of the building. They’d be down there for hours working their asses off.

How did you make sure you weren’t playing into the rumors surrounding Kopechne?

She achieved so much, and she was only 28 when she died. She started out as a teacher, and then she went on to play a very important role in Bobby Kennedy’s campaign. So I wanted to make sure that she wasn’t shown as just some rumored fling that Ted Kennedy might have had. Obviously, it was a possibility. But I appreciated the fact that we were going to leave it as it actually is, which is a mystery.

The official finding was “death by drowning.” But some have speculated that she suffocated as the water rose in Kennedy’s car across several hours. What was that like to shoot?

Horrible. [Laughs grimly] It was very surreal. We actually shot in a car that was flipped upside down in an underwater tank, and it was being held up by wires. And they would submerge it a little bit more, then a little bit more, and the car filled up with water over time. They had one of the doors off so I could swim underneath and get to the bottom half of the car where the actual air pockets were. And I had this amazing stunt team of ex-Navy SEALs that were under there protecting me in case anything goes wrong. It was quite an ordeal. Yeah, it wasn’t fun. At all.

And now you’re shooting Ryan Murphy’s Pose, about the 1980s ball culture.

It’s inspired by “Paris Is Burning.” I’m excited to see all those women dancing [on the series], because if you go online or on Instagram and follow any of the “houses,” it’s so incredible. Their actual vogueing, posing — whatever you want to call it — it’s an art form.

The show is said to have the largest L.G.B.T. cast of any scripted series.

It’s pretty mental how many characters we have, and it keeps growing with each episode. It’s so fantastic when you open a script and see all the characters’ names, and most of them are trans.

They’re not killing you off, are they?

No, God, I hope not!

I have to ask about House of Cards and working with Kevin Spacey.

I had a really amazing experience on that show for the 13 episodes I was on it.

Did you have any inkling as to the alleged sexual misconduct that led to his termination from the show?

No, that whole thing to me to this day is very shocking and devastating all around.

A new teaser shows Claire Underwood sitting at the Resolute desk in the Oval Office. Will Robin Wright, who plays her, be able to carry the show’s last season on her own?

Oh my God, I will tell you that from Day 1, I’ve been waiting for Robin to take over! There’s nobody like her."


Per Vulture, "TV evolved because of Steven Bochco.

"The writer-producer, who died Sunday morning of leukemia at 74, was the mastermind behind a number of critically acclaimed and popular series, including Hill Street BluesNYPD Blue, L.A. Law, and Doogie Howser, M.D. He won multiple Emmys and Peabody awards, the Humanitas Prize, and countless other honors, and incidentally ran a series of on-air finishing schools for writer-producers (including Deadwood’s David Milch and Law and Order’s Dick Wolf) who absorbed his sensibility and went on to be almost as important has he was. From the early 1980s onward, starting with Hill Street, Bochco pushed relentlessly, some said fruitlessly, to loosen commercial broadcast television’s restrictions on both content and style, and allow showrunners, writers, and directors to create programs as artistically free as the best titles that could be viewed in cinemas or on cable.

"Bochco was born in Miami to a painter mother and a violist father, studied playwriting and theater at Carnegie Mellon University, and had his first career milestone at NBC, where he wrote the story and teleplay for the first episode of the classic Peter Falk mystery series Columbo. (The director on that episode, a then-24-year old wunderkind named Steven Spielberg, would go on to his own great success.) His work took a more socially aware and cerebral turn in 1978 when he started working for Mary Tyler Moore and Grant Tinker’s production company MTM, the creators of The Mary Tyler Moore ShowThe Bob Newhart ShowLou Grant, and other classics, and one of the most creatively fertile operations in 1970s television. Bochco’s first effort there, 1978’s Paris, a rare network star vehicle with an African-American lead (James Earl Jones), was canceled after one season, but Bochco’s ambition ultimately paid off in 1981 with Hill Street Blues — a cop drama that in retrospect feels like ground zero for every significant development that occurred in dramatic TV after that point.

"Co-created with Michael Kozoll, Hill Street was set in and around a beleaguered police station in a run-down, racially mixed area of a large, unnamed eastern city. Interiors and exteriors were filmed in Los Angeles, but the opening credits featured stock footage of Chicago, and the bleached-out visuals evoked Sidney Lumet’s New York–set cop dramas. The storytelling seemed inspired by the daytime soap opera, ex-police officer Joseph Wambaugh’s despairing, bleakly hilarious novels, and Thornton Wilder’s Our Town. The tone was elastic enough to encompass everything from romantic melodrama and hard-edged violence to Catch 22–style satires of bureaucracy and the macho mentality, and earnest examinations of racial and ethnic tension, homophobia, sexism, drug and alcohol addiction, and what would later be known as toxic masculinity. The camera sometimes tracked characters in long, unbroken dolly shots as they moved through the police station, as if the show were a three-dimensional theater production staged for an audience of one person who was allowed to go onstage and wander silently among the actors. The show’s attention shifted from one character or group to another when the camera decided to follow someone who had passed in front of the lens — a technique developed during the era of live TV drama in the 1950s, then successfully imported to features by directors like Robert Altman, who got their start in TV.

"This ensemble-focused, community-driven series was the antithesis of everything airing on network TV at that time. Hill Street’s storytelling split the difference between “one-offs,” which wrapped up stories before the end credits, and ongoing arcs that continued over the course of several episodes — a model that would be refined on other series throughout the ’90s and beyond. This, too, was a gussied-up borrowing from soaps, commonly seen on the likes of Days of our Lives and Dallas, but rarely applied to prime-time programs.

"The show was a farm team for brilliant young talent, including Wolf, whose Law and Order franchise obviously learned from the black humor and terseness of Hill Street; the young Yale graduate Milch (whose first screen credit was Trial by Fury, one of the best single episodes in the history of the medium), and actor Dennis Franz. The latter made such a strong impact in the role of bad cop Sal Benedetto, who committed suicide after the full extent of his corruption was exposed, that the show brought him back as a new character, Detective Norman Buntz, who was as uncouth and intemperate as Benedetto, but decent at heart and ultimately sympathetic.

"Franz would power two more Bochco-derived series, Beverly Hills Buntz and NYPD Blue. The former, co-created by Milch, was part of a wave of half-hour, single-camera, laugh-track-free 'dramedies' that also included Bochco’s John Ritter vehicle Hooperman. NYPD Blue proved to be just as significant as Hill Street and far more controversial. Running from 1993–2005, and co-starring Franz with David Caruso (who was later replaced by Jimmy Smits, Mark-Paul Gosselaar, and Rick Schroder), the series was specifically designed to prove that network series could be as edgy and adult as a lot of what ran on cable and become across-the-board popular hits even though they were intended to be viewed by adults only. Each episode started with a content warning and sometimes featured more than one if it was an especially intense installment. The series was centered on Franz’s Detective Andy Sipowicz, a straight-up antihero who could be as frightening as a villain at times. It used profanity and racial and sexual slurs that had been mostly forbidden up until then, showed and discussed sex in a frank way, and threw in glimpses of nudity (something Hill Street occasionally did as well, though less ostentatiously), and sometimes reached for expressionistic or surreal images, as when Andy, a tortured Catholic, hallucinated encounters with Jesus. As conceived by Bochco and increasingly informed by the sensibility of Milch, it was a macho soap opera in police garb that often played like a network TV answer to Abel Ferrara’s quasi-mystical cop potboiler Bad Lieutenant. It was refreshingly unafraid to plunge into matters of morality and spirituality. The mix of sadism and masochism, disapproval and empathy, was brutal, weird, and consistently surprising, and it regularly confounded audience sympathies. At its bleakest and most melodramatic, it played as if the story of Job’s suffering had been retold through the character of a Roman centurion.

"Hill Street and NYPD Blue alone would have been sufficient to ensure Bochco’s place in the pantheon, but he generated many other significant series as well, including the comedy-drama/legal procedural L.A. Law (which made the career of writer-producer David E. Kelley, whose subsequent series took a lot from Bochco) and Murder One, an experiment in serialized network TV storytelling that spent an entire season chronicling a single case. The latter was too contrived and manipulative for its own good, but it helped pave the way for more successful and assured experiments in that format, including The Wire; as such, it deserves at least a footnote in TV history.

"So does Bochco’s short-lived musical telenovela Cop Rock, which earned the No. 1 spot on many critics’ top-ten worst lists at that time. Anyone who watches it on YouTube now will marvel at how ahead of the curve it seems. GleeFlight of the Conchords, Smash, and Crazy Ex-Girlfriend are tame in comparison. The pilot includes a hip-hop number decrying police brutality, one where a jury bursts into a gospel song while delivering a guilty verdict, and a closing solo by a woman who’s selling her baby on the black market for drug money.

"Bochco’s adventurous spirit shone through no matter what he did. Even Doogie Howser, M.D., a collaboration with Kelley that’s often mischaracterized as a one-note gimmick, and that made an instant star of then-juvenile actor Neil Patrick Harris as a barely adolescent physician, had serious things to say about relative maturity levels and subjective ideas of wisdom and qualification, and used its inherently absurd premise as a means of Trojan-horsing social commentary into its story lines. Some of his one-season wonders, such as Bay City BluesBrooklyn SouthCity of AngelsPhillyOver There, and Commander in Chief, are worth at least sampling, for their surprising choice of subject matter (that last series, which Bochco took over from creator Rod Lurie, starred Geena Davis as the first female president). It’s impossible to imagine modern television existing without him."


"Erinn Hayes can’t wait for fans to see her in a whole new light.

"After a sudden departure from the Kevin James-led sitcom Kevin Can Wait last year, the 41-year-old actress is heading back to TV in The Dangerous Book for Boys, a new Amazon series based on the best-selling book of the same name — and Hayes is loving the change of pace.

“'They’re such different shows,' said Hayes, comparing the two projects in an interview with PEOPLE Now on Monday. 'One is a sitcom, it’s three jokes a page… You’re not diving into too much real emotion. And I had a wonderful time on that.'

"Hayes continued: 'And now I’m on this. This show is so true to life, and it’s… cinematic. The jokes can be the jokes and they come when they come, but it’s not like you gotta hit that thing.'

"Now streaming on Amazon, The Dangerous Book for Boys — co-created by Bryan Cranston — follows a family coping with the loss of their patriarch with the help of a guidebook he left for them.

“'It was just so beautiful to get a chance to dive into the reality of this family’s experience and know that you just want to make it as real as possible,' Hayes explained.

"When asked by PEOPLE Now’s Jeremy Parsons if she’s glad to have moved on to 'this great new show,' Hayes reacted with a smile. 'Listen, I always love to work,' she said, laughing.

"Fans were furious when Haye’s character, Donna, was killed off Kevin Can Wait last fall. Some even threatened to boycott the show over the departure, a sentiment that the actress seemed to back by liking posts on Twitter.

"James told the New York Daily News in October that the decision was not because he or anyone else had a problem with Hayes, but rather because the show’s team was 'running out of ideas' for storylines.

“'I get that people are like, "Whoa, why would you do this?" But it really felt like a thing like this was needed for this show to drive forward,' James said to the outlet.

"The sitcom star explained that his character was originally going to be a single father. However, James and the producers went in a different direction, adding Hayes as his wife.

“'The plot of the show didn’t have enough drive,' James said to the New York Daily News of season 1. 'If we got through a second season, I wouldn’t see us getting through a third one. We were literally just running out of ideas.'”


Here's what Carl wrote to his Dad before he died on The Walking Dead:

"I remember my eighth birthday with that giant cake and Aunt Evy showing up on leave, surprising us all. I remember mom, and Codger. I remember school and going to the movies and Friday night pizza and cartoons and grandma and grandpa and church, those summer BBQs and the kiddie pool you got me. Could have used that at the prison.

You told me about the walks we’d take when I was three. You holding my hand around the neighborhood, all the way to Ross’ farm. I didn’t know that I remembered them, but I do. Because I see the sun, and the corn, and that cow that walked up to the fence and looked me in the eye. And you told me about all that stuff, but it isn’t just that stuff, it’s how I felt. Holding your hand, I felt happy and special. I felt safe.

I thought growing up was about getting a job and maybe a family, being an adult. But… growing up is making yourself and the people you love safe. As safe as you can, because things happen. They happened before. You were shot before things went bad. Kind of felt like things went bad because you were shot. I want to make you feel safe, dad. I want you to feel just like I felt when you held my hand. Just to feel that way for five minutes. I’d give anything to make you feel that way now.

I wanted to kill Negan. I wish I did, maybe it would have been done. I don’t think it’s done now. You went out there again, but I don’t think they surrendered. I don’t think they will surrender."


Per EW, "[t]he showrunner of the new CBS crime procedural Instinct is apologizing to the creator of Fox’s Bones for a story line that bore some striking similarities to the long-running former hit series.

"On Twitter, Instinct producer Michael Rauch expressed regret to Bones, its fans, and its creator Hart Hanson on Monday for an episode that had 'very distressing' albeit 'unintentional' elements that were similar to the other show:

Michael Rauch@Michael_Rauch: Yeah, heard about this. Very distressing and 100% unintentional. Looking into it and how to make sure it doesn’t happen again. And of course apologies to Bones (and their fans). Thanks for the heads up. @HartHanson https://twitter.com/kaylynuke/status/980888067576877056 …

"Here’s what happened: Based on author James Patterson’s Murder GamesInstinct stars Alan Cumming as a former CIA officer helping the NYPD solve crimes. The show’s third episode aired Sunday night titled Secrets and Lies (already the name of another TV show, btw). The story line was about the murder of an Amish teenager who moved to the big city. The detectives find popsicle sticks in the teen’s childhood bedroom. The feathers later remind the investigators of piano keys, and they realize he secretly played piano, and then they interview the victim’s piano teacher.

"The Bones episode was from 2009 and titled The Plain in the Prodigy. It was also about the murder of a young Amish man who moved to the big city. In the kid’s room back in Amish country the detectives find a collection of rocks. They later realize the rocks look like piano keys and track down the victim’s piano teacher.

"After that, the storylines seem to diverge. But the whole 'Amish teen who goes off to the big city, secretly plays piano which the detectives discover through an assembly of objects in their childhood bedroom' setup struck some fans as too similar to be a coincidence.

"It should be pointed out that these similarities do not prove Instinct intentionally copied Bones. There have been thousands of procedural crime drama episodes over the past few decades, and they tend to follow a similar structure. It’s more possible than you might think that two writers could have a very similar idea (or perhaps an Instinct writer saw the Bones episode years ago then forgot about where that idea came from)."