The NBA Finals begin tonight. Cavs vs. Warriors IV.
Ben Simmons and Kendall Jenner? C'mon.
A preview of Howard Stern's sit down with David Letterman, which is now available to stream on Netflix.
The season 2 finale of Nobodies airs tonight on TV Land.
More women have come forward alleging sexual misconduct against Mario Batali. Click on the clips included in this story and you can see what a true scumbag Batali is.
"Netflix is bringing fans an insta-worthy exhibit that is guaranteed to blow up your Instafeed. Because You Watched is a limited two-day experience taking place at Raleigh Studios Hollywood that invites fans to immerse themselves in visual installations based on some of their favorite Netflix original series, including Stranger Things, The Crown, Dear White People, GLOW, Ozark, and more. If you’ve ever wanted to take a pit stop in the Stranger Things arcade to try to beat Mad Max’s high score or try your luck in the GLOW boxing ring, this exhibit is for you. Fans will also want to check out the exclusive Netflix merchandise available at the event to ensure that they are able to represent their binging obsessions for years to come. The Because You Watched installation will run from Friday, June 15 through Sunday, June 17. Be sure to secure your free tickets while supplies last."
"Tom Arnold has mixed emotions about his ex-wife, Roseanne Barr, and the revival of her hit ABC sitcom, Roseanne, being canceled — but he says he knew the implosion was inevitable. Granting an interview to The Hollywood Reporter on Wednesday, a day after ABC pulled the plug on the Roseanne reboot following a racist tweet sent from the show’s star, the actor, comedian and former Roseanne writer says he believes that after one season, Barr no longer wanted to do the show. 'It had to happen,' Arnold says of the show's abrupt end. 'And I am going to tell you the truth, she wanted it to happen, if you saw how her tweets escalated this weekend. If it hadn’t happened yesterday, this season would have been so awful for everyone every day because she would have felt like she was [being] taken advantage [of], just like when I left the show.'"
"ABC just canceled Roseanne, but it’s already considering one new sitcom about a working-class white woman, though she has a very different outlook on the world. Deadline reports that the network is in the early stages of developing a spinoff of The Middle focused on Eden Sher’s character, Sue Heck, the eternally optimistic and very dorky middle child of the show’s Indiana family. The original series just finished up a nine-season run, and its creators Eileen Heisler and DeAnn Heline would head up the spinoff, which “will be set a few years in the future from The Middle finale, chronicling the next stage of Sue’s life as a young adult with a new cast of characters around her” (please bring back Brad, too!). ABC could have the show ready for mid-season next year if it picked up the series right away, which would help fulfill the network’s stated goal of having more working-class programming, or consider it as a pilot for the TV season after that. The Sue Heck spinoff would also be the third show generated from one of ABC’s family sitcoms, as Black-ish recently led to Freeform’s Grown-ish, while The Goldbergs spinoff Schooled will arrive next season."
"Every one of Fox News’ primetime shows on Wednesday night did segments on Roseanne Barr and ABC’s cancellation of Roseanne. And every one of them — Tucker Carlson Tonight, Hannity, and The Ingraham Angle — tried to build a pro-Roseanne case. Sure, each of the hosts paid cursory lip service to condemning Roseanne’s racist tweets, but did so with such swiftness, you may have missed it. What they all dwelled on, at length, was the party line you can see now taking root on Fox News and in conservative media, which boils down to this: What about Bill Clinton/Hillary Clinton/Obama/Jimmy Kimmel/Keith Olbermann/Joy Behar/Alec Baldwin/pick-your-least-favorite-liberal? Sean Hannity even attacked Wanda Sykes, a consulting producer forRoseanne and one of the first people to quit the show after Barr’s tweets. The argument laid out by Tucker Carlson, Hannity, and Laura Ingraham is that the real reason Roseanne got canned was because she was conservative — why else, they assert, do Kimmel, Behar, and Baldwin still have employment with ABC? But what are Behar’s and Baldwin’s sins that are comparable to Roseanne’s, you may ask? Easy, according to the nodding-head trio of Fox primetime hosts: Behar, Kimmel, Baldwin, and other celebrities disagree with President Trump’s policies, intensely. That’s essentially it: Fox News equates expressions of racism and anti-Semitism with instances of other celebrities being critical or mean about the president." Honestly, go to hell. All of you.
Per The Hollywood Reporter, "[t]he abrupt cancellation of Roseanne will not come cheap.
"Although the decision was widely viewed as necessary given the racist nature of star Roseanne Barr's social media attack on senior Obama adviser Valerie Jarrett, several sources with knowledge of the situation suggest that ABC and parent company Disney could be on the hook for 'tens of millions of dollars.' And that doesn't include the foregone ad revenue, as broadcast's No. 1 show was expected to drive at least $60 million in its 11th season, according to Kantar Media. Insiders, meanwhile, denied the 'tens of millions of dollars' sum and pegged it at significantly less. ABC declined comment.
"Given the circumstances — the dismissal came just hours after Barr tweeted about Jarett to her 767,000-plus followers: 'Muslim brotherhood & planet of the apes had a baby=vj' — those sources say the network won't be able to invoke the force majeure clause, which allows producers to cancel contracts due to unforeseen, catastrophic events. ABC brass will have to make some tough choices about whether and how to compensate the cast and crew for the scrapped 13 episodes.
"According to those same sources, no conversations were had Tuesday about how all of this will play out since all involved were still in a 'state of shock.' ABC's top television executives Ben Sherwood and Channing Dungey are expected to engage as early as Wednesday with representatives for Tom Werner, whose Carsey-Werner production company produced the original run as well as the revival, on the subject of compensation for the cast and crew. Werner is repped by UTA, which also represents several writers, including showrunner Bruce Helford, on the series.
"Per multiple insiders, reps for the stars, including Sara Gilbert, Laurie Metcalf and John Goodman, who recently negotiated new deals for the 11th season at $350,000 an episode (up from $250,000 a year before and still shy of Barr's estimated $500,000 per episode fee), are expecting to still be compensated for the season since, as many note, 'their options were exercised.' Or at least, that's the case they intend to make if ABC opts not to pay them for the jettisoned season. 'They'll lawyer up if they have to,' says a source with ties to the show.
"What's less clear is if and how the writing staff will be compensated. Only a very select few — and maybe even just one — have a clause in their contracts that requires that they be paid for a minimum number of episodes, in this case 10, regardless of whether anything gets produced. (The scrapped 11th season was due to run 13 episodes, up from nine.) The remainder of the writing staff is only contractually obligated to be paid for produced episodes, of which there were none. In fact, in a surreal twist, the writers room for the forthcoming season opened Tuesday, though insiders suggest little got done given the fallout of the viral (and since deleted) tweet.
"If it comes to it, reps for those writers are expected to fight for at least some compensation, arguing such things as they passed up other job opportunities to take one on Roseanne. 'Nobody really knows yet what kind of compensation they're going to get,' writer and exec producer Dave Caplan told The Hollywood Reporter hours after the news hit, adding: 'Everybody is a little bit on edge about how it's going to turn out.'
"Added a representative for one of the show's top writers: 'Houses could be lost, no exaggeration, depending on how ABC handles this. Jobs are done for the year in network TV.'
"For his part, Sherwood issued an internal memo to staff Wednesday in which he apologized to the 'many men and women' who worked on the revival and were prepping for the new season. 'We're so sorry they were swept up in all of this and we give thanks for their remarkable talents, wish them well, and hope to find another way to work together down the road,' he wrote."
"The Oscar- and Golden Globe-nominated actress will star as Emily Dickinson in scripted comedy Dickinson, which has been ordered straight to series at Apple.
"The comedic series takes viewers into the world of Dickinson and explores the constraints of society, gender and family from the perspective of a budding writer who doesn't fit in to her own time through her imaginative point of view. Dickinson is described as Emily's coming-of-age story and one woman's fight to get her voice heard. The series is set in the 1800s and features a modern sensibility and tone.
"Written by Alena Smith (The Affair, The Newsroom), Dickinson will be exec produced and directed by David Gordon Green (Stronger, Pineapple Express, Vice Principals). The series hails from Paul Lee's newly launched and CAA-backed Wiip, with Oscar winner Michael Sugar (Spotlight) and Ashley Zalta (Maniac) overseeing for Sugar23 Productions. Anonymous Content's Alex Goldstone and The Big C's Darlene Hunt will also exec produce.
"For Steinfeld, this marks the Pitch Perfect 3, True Grit and Edge of Seventeen star's first TV series regular role. The singer-actress will next be seen as the female lead in Transformers spinoff Bumblebee, due Dec. 21. She's currently writing and recording her first full-length album. Steinfeld is repped by CAA and Hirsch Wallerstein. The pickup comes as YouTube is prepping a version of Edge of Seventeen — with a new cast — for the small screen.
"Dickinson is the first Apple scripted series order for Wiip, which also has Catherine Zeta-Jones comedy Queen America and an untitled Cristiano Ronaldo soccer drama both set at Facebook. The company recently landed TV rights to Gimlet podcast Sandra. Wiip is a talent-driven studio that created and produces content for digital and global platforms overseen by the former ABC Entertainment president.
"The series becomes the latest scripted entry from Steve Golin's Anonymous Content following True Detective, Mr. Robot, Berlin Station, The OA, Electric Dreams, 13 Reasons Why and The Alienist. Next up for the management and production company are Netflix's Maniac and Hulu's Catch-22.
"Dickinson becomes the lastest straight-to-series order at Apple and joins a roster of scripted programming including Octavia Spencer drama Are You Sleeping, the untitled morning news drama starring Reese Witherspoon and Jennifer Aniston, anthology Amazing Stories, animated comedy Central Park, a thriller from M. Night Shyamalan, a top-secret series from La La Land's Damien Chazelle, a Kristen Wiig comedy, Stephen Knight futuristic drama See and a space drama from Battlestar Galactica's Ron Moore. Still to be determined is just how Apple will distribute its scripted originals."
Per The Ringer, "The Walking Dead has entered genuinely uncharted territory for the first time in its history. Leaning on [Norman] Reedus to carry the load is sensible, but make no mistake: This will be a different show seven episodes from now. And while AMC has happily and unironically embraced the idea of continuing The Walking Dead for another 100 episodes, losing Rick could be the first time the show’s endgame is seriously considered. The Walking Dead has always been The Grimes Show, and now it’ll be forced to find a new way to tell a story. After seasons of drudgery, it’s hard not to look at that as a positive.
"A frequent complaint about The Walking Dead in years past has been its over-reliance on story lines from the comics, the way the show follows them beat for beat with a few minor improvisations here and there—like when Negan killed two characters (Abraham and Glenn) with his barbed-wire-covered baseball bat instead of one during his gruesome introduction. But in the comics, Rick and Carl are still alive; Maggie is too.
"Obviously, the series is going to have to go another way—in terms of Rick and Carl, at the very least—and it’ll have no chart to follow when installing Daryl at the show’s center. While he shares some traits with the comics’ version of Dwight, Daryl’s a character who was specifically created for the screen. Carol has effectively been created from scratch, too: She died much earlier on in the comics, having never done anything as badass as blowing up a cannibalist outpost.
"A good template for The Walking Dead could be Game of Thrones. While David Benioff and D.B. Weiss still have a pretty good outline of where George R.R. Martin’s story is headed and how it will end, Game of Thrones eventually eclipsed the books and began to tell its story on screen before it was ever realized in what used to be the source material. What was once a retelling of a fantasy series has turned into a fairly disparate story, told through a different medium—only the fantastical universe is the same. That’s the hand The Walking Dead has been dealt, only the show has even more free rein because it isn’t tethered to certain characters in the same way Thrones must orbit around Jon Snow and Daenerys Targaryen.
"That doesn’t necessarily mean The Walking Dead will improve—while Thrones has had memorable episodes post–A Dance With Dragons, the off-book seventh season was largely a disappointment with too many narrative loopholes (since when was traveling across Westeros as easy as hopping on an express train?). With a few exceptions, like Carl’s emotional send-off and Morgan’s standalone episode with pacifist John Carroll Lynch (no, really), The Walking Dead hasn’t been good in several years. The series’ formulaic approach—Rick leading his group to a new safe haven, a place that will be undone through some calamitous means before everyone packs their bags, moves on, and tries to avoid becoming zombie chow—has even transcended its split-season, episodic structure. You could solely watch the premiere, midseason finale, midseason premiere, and season finale, and not miss anything important—that’s how The Walking Deadhas operated since 2011. This narrative stagnancy—along with gratuitous violence that sometimes teeters on torture porn—has seen The Walking Deadbleed viewers for a couple of seasons now, unable to suture the wound. A CGI tiger and a zombie gladiator were only temporary salves to an otherwise predictable framework; flashy spins on the same narrative beats.
"Some ideas going forward: The Walking Dead could spread out its characters across the post-apocalyptic wasteland for standalone stories, echoing the critically acclaimed first half of the fifth season. The series could embrace other dystopian tropes, like how Fear the Walking Dead suddenly decided Mad Max–esque SWAT vehicles were very cool (that’s correct!). What if The Walking Dead went full-blown horror with the Whisperers, a group from the comics the show has hinted at whose members disguise themselves as zombies and wear their skin like a mask. What if Daryl … got a haircut?
"In order to grow, The Walking Dead needs to change, and losing the actor who’s played the main character for eight years is one hell of a change. But it also might be a blessing in disguise. In Walking Dead parlance—and in loving memory of Hershel Greene—the series can chop off an infected limb and still live to fight another day."
"In the Netflix series Ozark, Laura Linney plays one tough mother — the wife of a Chicago financial adviser (Jason Bateman) who makes a single bad decision that leads him and his family down an increasingly dark and dubious path of Mexican drug cartel money laundering, murder and betrayal in the Ozarks. Linney stands by her man, and her family, at all costs.
"The Juilliard-trained, three-time Oscar nominee (for You Can Count on Me, Kinsey and Savages) spoke to TheWrap during a brief break from rehearsing Rona Munro’s My Name Is Lucy Barton, which will mark her debut on the London stage:
It’s the complexity of Wendy and Marty Byrde — decent people who have done indecent things and now must do anything to save themselves and their children — that makes them so strong and fully formed.
But let’s be clear: These are not good parents. They may mean well, but the things they put their kids through!
Is that what drew you to the role?
When I first got a call and was asked to read the script, I really liked it, but the character of Wendy — well, she needed some work. She was basically just a wife. So then I met with Jason [Bateman, her co-star, director and executive producer] over coffee in New York, and we talked about the role and where I felt it needed to go. And he said yes, they would do that.
And you believed him?
[Laughs] Of course, you never know when you’re told that if it really will happen, but ultimately I went with my gut, which told me this was something I should do and be involved with. And I’m so glad I did!
It must be gratifying to know you had a hand in shaping the role.
Our showrunner, Chris Mundy, and Jason have created such a collaborative environment. It’s been so liberating. We started with our characters, and then added some Miracle-Gro to see where it would take them.
Clearly, to some pretty dark places: Wendy strays outside her marriage, becomes an active player in money laundering, threatens to kill a few kids who have endangered her teenage daughter … and that’s just for starters.
To me, this show is all about identity: Exploring who these characters are, who they think they are, who they really are, and what they’re capable of.
As a viewer, it’s not knowing what they’re capable of that makes the show so nerve-wracking. Have there been especially challenging or difficult moments to play?
Nothing! We don’t have the special effects and editing that make it what the viewer ultimately sees, so we’re just all there together, on set, having a great time. It’s been such fun."
"The project, from HBO Documentary Films, looks at the escalating refugee crisis unfolding throughout Europe through the eyes of refugees from Eritrea and Syria. The film follows Aregai Mehari, an Eritrean refugee who survived a shipwreck off Lampedusa, Italy, as he heads to Northern Europe after being trapped in Italy’s faltering immigration system, and also examines the plight of local Italians who are left to cope with the overwhelming influx of newcomers while facing their own economic woes. Additionally, the doc traces a Syrian family’s journey to Germany in search of asylum.
"The 93-minute documentary world premiered at the Seattle International Film Festival, will next screen at the Berkshire International Film Festival on June 2, followed by AFI Docs on June 14.
"It Will Be Chaos will make its television broadcast debut across HBO on June 18 at 8 p.m. ET/PT, with an encore presentation on June 20, World Refugee Day.
"Check out an exclusive trailer [here]."