Tuesday July 17, 2018

Suits returns tomorrow night! In the Season 8 premiere, following the merger, Harvey and Zane grapple over who should lead the firm. Louis tasks Katrina with culling the herd, but doesn’t like her decision. Donna helps her see beyond the numbers. More below, including new opening credits

Not to worry, the theme song is still Greenback Boogie by Ima Robot.

I've narrowed down my list of fictional lawyers who I'd hire to represent me down to five:

1) Mike Ross (Suits)
2) Alan Shore (Boston Legal)
3) Harvey Specter (Suits)
4) Franklin & Bash (Franklin & Bash)
5) Saul Goodman (Breaking Bad)

The MLB All-Star Game airs tonight at 8p ET on Fox.

Who would win in a fight, Bryce Harper's dad or Ryan Sheckler's dad?

Only 327,000 viewers for the premiere of Sacha Baron's Cohen's Who Is America?

The value of Netflix stock is in a bit of a free fall.

"Stranger Things on Monday morning tweeted out a local-style commercial for Hawkins, Indiana’s new Starcourt Mall, and it is just cheese-tastic enough to distract you from the fact that Season 3 of the Netflix series apparently won’t arrive until 'next summer' aka summer of 2019. (Previous seasons of the supernatural thriller respectively dropped in July 2016 and October 2017. Netflix had no further comment on the Season 3 timetable, though it should be noted the series has no announced presence at this week’s San Diego Comic-Con.)"

"Vince Gilligan, creator of Breaking Bad and co-creator of its prequel, Better Call Saul, is staying put at Sony Pictures TV, the studio behind the back-to-back hit series. Gilligan has closed a rich new three-year overall deal with Sony TV where he has been for the past 11 years. Under the eight-figure pact, Gilligan will continue to work onBetter Call Saul, which he co-created and executive produces/showruns with Peter Gould. The series, starring Bob Odenkirk, returns for its fourth season on AMC on Aug. 6. Gilligan also will continue to develop new projects through his company, High Bridge Production. It is a coup for Sony TV to retain one of its top creators in a very competitive talent marketplace where SVOD platforms are aggressively pursuing writers with a distinct brand and strong pedigree like Gilligan. I hear that like Greg Berlanti, who recently re-upped at Warner Bros. TV, Gilligan did not get out in the marketplace instead closing a new deal with Sony TV, which came in with a very competitive offer."

Here's a first look at Beau Willimon's new Hulu series, The First, starring Sean Penn.

CBS has renewed Ransom for a 3rd season.

More of Jay Cutler being Jay Cutler on E!'s Very Cavallari.

"The Walking Dead has added Tony-nominated actress Lauren Ridloff to the roster of AMC’s ninth season of the zombie-fighting drama. Ridloff will be the series’ first deaf actress and will play Connie. Ridloff, who is deaf herself, recently appeared on Broadway in Children of a Lesser God, for which she received the aforementioned Tony nod. Her character will appear in multiple episodes and she communicates via American Sign Language. Connie appeared in The Walking Dead comics but was not written as deaf. The TV version is a departure from the original, but as we have seen in A Quiet Place, a deaf character in a horror-driven story can add a whole new layer of tension."

"Three episodes into its run, Paramount Network’s breakout new drama Yellowstone is the second most watched TV series on ad-supported cable to air in 2018, only behind juggernaut The Walking Dead. Over its first three episodes, the series starring Kevin Costner has averaged 4.6 million viewers in Live+3. The drama had held steady in the ratings and even growing in key demographics. The most recent third episode, entitled No Good Horses, set records in adults 18-49 (1.3), adults 25-54 (1.9) and women 25-54 (1.7). The series premiere of Yellowstone drew nearly 5 million viewers in Live+3, making it the top summer drama series debut on cable or broadcast. I was also ad-supported cable’s most-watched scripted drama series premiere since FX’s The People v O.J. Simpson in 2016 (8.3 million) and eclipsed the two previous launches on the six-month old Paramount Network, Waco and American Woman, both of which had posted respectable numbers."

"Nickelodeon is reviving the animated kids series Rugrats with a 26-episode order and a live-action film from Paramount Players. Production has already begun on the new series, though no premiere date or cast information has been announced. Arlene Klasky, Gábor Csupó and Paul Germain, creators of the original 1991 series, will return as executive producers."

"Reelz is set to air a documentary series about Charles Manson’s family – funded by British distributor DRG. Manson’s Bloodline is a four-part series that will tell the story of Charles Manson’s grandson, Jason Freeman, and how he came to terms with his notorious grandfather’s murder spree. It comes in advance of next year’s 50th anniversary of the killings. The series, which will be delivered in late summer, will be produced by Breaking Borders producer My Entertainment, which obtained access and secured previously unheard telephone calls that Manson had with Jason from prison. It will also follow Jason’s battle for his grandfather’s body following his death in November 2017 and exclusive footage of Manson’s funeral from earlier this year." Congrats gentlemen!!

An opportunity to cook in Jesse and Walt's RV?! Watch the video.

"The upcoming Ryan Murphy Netflix series The Politician has added four series regulars to its castVariety has learned. Zoey Deutch, Lucy Boynton, Laura Dreyfuss and Rahne Jones have been cast in the series, though the exact nature of their characters is being kept under wraps. They join previously announced cast member Ben Platt, who will star. The music-driven series is described as a satirical comedy revolving around a wealthy politician from Santa Barbara played by Platt. It is believed that there will be musical numbers in every episode."

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From TVLine: "You could call Katherine Heigl a  fangirl. In fact, the Grey’s Anatomy vet was such a huge lover of the USA Network drama, she sought out creator Aaron Korsh to collaborate on a different project, but eventually wound up with a series-regular gig on Season 8.

"For Heigl, Suits‘ appeal lies in the 'fearless' quality of its characters. 'They’re really just confident and comfortable in their own skin,' she tells TVLine. 'They have flaws, and they have insecurities, for sure, but they’re not afraid to push boundaries. They’re not afraid to push back.'

"Similarly, Heigl’s character — Samantha Wheeler, a lawyer who makes her entrance in the Wednesday, July 18 premiere (airing at 9/8c) —  is “just willing to go there,” the actress describes. 'Whether she’s afraid or not, she’s going to do it, and I think that’s the definition of courage. She’s not always right, and sometimes her methods are a little shady, and sometimes she’s shady. But she’s really good at her job.'

"Below, Heigl talks about her “amazing” experience on the long-running series and previews Samantha’s combative relationship with Specter Litt (including boss Harvey):

I was talking to [creator] Aaron [Korsh] the other day, and he said you called up, wanting to be on Suits.
That’s right! [Laughs] I actually started bingeing it probably, gosh, a couple years ago. A friend of ours up in Utah was like, “You’ve got to see this show.” My husband [Josh Kelley] and I are always looking for something we can watch together and enjoy together that’s not really Gilmore Girls for him or the Tour de France for me. So Suits was our perfect hang-out-in-the-evening, binge-watch show. My mother, who’s also my producing partner, fell in love with it, and it was her suggestion that we reach out to Aaron and see if he was available to maybe help develop some projects I [had] going. At the time, we didn’t know that they were going to do an eighth season, and he kind of on the down low told us, “Well, we’re actually prepping for that.” I was like, “Do you need a tall blonde, perhaps? Because I’m available.” [Laughs] So it worked out. He was so lovely about including me and creating a character for me to come in and play. It’s been amazing.

How much input did you have into shaping who the character would be, since technically, he was writing for you?
The beauty of something like this is that because I’m such a fan of Aaron and his writing and what he does, I didn’t feel the need to input much. It was like, “I can’t wait to see what you do.” At the top of those sort of conversations, I would say like, “Oh, I don’t know, it could be fun to play a female version of Louis Litt. Or maybe I play a woman who comes in and directly challenges Donna’s ability to intuitively know everything.” But what he ended up creating was so much more interesting than what I was suggesting.

Just like Samantha, you’re coming into a community of people who have been together for a very long time. What was that experience like?
My initial nervousness was like, “Yeah, I’m walking into a family situation.” These people have been working together for seven years, very closely, and inevitably, under those circumstances, you become really close to one another. I was nervous about being the new girl, but they were so incredibly embracing. Everybody reached out to me by phone or email when it was announced that I’d be doing the show to just welcome me. I spoke to Rick Hoffman for two hours; that was our introduction, over the phone. Two hours later, I was like, “Dude, I’m so sorry I just commandeered two hours of your life.” [Laughs] Everybody’s just been so gracious and lovely and excited to have me here — and I get to share that excitement, because I’m so excited to be here.

You’ve done predominantly broadcast series in the past. On cable, have you noticed a difference in terms of what you can do and say and get away with?
Yeah. Now they’ve got us throwing down a “f–k” here and there, which I was like, “Really?! We can do that?” I guess I maybe did in The Ugly Truth say a few choice words, but I’ve never had the opportunity in television. It feels kind of naughty. I always feel like, “Ooh, can we do this?” and they’re like, “Go for it.” I’m like, “OK!”

What does Samantha think of Specter Litt — and what do the people at Specter Litt think of her?
Initially, Samantha comes in thinking she’s there to be Robert [Zane]’s right-hand gal and take care of whatever he needs taken care of, to push him to the top. Her loyalty is to him through and through, and he has to make it clear to her at a certain point, “No, we’re a team here. Your loyalty has to be to everybody. You’ve got to show everybody what you show me.” That’s something she has to work on because she’s not terribly trusting of people, and she’s very suspicious and wary.

But as the season is progressing, I can see how her attitude is shifting to one of real deep respect for everybody there. There are confrontations, there are arguments, there [is] seeing things in totally different ways, but she’s starting to understand that despite the fact that those things happen and she has a different opinion on a lot of stuff, these people are to be taken seriously and are really good at what they do. So there are relationships and bonds starting to form. That’s really fun, to go from basically having none of those relationships to the beauty of watching them unfold.

Samantha and Harvey have quite a combative spark right from the start, but in a way, they’re also very alike. Is there more than just a professional competitiveness there?
I don’t think so; not as far as I’ve seen yet. I don’t know what Aaron’s planning, but at this point, I think it is because they’re super similar in their styles, and they’re both cocky confident. They butt heads a lot, because she’s not going to take any s–t from anybody, and she’s not going to be bossed around by anybody even though he’s her boss. That really rubs Harvey wrong because he’s thinking, “Hey, fall in line. There’s a pecking order here. You’re not calling the shots. I am,” and she’s just like, “No. The only person I listen to is Robert Zane.” So there’s a lot of conflict in that. But then, like I said, they have these moments of real connection and really seeing the value in one another — just the raw, instinctual ability to do what they do well."

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Per The Hollywood Reporter, "Heathers will air after all.

"Paramount Network, which scrapped the controversial reboot in June, has sold the dramedy that features a school being blown up to multiple international territories. The international sales help recoup some of the cost for the 10-episode drama. Sources note that multiple U.S. homes — including Netflix and Freeform — have passed on the series. Efforts to find a U.S. home for the anthology continue.

"The Viacom-owned outlet has sold Heathers to HBO in Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Hungary, Kosovo, Macedonia, Moldova, Montenegro, Poland, Romania, Serbia, Slovakia and Slovenia. The series started airing twice a week on July 11 on HBO Go with a weekly linear run beginning in September in those territories. Additionally, HBO subscribers in Denmark, Finland, Norway and Sweden started getting episodes twice a week on HBO Go on July 11. Subscribers in Spain and Andorra got the first three episodes on HBO Go on the same date, with the remaining installments dropping July 18. Additionally, HBO subscribers in Portugal, Angola, Cape Verde, Guinea, Bissau, Mozambique, Sao Tome and Principe will get the series on HBO Go at a date to be determined.

"Elsewhere, Digiturk has licensed Heathers in Turkey and Cyprus for premium subscribers with weekly episodes launching July 20. OTE in Greece will get one episode a week starting July 15, and Iceland on July 12 got SVOD and linear rights via Siminn.

"Paramount Network scrapped the Heathers reboot in June amid sensitivity concerns. The series, from showrunner Jason Micallef and directed by Leslye Headland, was delayed from its original March premiere on the newly rebranded Paramount Network (formerly Spike) following the Parkland, Florida, school shooting that left 17 dead. A new premiere date was never formally announced, though the cabler had envisioned an early July bow before the Santa Fe school shooting occurred.

"'This is a high school show, we're blowing up the school, there are guns in the school, it's a satire and there are moments of teachers having guns. It's hitting on so many hot topics. This company can't be speaking out of both sides of its mouth, saying the youth movement is important for us and we've done all these wonderful things to support that and at the same time, we're putting on a show that we're not comfortable with,' said Keith Cox, Paramount Network president of development and production. Cox, who spoke at length with The Hollywood Reporter about the decision (read the interview here), developed the show originally for TV Land and brought it with him to corporate sibling Paramount Network once the cable network was rebranded as Viacom's general entertainment hub. Sources say Paramount Network believed so strongly in the creative that the cabler nearly renewed the series for a second season weeks after Parkland. 'The combination of a high school show with these very dark moments didn't feel right,' Cox said.

"The decision to pull the plug on the anthology — which was poised to feature a largely new cast in its second season — came after multiple meetings internally with Paramount Network president Kevin Kay, Cox and senior vp development Brad Gardner, as well as Viacom corporate execs including CEO Bob Bakish. Ultimately, the decision to not air Heathers on any Viacom platform was made after the youth-focused conglomerate supported the movement that sprang out of Parkland by going dark across all of its brands for 17 minutes in a show of support for the victims in the Florida high school shooting.

"Meanwhile, Cox and company are actively trying to find a new home for the drama, which follows a new set of popular-yet-evil Heathers, since Paramount Network executives strongly believe in the Heathers reboot. The original TV Land pilot was filmed in November 2016 — as Cox says, "before the climate changed." (Heathers was originally envisioned as a half-hour comedy, but was expanded to an hour after the pilot came in at 44 minutes and network execs decided to make it TV Land's first hourlong show.)"

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"Thomas Ravenel could be facing another legal battle.

"Luzanne Otte — one of Ravenel’s ex-girlfriends — has retained legal counsel to fight against allegations published on a blog that she stalked and harassed his new girlfriend, Ashley Jacobs. She also claimed that Jacobs and Ravenel spread malicious lies against her.

“'Luzanne Otte has been subjected to a seemingly endless smear campaign that lacks even a kernel of truth,' G. Taylor Wilson — a partner in the law firm that she retained — told Page Six.

“'For months, Ms. Otte has waited patiently for her accusers to let her continue to live a private life free of false public shaming. They haven’t. There comes a time when enough is enough, and that time is now. Ms. Otte has been forced to retain counsel to defend herself and has demanded that the false accusations against her cease. Any further false accusations will be met with litigation.'

"Wilson confirmed that no lawsuit has been filed yet.

"Ravenel, 55, is currently defending himself against allegations that he sexually assaulted two women in Charleston, S.C.. Page Six exclusively reported that his accusers have not been contacted by Bravo nor Haymaker per their investigation into him as of yet.

"He recently tweeted that his future on Southern Charm remains uncertain.

"Ravenel’s attorney did not return our request for comment, but previously stated, 'My client enjoys a certain degree of fame and unfortunately has become — unfairly — a target for an individual who has, in my opinion, dubious motivations.'”

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Per Vulture, "Aisha Tyler is used to standing out — as the first female host and host of color for Talk Soup, one of the few black love interests on Friends, and just as a six-foot-tall black woman in Hollywood. But she is also (until Robin Thede’s The Rundown returns) the only black woman helming a late-night show. Her show Unapologetic is half after-show for freshman AMC drama Dietland and half-feminist current events panel show. Dietland directly deals with sizeism in media, the role of protest and violence in public discourse, and how women are treated by the men who allegedly care for them. It could not be more timely. Guests – from superstars like Charlize Theron to activists like DeRay Mckesson and comedians like Nikki Glaser – discuss Dietland but also how the show connects to problems in the larger culture. It is one of many hosting gigs Tyler has had over the years. She came to national attention through Talk Soup and co-hosting the live daytime talk show The Talk for six years. She is still hosting the latest incarnation of Whose Line Is It Anyway?

"Unapologetic artfully balances the Dietland-ia with real-life issues like the separation of children from their families at the U.S. border and AMC’s ongoing investigation into the alleged abusive behavior of Chris Hardwick. On the show, Tyler addressed the investigation, saying, 'I want people to know that you can know and like someone and still reserve judgment on behavior of theirs of which you have no firsthand knowledge.' Soon Tyler will be joined by Yvette Nicole Brown as the interim host of Talking Dead, which makes AMC the only network with a higher host ratio of black women to white men named James:

Your show is live, and it touches on subjects that tend to get people heated and occasionally profane. How do you cope with that?
So far, the conversations have been heated, and they’ve been intense. But we haven’t had any really combative conversations. A lot of the people who come on the show that frequent the news shows on CNN, Fox, or MSNBC have remarked on how much more enjoyable doing my show is because it’s not combative in that traditional way where you’re kind of screaming across someone. We give everybody a lot of time. We want it to be a conversation that advances dialogue, not a conversation that somebody wins. And so it really hasn’t been problematic. I did six years of live television at The Talk, so I’m really accustomed to what the mechanics are of doing a live show. You build in lots of room for dynamism and for unexpected things to happen. And then you let them unfold and then you manage what you can.

In a lot of your acting and stand-up you are frequently the only woman, the only person of color, or both in the room. And I wonder if that affects your ability to listen and navigate spaces differently. 
Growing up, I was often in an environment where I was the only person of color. I went to schools where, until I was maybe a teenager, I was one of two black kids or the only black kid. It made me a really good observer. And I think it can kind of skew you toward … if you’re always feeling isolated, you stop feeling isolated, you know? It just becomes kind of a natural state for you, so it’s not as disruptive. Being the only black kid made me more of an iconoclast. I would say to all the parents who worry that their kids are socially awkward or unusual, your kids make awesome adults. I was an unusual kid, but it allowed me to feel more comfortable making unusual choices or departing from social norms as an artist, as a stand-up, as a writer. Especially as a comedian.

My comedy is very personal and it doesn’t really follow any of the common stylistic schools of comedy. I came up when Def Comedy Jam was really popular, and Queens of Comedy. That wasn’t my style of comedy, and I had a lot of people press me to move into that space because that’s what was working and that’s what people liked. Those performers do that beautifully, and I can’t do that. I’ll never be able to do that if I tried all my life. So I do think that all of that isolation and self-reliance as a kid made me much more individualistic as an adult. It freed me not to feel anxious or nervous or put-upon when I walked into a room as a stand-up and I would be the only woman or only black person. Because I had always been that — that had always been my state as a kid. And so it translated into bravery.

As a host, how do you extend that bravery for other people and make them feel comfortable in your space?
There are a lot of psychological cues that a sociologist would point out – you know, like smiling and making eye contact, telling people “I’m happy you’re here.” On The Talk, it was always our job to make sure that the guest won. There are a lot of talk shows that aren’t like that. A guest comes on and they’ve gotta fight to get to the table and fight to make themselves heard, to prove themselves. We always wanted people to come in and feel like we were going to create the best possible environment for them to do their best interview, to make them look good. That was our job. They came out of that place feeling good about the visit. We weren’t a news show, we weren’t there to press people. We were an entertainment talk show. We were there to make everybody look good, and that meant we looked good.

I always used to say that on my podcast, too: “This is the safest possible space it can be. I want you to speak freely. If you say something that later you regret, I promise it will come out of the show, no questions asked.” And as a result, people were much more divulgent, much more personal, and much more revelatory than they would have been in any other context. Out of 220 shows, only two people asked me to cut something out of the show, because they felt comfortable.

Now on Unapologetic, I really tell people to speak freely. We’re a cable show, we can bleep you. We want this to be a conversation. And people aren’t there to promote a project or prove themselves, they’re there to have a conversation. What they all say afterwards is “I have never had a conversation like that on TV before.” So I think a part of making people feel comfortable is telling them they’re safe. But then you also have to make them safe. We’re not there to capture anybody. It’s not a “gotcha” show. It’s not a lecture or a grilling. I’m part of the conversation to make it less like an interview. And if I’m vulnerable, and if I’m personal, if I go out on a limb, if I lead by example, then people are willing to do the same.

Do you ever feel like you lose something by not having that “gotcha” mentality?
No, I really don’t. Because when people smell that energy, they shut down. If I was a journalist and it was my job to press a politician, I’d probably approach the job differently. But in my podcast specifically, because it was long-form interviews, I always still got them. I still got ’em! But they were a willing participant in the getting. Out of all of those episodes, every single person after the interview said “I said stuff on the show I’ve never told anyone.” It was always stuff they’d never said in an interview, and almost universally it was stuff they’d never told anybody before. So I always still had my “gotcha” moment, but it came from a place of support and safety.

We recently had Charlize Theron on Unapologetic. She’s typically very polished, because the job requires it. So she’s very good at deciding what she’s going to share with people. On my show she was wildly open, talking about her childhood and growing up in South Africa. She cried during the interview — she was like “Dammit Aisha, I can’t believe I let you make me fucking cry!” But for me, that was the moment. I got to be with this person that people are so intrigued by who’s had such an accomplished career, and I’m getting a real moment of vulnerability. And that’s because I’m letting them know that it’s safe to be vulnerable here. So I get my bees with honey and not with vinegar.

That show was very interesting, too, because Marti Noxon pretty obliquely alluded to the Matt Weiner scandal
Yes, she did.

The show is so often deeply political and deeply personal. How does that feel as somebody who is emotionally involved in both sides of that equation?
Well, I think the political is the personal, don’t you? I don’t think you can separate the two, and I think that your political beliefs are deeply tied to your personal ones. Especially now for women and people of color in this country; both are in peril. We have an administration and a political climate that is saying that women’s bodies don’t belong to them, that is saying that children don’t belong with their families. The political and the personal can’t be divided. I get a lot of heat online, as a lot of “celebrities” do, for being political in my speech. I’m driven by conscience. I feel that it would be immoral to not speak up, and I have an obligation to speak up.

Different people carry around different loads of guilt. I grew up in a working-class family. My father didn’t make it past the eighth grade. He was a construction worker, a meat cutter, and a deep-sea fisherman. My mom cleaned houses when I was young. And everything that I have, I worked for. There are very few other countries in the world where I could accomplish what I have, and especially as a woman of color. It’s not that we don’t have a long way to go for women or for people of color, but everything that I have, everything that I’ve worked to get, is a product of the climate and context that I did it in. And if I just get mine and get paid and don’t pay that forward and don’t act on my own moral inclinations to make it easier and safer for other women and other people of color to do the same, then I am mired in moral bankruptcy. My guilt is from a place of “I have so much and should be doing more to help others come up.”

You spoke on the show about the Chris Hardwick situation. Was that difficult, in the moment?
Very difficult, very difficult. Chris and I have been friends for a very long time. He’s never been anything but kind and generous to me. And I know him to be a principled and lovely person, and that is the only kind of interaction I’ve had with him. He’s a friend, and I said it on the show. I consider him a friend, and I’ve considered him a friend for a long time. I also respect and understand the network’s obligation to investigate the allegations against him and to create a safe environment and to project a culture that values and respects women.

I host a feminist talk show, so we have an obligation to talk about this stuff when it comes up and talk about it with clear eyes. I said that because I wanted people to know that we knew about it, that AMC was looking into it, and that we have an obligation to talk about it, because I also have a personal relationship to him. So people couldn’t say that I have mixed loyalties or a hidden agenda. I reserve judgement, as I said on the show, because you can know somebody and care about them and still not know what goes on behind closed doors. And so I think that story and that situation is still evolving. But I have always considered Chris a friend.

Unapologetic is only one of, let me check my notes, 97 million shows you’re currently on. How … when do you sleep?
I don’t. I really like working hard. I am lucky that I am able to do all the stuff I get to do. And I really am fueled by, not chaos, but by intensity. I try to run on intensity and dynamism. But it is overwhelming at times. I just have to work hard to manage my time and to create space to play and to daydream — which I do; I’m very aggressive about my play as well. But I remember what it was like to have no job, so this is definitely the better of the two alternatives. And I also feel [the need to work], because I have people who came before me, made a space for me, and created an opportunity for me to do what I’m doing. I was the first woman and person of color to host Talk Soup, I’m the first woman and person of color to host Whose Line Is It Anyway? I’m the only woman of color doing a late-night talk show. There’s Robin Thede with The Rundown, but that’s a news-based show. I’m the only one doing a comedic talk show. It’s because other people came before me and broke those barriers down, and I want to make that space for other people. So it requires a bit of stamina.

Was that important for you in signing on for this show — to be a woman of color in late night, one of the only ones with a talk show?
Yeah, absolutely. I think diversity is not about quotas. Diversity is about depth and breadth of perspectives. It can’t just be six white guys in suits talking about the same stuff. It’s a paucity of imagination right now. And they’re all doing lovely jobs. It’s not that they’re not good at it, it’s just the same narrow cast of attitude and opinion and approach. I always say diversity is not about quotas, it’s about bringing different stories, different perspectives, and different voices. It just improves the quality of content. So yeah, it was important to me. And I do say, confidently, that there is no show like Unapologetic on TV. There really isn’t."

This interview has been edited and condensed.

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"Hulu is sinking its teeth into Anne Rice. The streaming service has picked up the author’s Vampire Chronicles TV series, an individual with knowledge of the deal tells TheWrap.

Anne and Christopher Rice will exec produce the project, alongside Anonymous Content’s David Kanter and Steve Golin, which has been in the works since 2016. There is currently no showrunner attached to the series.

"Paramount Television and Anonymous Content optioned the rights to 11 of Rice’s Vampire Chronicles books for adaptation in 2017, one year after Rice began developing the project.

“'It is undeniable that Anne Rice has created the paradigm against which all vampire stories are measured. The rich and vast world she has created with The Vampire Chronicles is unmatched and sophisticated with 90’s gothic undertones that will be perfectly suited to captivate audiences,' said Amy Powell, President, Paramount TV, in a statement at the time. 'The series is full of compelling characters led by Lestat, arguably one of the greatest original characters, literary or otherwise. We are thrilled to collaborate with Anne, Christopher and the team at Anonymous Content on this epic series.'

"Rice is a New York Times best-selling author of over 30 titles. Her first novel Interview with the Vampire was published in 1976 and has become one of the bestselling novels worldwide and was the basis for the 1994 film of the same name, starring Tom Cruise, Brad Pitt, Kirsten Dunst and Antonio Banderas."