2025-09-04 06:00:33.386

Corey Feldman, Hilaria Baldwin, Danielle Fishel, and Jordan Chiles are among the celebrity contestants competing on the new season of "Dancing with the Stars." The announcement was made Wednesday on "Good Morning America." The season premiere is set for September 16th on ABC and Disney+. Baldwin will partner with pro Gleb Savchenko; Feldman with Jenna Johnson; Chiles' partner is not yet revealed; and Fishel will dance with Pasha Pashkov. Other newcomers include Elaine Hendrix (partnered with Alan Bersten), Baron Davis, Dylan Efron, Scott Hoying, Lauren Jauregui, and Andy Richter. Previously announced contestants are Alix Earle, Robert Irwin, Whitney Leavitt, and Jen Affleck.

2025-08-23 18:00:23.298

The author admits to being a bigger fan of The Simpsons than South Park, citing South Park's thinner bench of characters and its sometimes less varied political satire compared to The Simpsons' warmer social commentary. However, the author praises South Park's 27th season for its surprisingly effective satire of the second Trump administration, noting that the bar for cathartic laughter has been raised considerably due to the bleak reality of Trump's actions. The author contrasts South Park's approach with other comedic attempts at addressing Trump, criticizing the "clapter" and grandstanding that often accompanies such attempts. They highlight the absence of moralizing in South Park's recent Trump parody, focusing instead on mean caricatures of deserving figures. The show's depiction of Trump, using repurposed photos and the same voice and animation technique used for Saddam Hussein in the movie, is noted as particularly effective, as is the portrayal of Kristi Noem as a dog-murdering zealot. The article also discusses the show's use of Randy, Stan's father, as a ketamine-microdosing, tech-bro moron addicted to ChatGPT, and the surprisingly sparing use of Cartman this season. The author suggests that the success of this season's satire lies in its focus on worthy targets, allowing for a satisfying "point-and-laugh" meanness that feels deserved. While acknowledging that this praise may be seen as coming from a fair-weather fan, the author concludes that the show's willingness to target tech bros, debate-me podcasters, and Trump-world figures is a refreshing change of pace.

2025-08-04 18:00:32.657

NEW YORK (AP) — Hank Hill is back and he’s the same ol’ Hank Hill, but a lot of things around him have changed. The lovable animated hero of “King of the Hill” has returned from a 15-year lull and he isn’t sure what boba tea is, how ridesharing works and is confused by all-gender bathrooms. “What kind of food is poke?” he asks his wife, Peggy. Hank and Peggy have returned to their hometown of Arlen, Texas — and our TV sets — but a lot has happened over the years and they’re stepping into a world they don’t always recognize. “Hank, have things changed here more than we thought?” Peggy asks, worried, in the first new episode. “Did we make a mistake coming back?” Hulu is definitely hoping not, reuniting many of the same writers and voice cast who turned the propane-loving, beer-sipping Hill into one of TV’s few blue-collar icons. The first 10 episodes hit Hulu on Monday. Saladin K. Patterson, the executive producer and showrunner for the new season 14, hopes the original fans will return to see how Hill copes in the modern day. Viewers will learn that Hank and Peggy have been in Saudi Arabia all this time, where he served as “assistant manager in charge of Arabian propane and Arabian propane accessories.” Their son Bobby, now 21, is the chef of a “down home, German-Asian fusion” restaurant. (Sample dish: Grilled mackerel with a side of mustard pretzel.) Hank and Peggy have retired and he happily rejoins his line of friends drinking cans of beer in an alley. Boomhauer gives him a hug and Dale has grown even more paranoid, becoming “an election-denier-denier.” Bill has let himself go, staying indoors and living off Amazon deliveries. “I finished Netflix, Hank. Did you know that when you get to the end of Netflix, you get something called ‘a wellness check?’” Viewers in the second episode hear Tom Petty’s “Runnin’ Down a Dream,” a nice nod to the late rocker’s embrace of the show when it first appeared. “The writers have found that balance between the vintage ‘King of the Hill’ that we adore and the new — and letting them coexist,” says Pamela Adlon, who voices Bobby. Creators Mike Judge, the mastermind behind “Beavis and Butt-Head,” and Greg Daniels, who would go on to co-create “The Office,” helped Patterson navigate this world, which they sheparded during its first 13 seasons, airing from 1997 to 2009.

2025-08-02 18:00:14.665

The announcement of And Just Like That's conclusion after its third season has been met with little surprise. The show's third season grapples with the theme of appearance versus reality, exemplified by Carrie's initially perfect garden hiding a rat infestation, mirroring the show's own superficiality. While some storylines, like Charlotte's dealing with Harry's cancer diagnosis, offer depth, others fall flat. Miranda's transformation is jarring and unbelievable, while Carrie's relationship with Aidan, though initially promising, ultimately crumbles due to unresolved past issues. The show's attempts at self-awareness, such as Miranda's hate-watching, feel forced. Ultimately, the show's ending leaves viewers with a sense of hope that the final episodes will provide some closure and substance.

2025-07-30 00:00:31.558

Inflate thy balloons and unsheathe thy Party Rings, for here is Chief of War (Apple TV+) to remind us of the joy of the scowling historical epic. Here too, almost, is Battle of Hastings belter King & Conqueror (BBC, August). And Spartacus: House of Ashur (Starz, this winter). Also in the period-specific pipeline are second series for Disney+’s brilliant Shogun and Amazon Prime’s terrible House of David. Historical epics, it would not be unreasonable to say, are everywhere. But which are the best and which should be catapulted, screaming, across a poorly rendered CGI battlefield? Given their abundance, some arbitrary judging criteria are clearly in order. Hence: no “fantasy” nonsense (ie Game of Thrones) and nothing set after the early 1800s, the latter on the grounds that a) there are too many of the sods and b) Julian “Downton Bloody Abbey” Fellowes has effectively tucked the era under his top hat and run off with it while honking like an overprivileged goose. Let battle commenceth… The Best Chief of War (2025) A barrel-chested wodge of Big History in which mountainous creator and co-writer Jason Momoa thunders through the based-on-true-events that led to the late 18th century unification and, ultimately, colonisation of his native Hawaii. And it’s brilliant; from its predominantly Polynesian cast to the sense of doom that swirls perpetually around the scenic foothills of Mount Momoa. It may lean a touch too heavily on extended, subtitled brawls in which there is much [grunting], but this is heartfelt storytelling; as muscular and sincere as its loinclothed protagonist. Vikings (2013-20) Startlingly brutal middle ages od(in)yssey in which mud-caked peasants duck from the flailing mace of progress/death and Norsemen with calves like bowling balls stagger across fjords, their complexions suggesting they may not be getting their five a day. There are the obligatory fireside frottageings, but this is clever stuff, with complex characters, an atmosphere of thunderously oppressive gloom and dialogue that does not make one long to inter oneself, sobbing, in a flaming longship. Shōgun (2024-) The second adaptation of James Clavell’s 1,100-page clomp through the late Sengoku period of feudal Japan, this US-produced saga leaves its beloved 1980 predecessor spluttering in its backwash, the latter’s once sacrosanct USP (Richard Chamberlain blinking expressionlessly in a kimono) unable to compete with the former’s rich, knotty script, riveting characterisation and steadfast attention to historical detail. Cue stoic samurai, scurvy-ridden sailors and preoccupied warlords in a succession of exquisitely indifferent terrains and everyone else sprinting for cover as the whole shebang is (justly) pelted with Emmys. I, Claudius (1976) Yes, the pace is slow, the sets perfunctory and the wigs apparently assembled from the contents of a vacuum cleaner. But still, 50 years on, the BBC’s adaptation of Robert Graves’ novels on the bastardry of the early Roman empire remains one of TV’s finest achievements, with an unapologetically adult script and magnificent, pillar-rattling performances from John Hurt, Siân Phillips and Derek Jacobi, the last assisted by prosthetic makeup and a false nose that could dislodge the cobwebs from a triumphal arch. Wolf Hall (2015 and 2024) An object lesson, here, in how to deliver prestige historical drama without recourse to bums or bombast. Instead, there are exquisitely layered performances (Damian Lewis, Jonathan Pryce), quiet, adult explorations of difficult, adult things (grief, ageing) and many, many candlelit silences into which Mark Rylance’s Thomas Cromwell glides, his expression, as always, that of a ferret saddened by developments in France. A monumental achievement, obviously, and in director Peter Kosminsksy and scriptwriter Peter Straughan’s hands, a near-perfect adaptation of Hilary Mantel’s three-piece masterpiece. The Worst The Borgias (2011-13) Rome, 1492, and the Vatican is besieged by filth as director/co-creator Neil Jordan takes a stiff quill to non-secular skulduggery. Cue: tumescent priests, pouting strumpets and a never-wearier Jeremy Irons as Pope Shagger VI. Here, historical integrity is something to be bent over and humped, unconvincingly, behind a net curtain. The script? Pfft. The acting? Tsk. The plot? Possibly, although it’s tricky to concentrate on the dynastic machinations of 15th century Italy when Irons in a mitre keeps shouting “WHORE”. The Cleopatras (1983) A catastrophic attempt by the BBC to replicate the success of I, Claudius by squeezing Grade II-listed hams into togas and forcing them to SHOUT at punishing length about the PTOLEMAIC DYNASTY in what appears to be an abandoned REGIONAL LEISURE CENTRE. The upshot? Tedium. Plus? Bald caps, flagrant boobery, Richard Griffiths “working” a “smoky eye”, the line “Let’s get out of Egypt!” and trembling extras gulping in horror as the plot catapults yet another flaming ball of exposition at the studio floor. Spartacus (2010-13) Manacled jocks go loincloth to loincloth in a US production comprised almost entirely of buttocks. There is, occasionally, other stuff: blood, knockers, airborne viscera, Americans in sandals decapitating other Americans while shouting “ass”, some “plot” or other involving revenge, John Hannah (as dastardly slave trader Batiatus) bellowing “BY JUPITER’S COCK!” at 30-second intervals etc. But it is mainly buttocks. Watch it on fast-forward and it’s like being shot in the face by a pump-action bum-gun. The Musketeers (2014-16) One, two, swashbuckle my shoe: abject “international co-production” tosh here from the Beeb as Alexandre Dumas’s novels are reimagined for whichever generation it is that is supposed to be interested in this sort of thing. And lo, much adolescent tomfoolery doth ensue, with PG-rated punch-ups, tiresome hunks smirking in pleather and dialogue of the “Things just got complicated!” genus. The result? Hollycloaks. Peter Capaldi does his best as Cardinal Richelieu but it would take more than thigh boots and nostril-flaring to lighten this particular load. The Tudors (2007-10) Verily, my liege, this idiot Canadian-Irish co-production does dance a merry jig upon the very concept of historical accuracy, with its Irish Henry VIII (Jonathan Rhys Meyers), its ripped courtiers and Joss Stone as Anne of Cleves. There is the occasional grudging nod to Actual Historical Stuff (the Reformation, wives etc). But it’s mostly just Henry banging his way around Tudor England, his bum cheeks jack-hammering with such ferocity that they are little more than a meaty blur, like a deli counter viewed from the top deck of a speeding bus in the rain. Chief of War is on Apple TV+ from 1 August.

2025-07-22 06:00:13.271

A wave of comedy's biggest names, including Jimmy Fallon, Seth Meyers, John Oliver, Jon Stewart, and Adam Sandler, flocked to 'The Late Show' to support Stephen Colbert following the unexpected announcement of its cancellation. The show, nominated for multiple Emmys just days prior, was axed by CBS despite being top-rated. The celebrity audience participated in various comedic skits, including musical performances by Weird Al Yankovic and Lin-Manuel Miranda, and humorous interactions between audience members like Andy Cohen and Anderson Cooper, and Fallon and Meyers. Colbert himself addressed the cancellation, jokingly blaming 'cancel culture' and questioning the network's reasoning, especially given the show's high ratings and the significant financial losses reported. He pointedly referenced CBS's $16 million settlement with Donald Trump, hinting at possible misallocation of funds. While many stars showed their support, Jimmy Kimmel was absent but sent a supportive message online. The episode ended with a pointed jab at Paramount, CBS's parent company, showcasing a cartoon President Trump holding a Paramount sign.

2025-07-19 18:01:06.876

Stephen Colbert's run as host of CBS's "Late Show" will end in May 2024. The announcement came as a surprise, especially given the show's success in ratings since 2017. While CBS attributed the cancellation to financial pressures, many suspect the timing is connected to a recent settlement between Paramount and Donald Trump, and Colbert's frequent criticism of the former president. Fellow late-night hosts like Jimmy Kimmel and Jimmy Fallon expressed shock and disappointment. Senator Elizabeth Warren even suggested the cancellation might be politically motivated. Colbert himself expressed gratitude to CBS and his staff, while the studio audience reacted with boos upon hearing the news.

2025-07-18 12:00:50.089

CBS is canceling “The Late Show With Stephen Colbert” next May, shuttering a decades-old TV institution in a changing media landscape and removing from air one of President Donald Trump’s most prominent and persistent late-night critics. Thursday’s announcement followed Colbert’s criticism on Monday of a settlement between Trump and Paramount Global, parent company of CBS, over a “60 Minutes” story. Colbert told his audience at New York’s Ed Sullivan Theater that he had learned Wednesday night that after a decade on air, “next year will be our last season. ... It’s the end of ‘The Late Show’ on CBS. I’m not being replaced. This is all just going away.” The audience responded with boos and groans. “Yeah, I share your feelings,” the 61-year-old comic said. Three top Paramount and CBS executives praised Colbert’s show as “a staple of the nation’s zeitgeist” in a statement that said the cancellation “is purely a financial decision against a challenging backdrop in late night. It is not related in any way to the show’s performance, content or other matters happening at Paramount.” In his Monday monologue, Colbert said he was “offended” by the $16 million settlement reached by Paramount, whose pending sale to Skydance Media needs the Trump administration’s approval. He said the technical name in legal circles for the deal was “big fat bribe.” Colbert took over “The Late Show” in 2015 after becoming a big name in comedy and news satire working with Jon Stewart on “The Daily Show” and hosting “The Colbert Report,” which riffed on right-wing talk shows. The most recent ratings from Nielsen show Colbert gaining viewers so far this year and winning his timeslot among broadcasters, with about 2.417 million viewers across 41 new episodes. On Tuesday, Colbert’s “Late Show” landed its sixth nomination for a Primetime Emmy Award for outstanding talk show. It won a Peabody Award in 2021. David Letterman began hosting “The Late Show” in 1993. When Colbert took over, he deepened its engagement with politics. Alongside musicians and movie stars, Colbert often welcomes politicians to his couch. Democratic Sen. Adam Schiff of California was a guest on Thursday night. Schiff said on X that “if Paramount and CBS ended the Late Show for political reasons, the public deserves to know. And deserves better.” Democratic Sen. Elizabeth Warren of Massachusetts released a similar statement. Colbert’s counterpart on ABC, Jimmy Kimmel, posted on Instagram “Love you Stephen” and directed an expletive at CBS. Actor and producer Jamie Lee Curtis noted in an interview in Los Angeles that the cancellation came as the House passed a bill approving Trump’s request to cut funding to public broadcasters NPR and PBS. “They’re trying to silence people, but that won’t work. Won’t work. We will just get louder,” said Curtis, who has previously criticized Trump and is set to visit Colbert’s show in coming days. Colbert has long targeted Trump. The guests on his very first show in September 2015 were actor George Clooney and Jeb Bush, who was then struggling in his Republican presidential primary campaign against Trump. “Gov. Bush was the governor of Florida for eight years,” Colbert told his audience. “And you would think that that much exposure to oranges and crazy people would have prepared him for Donald Trump. Evidently not.” Late-night TV has been facing economic pressures for years; ratings and ad revenue are down and many young viewers prefer highlights online, which networks have trouble monetizing. CBS also recently canceled host Taylor Tomlinson’s “After Midnight,” which aired after “The Late Show.” Still, Colbert had led the network late-night competition for years. And while NBC has acknowledged economic pressures by eliminating the band on Seth Meyers’ show and cutting one night of Jimmy Fallon’s “The Tonight Show,” there had been no such visible efforts at “The Late Show.” Colbert’s relentless criticism of Trump, his denunciation of the settlement, and the parent company’s pending sale can’t be ignored, said Bill Carter, author of “The Late Shift.” “If CBS thinks people are just going to swallow this, they’re really deluded,” Carter said. Andy Cohen, who began his career at CBS and now hosts “Watch What Happens Live,” said in an interview: “It is a very sad day for CBS that they are getting out of the late-night race. I mean, they are turning off the lights after the news.”

2025-07-18 06:00:35.074

CBS is canceling "The Late Show With Stephen Colbert" next May, ending a decades-long run. The announcement followed Colbert's criticism of a $16 million settlement between Trump and Paramount Global (CBS's parent company) over a "60 Minutes" story. Colbert called the settlement a "big fat bribe." Paramount and CBS executives stated the cancellation was a purely financial decision unrelated to the show's performance or content. However, Colbert's outspoken criticism of Trump and the timing of the cancellation, amidst a pending sale of Paramount to Skydance Media requiring Trump administration approval, has fueled speculation. Despite recent ratings successes and Emmy nominations, the cancellation has drawn significant backlash from politicians, fellow late-night hosts, and celebrities, with accusations of political motivations. The cancellation also comes as the House passed a bill to cut funding to public broadcasters NPR and PBS. Late-night TV faces economic pressures, with declining ratings and ad revenue, and many younger viewers preferring online content. However, Colbert's show had been a consistent leader in its timeslot. The situation has raised questions about the future of late-night television and the potential influence of political factors on network decisions.

2025-07-16 12:00:28.114

Trainwreck, Netflix's new anthology documentary series, is a surprise summer hit. Unlike traditional documentaries, it focuses on entertaining, controversial real-life events, from the Astroworld tragedy to the 'poop cruise' and Rob Ford's crack scandal. The series' success is attributed to its bingeable format (short, 45-minute episodes released weekly), focus on relatable chaos and nostalgia, and its ability to blend scandal with famous figures, however fleeting their fame. Inspired by the success of Tiger King, Trainwreck prioritizes entertainment over in-depth analysis, leading to criticism of trivializing real human tragedies. While criticized for sacrificing context for entertainment, the series' popularity highlights a shift in documentary programming towards easily digestible, engaging content, raising questions about the future of the genre.