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    'KUWTK': Kim Kardashian Struggling to Stay Supportive to Kanye West Following Twitter Antics

    WENN

    As the other Kardashians notice Kim’s struggle, mom Kris Jenner asks Khloe and Kourtney to plan a fun night with the KKW Beauty founder to help her take her mind off the issues.

    Mar 26, 2021

    AceShowbiz –
    “Keeping Up with the Kardashians” gave a new insight into Kim Kardashian’s marital issue with estranged husband Kanye West through its new episode. In the episode which aired on Thursday, March 25, the KKW Beauty founder could be seen discussing her struggle in staying to be supportive to the rapper despite his antics.

    “I’ve always been very respectful in not talking about issues Kanye and I have,” Kim told Malika Haqq and Khloe Kardashian in the new outing which was filmed over the summer following the “Gold Digger” rapper’s Twitter rants where he dropped some bombshell revelations and accusations against Kim and her family. “You guys clearly see them on Twitter. So I’m sill going to choose to not really talk about it here.”

    “I try to just…support him,” Kim went on to say. “I was like, you know…. Well, I don’t want to talk about it on camera. I don’t want to talk about Kanye or anything.”

    Of her older sister, Khloe said, “Kim handles things privately and to herself.” While she noted that Kim “is someone who’s calm and cool and we all respect that,” the Good American jeans found added, “But I know, because she’s not talking about it, even privately, to us, that it’s really affecting her.”

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    Later, Khloe, Kim, Kris Jenner and Kourtney Kardashian gathered at the family’s Malibu beach house, though Kim was busy on the phone with someone from Kanye’s camp. She was arranging things as she planned to come to Wyoming where Kanye spent his summer.

    “I’m happy to come,” Kim revealed. “I can get on a plane tonight. When I talk to [Kanye], he says no. Talk to him. I’m happy to come tomorrow, next week. Whatever he wants. I’m still happy to come there and be supportive and chill with him and hang out with him. I know he needs that.”

    “Kanye’s been in Wyoming, and he’s been posting a lot of things to social media,” she said. “So that is a little bit frustrating. But you just have to kind of separate yourself from what’s going on at home and what’s going on on the Internet.”

    The Kardashians, meanwhile, noticed Kim’s struggle amid the situation. “I just feel like she’s struggling a bit with all this stuff going on,” Kris shared. “I don’t know how she’s dealing with the stress of it all. She’s always the calm in the storm. She’s got a lot on her plate and a lot going on with law school, the kids…everything she’s trying to juggle.”

    Kourtney agreed as she added, “She can’t navigate this on her own. I think she needs help. I think she needs support.” Kris then asked Khloe and Kourtney to plan a fun night with Kim to help her take her mind off the issues and they did. “I think it’s really nice that my sisters planned this getaway night just to hangout and escape reality for two seconds,” Kim raved. “There’s so many f***ing stressful things going on that I needed this the most.”

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    Jessica Walter, ‘Arrested Development’ Matriarch, Dies at 80

    In a six-decade career, the Emmy Award-winning actress gained early fame with “Play Misty for Me” and found a new audience as Lucille Bluth, the matriarch of the dysfunctional family in “Arrested Development,” a cult hit.Jessica Walter, whose six-decade acting career included roles ranging from an obsessed radio fan in Clint Eastwood’s directorial debut, “Play Misty for Me,” to the cutting, martini-swilling matriarch of the dysfunctional Bluth family on “Arrested Development,” died at her home in New York City on Wednesday. She was 80.Ms. Walter’s death was confirmed by her publicist, Kelli Jones, who did not specify a cause.Over a long and wide-ranging career, Ms. Walter found consistent work as a versatile performer with more than 150 credits that included tart-tongued turns in television comedy series and serious roles in dramatic Hollywood movies and New York stage productions. She was often cast as — and relished playing — off-center women capable of silencing men with a withering glance, a piercing remark or the sharp point of a knife.“Lucky me, because those are the fun roles,” she told The A.V. Club in 2012. “They’re juicy, much better than playing the vanilla ingénues, you know.”Jessica Walter and Clint Eastwood in the 1971 film “Play Misty for Me.”Universal PicturesShe began her career with minor parts in 1960s television shows like “Flipper” and “The Fugitive” before gaining notice for her role as an American wife who leaves her husband, an English racecar driver, in the 1966 John Frankenheimer movie “Grand Prix.” The film earned Ms. Walter a Golden Globe nomination in the category “new star of the year” in 1967.Five years later, she was nominated for another Golden Globe for playing Evelyn, a devoted fan with a homicidal streak who becomes obsessed with a disc jockey portrayed by Mr. Eastwood in his 1971 movie “Play Misty for Me.”In 1975, she won an Emmy for her role as the title character, a detective, in the NBC mystery “Amy Prentiss.” She was also nominated for Emmy Awards for “The Streets of San Francisco” in 1977, “Trapper John, M.D.” in 1980 and “Arrested Development” in 2005.Jessica Walter of “Amy Prentice” received a kiss from Peter Falk of “Columbo” after both won Emmys in 1975.Associated PressShe appeared in numerous Broadway productions, including “Advise and Consent,” Neil Simon’s “Rumors,” “A Severed Head,” “Night Life” and “Photo Finish.” In 2011, as her star rose, she played the fur-wrapped dowager Evangeline Harcourt in a Roundabout Theater Company revival of “Anything Goes,” which won several Tony Awards.In recent years, she became a cult figure, beloved for her poisonous put-downs and side-eyed glances as the fabulously wealthy and diabolical mother Lucille Bluth on “Arrested Development.” The zany, self-referential sitcom about a narcissistic family was critically adored when it debuted in 2003, and it introduced Ms. Walter to a new generation. She said she could hardly get on a subway car or a bus without being stopped by a fan.“You know, you look a lot like that woman that plays Lucille Bluth,” they would tell her.“I say, ‘You know, I’ve heard that,’” she told The New York Times in 2018. “You know, Lucille is in my DNA now.”The show was also the source of some anguish for Ms. Walter. In 2018, she revealed that she had been verbally harassed on the set by Jeffrey Tambor, who played her husband and who had been fired that year from the Amazon show “Transparent” amid allegations of sexual harassment and verbal abuse. He denied the allegations of sexual misconduct but admitted that his temper had been an issue, and he conceded that he had blown up at Ms. Walter.“I have to let go of being angry at him,” Ms. Walter said through tears in the 2018 interview with The Times, as Mr. Tambor sat a few feet away. In “almost 60 years of working,” she said, “I’ve never had anybody yell at me like that on a set and it’s hard to deal with, but I’m over it now.”During the interview, another star of the show, Jason Bateman, painted Mr. Tambor’s behavior as typical. His comments drew a blistering reaction online, and Mr. Bateman later apologized, saying he was “incredibly embarrassed and deeply sorry to have done that to Jessica.”Jessica Walter was born in New York City on Jan. 31, 1941. Her father, David Walter, was a musician and a member of the NBC Symphony Orchestra and the New York City Ballet Orchestra. Her mother, Esther Groisser, was a teacher. Ms. Walter attended the High School of Performing Arts.She was married twice, first to Ross Bowman, a Broadway stage manager, and in 1983 to the Tony-winning actor Ron Leibman, who died in 2019.Ms. Walter’s survivors include her daughter, Brooke Bowman, and a grandson.Ms. Walter and Mr. Leibman performed together in a 1986 production of “Tartuffe” at the Los Angeles Theater Center.More recently, they had also voiced characters on the FX animated comedy series “Archer,” about an agency full of misfits who undertake James Bond-like missions but spend an inordinate amount of time drinking, having sex with one another and disparaging people. On the show, Ms. Walter voiced Malory, a ruthless mother with more than a passing resemblance to Lucille Bluth.A full obituary will be published later. More

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    Joe Jonas and Sophie Turner Thank Miley for 'Epic' Flowers on 'Hannah Montana' Anniversary

    WENN

    The Jonas Brother star and his wife, the ‘Game of Thrones’ actress, give the former Disney darling a shout-out on social media after receiving a beautiful floral arrangement from her.

    Mar 26, 2021

    AceShowbiz –
    Miley Cyrus sent Joe Jonas and Sophie Turner a “Hannah Montana” floral arrangement to mark the show’s 15th anniversary.

    The 28-year-old singer played the titular pop star in the Disney Channel series which began in March 2006, and on Wednesday (24Mar21) married couple Joe and Sophie took to their Instagram Stories to unveil the impressive gift they’d received from Miley and her alter-ego.

    Miley sent Joe and Sophie – who have eight-month-old daughter Willa together – a huge floral arrangement in the shape of a star, with the show’s logo appearing on the top point.

    And in a message sent alongside the flowers, Miley’s alter-ego jokingly said the couple had named their daughter after her, as she called the tot “little miss Hannah Montana.”

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    She wrote, “To Joe & Sophie! It was so sweet of you to name your daughter after me! Sending all my love to little miss Hannah Montana! Love, Hannah Montana. (sic)”

    In Joe’s Instagram post, he added, “HOLY HANNAH MONTANA!!! THANK YOU @mileycyrus WE LOVE IT! THIS IS EPIC!! (sic)”

    Whilst Sophie added, “THANK U HANNAH WE (love) U.”

    Miley also marked the special occasion by posting a letter to Hannah Montana on her social media pages.

    “Hi Hannah, It’s been a while. 15 years to be exact,” she wrote. “Since the first time I slid those blonde bangs over my forehead in the best attempt to conceal my identity. Then slipped into a puke pink terry cloth robe with a bedazzled HM over the (heart). I didn’t know then … that is where you would live forever. Not just in mine but millions of people around the world. Although you are considered to be an ‘alter ego’ in reality there was a time in my life when you held more of my identity in your glovette than I did in my bare hands. (sic)”

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    Jay Leno Apologizes for Years of Anti-Asian Jokes

    The comedian said it was not “another example of cancel culture but a legitimate wrong that was done on my part.”Jay Leno, the longtime “Tonight Show” host, apologized for a history of making anti-Asian jokes, saying that at the time he “genuinely thought them to be harmless” but now hopes for forgiveness from Asian-Americans.The comedian said in a joint statement with the Media Action Network for Asian Americans, a watchdog group that tracks anti-Asian comments and incidents in the media and entertainment industries, that he had an attitude at the time that “some group is always complaining about something, so don’t worry about it.” Whenever the show received a complaint, he said, the response was divided into two camps: “We need to deal with this” or “screw ’em if they can’t take a joke.”“Too many times I sided with the latter even when in my heart I knew it was wrong,” Mr. Leno said. “That is why I am issuing this apology. I do not consider this particular case to be another example of cancel culture but a legitimate wrong that was done on my part.”It was a recent realization. In 2019, Mr. Leno, who hosted “The Tonight Show” from 1992 to 2014, made an offensive anti-Asian joke while filming a commercial for “America’s Got Talent,” the actor and producer Gabrielle Union told Variety.MANAA, the watchdog group, had complained for decades about Mr. Leno’s jokes that relied on stereotypes of Asians, to no avail. Rob Chan, the president of the group, said in the statement that he was “happy that Jay came around, and that we will be working together in the future.”Mr. Leno is slated to host a rebooted game show, “You Bet Your Life,” starting in the fall.Mr. Leno’s apology came as Asian-Americans have endured rising discrimination and racist language during the coronavirus pandemic, while also processing the trauma of a recent mass shooting in the Atlanta area in which six of the eight victims were women of Asian descent. Mr. Leno said he would be “deeply hurt and ashamed if somehow my words did anything to incite this violence.”Some Asian-Americans have long argued that their concerns about anti-Asian speech are frequently dismissed as trivial. Asian-Americans have historically been underrepresented in Hollywood and in comedy, and in 2016, a bit by the comedian Chris Rock that relied on Asian stereotypes made it to the Oscars ceremony.While late-night comedians pick a variety of targets, it’s not the first time Mr. Leno has been criticized for jokes that got laughs at the time. Recently, a documentary about Britney Spears by The New York Times brought increased scrutiny to jokes by several late-night hosts about her mental health. Mr. Leno has not apologized to the singer, though others, including Justin Timberlake and some publications, have said they regret their behavior.Azi Paybarah contributed reporting. More

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    Creator of ‘All Rise’ on CBS Is Fired After Writers’ Complaints

    Greg Spottiswood had faced numerous complaints over the way issues of race and gender were addressed on the show, a rare prime-time CBS drama with a Black woman as a protagonist.Warner Bros. Television has fired the showrunner and creator of the CBS show “All Rise,” Greg Spottiswood, after a second investigation into allegations regarding how he dealt with the show’s writers, including in conversations involving race. “Warner Bros. Television has relieved ‘All Rise’ executive producer Greg Spottiswood of his duties, effective immediately,” the studio said Wednesday night in a statement. “We remain committed, at all times, to providing a safe and inclusive working environment on our productions and for all employees.”Mr. Spottiswood had previously been investigated for his treatment of the writing staff during the first season of the CBS procedural, which debuted in September 2019 and stars a Black actress, Simone Missick, as the show’s protagonist, an idealistic Los Angeles judge. The studio kept Mr. Spottiswood, who is white, in charge of the show, and provided him a corporate coach to advise him. It also hired a new co-showrunner, Dee Harris-Lawrence, after his original co-showrunner, Sunil Nayar, left the production.Five of the original seven members of the “All Rise” writing staff left the show because of his treatment of them and the way the show, under his direction, depicted race and gender, The New York Times reported in August. Among those who departed were the series’ three highest-ranking writers of color, including Shernold Edwards, a Black woman who departed in November 2019 after multiple disagreements with Mr. Spottiswood.“We had to do so much behind the scenes to keep these scripts from being racist and offensive,” Ms. Edwards told The Times.At the time, Mr. Spottiswood said he was aware of the problems with his leadership and pledged to do better.“All Rise” has been celebrated by CBS after its prime-time lineup had been criticized for its lack of diversity. It has been applauded both for its inclusive cast and its equally diverse writers room. Yet the writing staff from the original season said problems were apparent from the start.Mr. Nayar, for one, complained of being sidelined by Mr. Spottiswood, claiming he was interested only in having Mr. Nayar appear at public events with the title of executive producer but did not give him the duties to match that position.“It became clear to me, when I left the show, that I was only there because I’m the brown guy,” Mr. Nayar said in an interview at the time. “Greg hired me to be his brown guy.”The most recent investigation was again focused on statements Mr. Spottiswood was said to have made in the writers’ room. After the studio’s inquiry, Mr. Spottiswood was also dropped as a client by his talent representatives at the Agency for the Performing Arts. The agency had represented him since 2015.A lawyer for Mr. Spottiswood did not respond to a request for comment.Ms. Harris-Lawrence will take over Mr. Spottiswood’s responsibilities for the remainder of the season. The show is in production on its 15th episode of its 17-episode season. Production is scheduled to conclude next month. More

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    The ‘Solar Opposites’ Creators Apologize for Their Clairvoyance

    Who knew an animated series about misanthropic space aliens could feel so relevant? Mike McMahan and Justin Roiland explained ahead of Season 2 why it isn’t their fault.Half of them hate it, half of them love it. But nobody knows more about American pop culture than the aliens in “Solar Opposites,” who have crash-landed in suburbia and absorbed the culture as voraciously as Daryl Hannah’s TV-addicted mermaid in “Splash.” Justin Roiland, who created the animated series for Hulu with Mike McMahan, believes he would do the same thing if he found himself on their home, on the utopian planet of Shlorp.“I would be up all night watching their TV,” Roiland said in a group video call earlier this month. “I’d know more than they did about their own stupid movies and culture and pop culture. It makes sense that these aliens would just have this insane list of like all these stupid things that they’ve watched.”That level of pop obsession carries over from their work on “Rick and Morty,” the Adult Swim hit Roiland created with Dan Harmon, for which he also voiced both title characters. McMahan wrote scripts for all four seasons of that show, and the two seem to anticipate a self-awareness from their audience that allows their creations to speak in winking shorthand. Terry (voiced by Thomas Middleditch), a frog-mouthed connoisseur of trash art and junk food, often refers to his makeshift Shlorpian family as “the solar opposites,” as if he knows they’re in a TV show. (A lot of jokes come at Hulu’s expense, too.) Korvo (Roiland), his sour egghead counterpart, is able to “sci-fi” his way in and out of sticky situations with an endless supply of high-tech, plot-resolving gizmos.The series is in many respects an affectionate riff on family sitcoms. “When we do switch into sitcom mode, we want our family to feel like a family,” McMahan said.FOXAmong the gizmos deployed in the eight-episode second season, which arrives in full on Friday, is a “Lake House” device: a mailbox that sends messages back and forth from separate points in time, a reference to the high-concept 2006 romance of the same name starring Sandra Bullock and Keanu Reeves. Then there’s a single-use gun that converts a natural landscape into thriving urban center, with one hilariously grisly twist.Roiland and McMahan’s penchant for pocket universes continues this season with more intrigue inside “the Wall,” a terrarium that the high school misanthrope Yumyulack (Sean Giambrone), Korvo’s “replicant,” has filled with the miniaturized bodies of people he dislikes. As Yumyulack and Jesse (Mary Mack), Terry’s cheery replicant, go obliviously about their teenage lives, the miniature society of the Wall evolves behind them, as the former resistance hero Tim (Andy Daly) becomes the new lord of the flies — or, perhaps, the terror of tiny town.Speaking from their home offices in Los Angeles, Roiland and McMahan talked about their own love-hate relationship with pop culture, how the show fiddles with sitcom and sci-fi conventions and where the real world intersected with the sandbox society of the Wall. These are edited excerpts from the conversation. (The conversation took place before accusations of sexual misconduct against Middleditch were reported by the Los Angeles Times; Hulu declined to comment on the accusations.)“Solar Opposites” is a situation comedy. There’s a family in a house. There’s an odd couple at the center of it. It has a fish-out-of-water quality to it. How do you see the show fitting into that tradition?MIKE McMAHAN: We grew up watching those shows and loving those shows and wanted a show that felt like, at a distance or at certain moments, it lived in the world that those shows created — or if not the world, at least in the format or at least the comfort level that audiences would have with it.JUSTIN ROILAND: There’s something really fun and whimsical about these characters and the fact we’re putting them in a sitcom-y world allows us to do some of the insane [expletive] we want to do that we’ve never seen in that framework.McMAHAN: At the same time, when we do switch into sitcom mode, we want our family to feel like a family. Terry and Korvo love each other, and they love the replicants, and they love the family that they’re in. And so we have these emotional stories we’re telling, and then [expletive] goes off the rails all the time.The alien characters in “Solar Opposites” often speak in winking shorthand that is self-aware and deeply versed in American culture.FOXAs for that science-fiction part of the show, the characters here often use the term “sci-fi” to explain whatever gadget they might be using to get out of scrapes. How do you see “Solar Opposites” fitting into that tradition?McMAHAN: That’s something Justin and Dan [Harmon] really created with the pilot of “Rick and Morty” because Rick is able to call things out and be like, “Look, this is just some sci-fi [expletive] we’re dealing with today.” It’s a very Rick sentiment. And then once we’d worked on “Rick and Morty” for a number of seasons, it just felt good. There were some things in “Solar Opposites” that felt like they were conventions we could just do away with.One of them was, we didn’t want to do a show where a human on the street would be like, “Ahhh, an alien!” It was more interesting to us to have everybody be fine with it.ROILAND: I think for me it’s important not to get caught up in the silly gun and how does it work, you know what I mean? It’s more about the emotional core of the characters and what are they going through. What are these characters feeling? How do I relate to them? It doesn’t matter that somebody got a schmoogie schmoogun, and what does it do?McMAHAN: We get freed up to get to have fun and make more jokes when you’re tracking what the characters want, as opposed to how the tech works. And at the same time, we were like, “Let’s lean into the absurdity of sci-fi.” It’s like how Doctor Who’s Tardis can be bigger on the inside than on the outside. You go, “Ah, it’s sci-fi stuff. It’s a static work bubble or whatever …”ROILAND: Yeah. It’s like an iPhone to somebody from the early ’90 or early ’80s. It’d be like, “What is this?”McMAHAN: “Look at this magic.”ROILAND: “It’s magic, don’t worry about it.”McMAHAN: Whenever we need it for jokes, [the aliens] can open up a panel on the ship and be like, “Oh, here’s the gun that turns you into an elephant for this episode.” Because the point of the sci-fi isn’t, “Wow. We’ve really gamed out that somebody will one day be able to make an elephant gun.” It’s more, would it be wrong to use this elephant gun in this situation?Fundamental to the show is the premise that half of the Solars like the planet and half do not. But the basis of their disagreement seems to be rooted specifically in American pop culture and the way it has shaped humankind. Do you feel that conflict within yourselves? Is their disagreement an expression of that? Of both loving and hating American pop culture?McMAHAN: One hundred percent.ROILAND: Yeah, absolutely. There’s so much stuff to love and hate. To me, it’s funny that these aliens know more about [expletive] than I do even.McMAHAN: We’re both kids of the ’80s. We both grew up just loving TV and comics and video games and toys, and just the packaging and food that you have to cook in the microwave, and oatmeal that you can put sugar dinosaur eggs in.ROILAND: But at the same time, we know we’re self-hating consumers. We know that that’s bad for the environment and we have to do better. And it’s important to us that we leave the world a better place than we found it. And that’s hard when we also want toys.McMahan and Roiland weren’t worried about explaining all the sci-fi tech. “It’s important not to get caught up in the silly gun and how does it work,” Roiland said.Jessica Lehrman for The New York TimesI wouldn’t describe “Solar Opposites” as a terribly political show, but do you see the Wall as a way to kind of comment on how societies are built? Are there opportunities that this “Lord of the Flies” situation has given you?McMAHAN: Absolutely. From the pitch, that’s what it was.ROILAND: Let’s just be honest. Let’s get it out there, I was playing that … what was that game?McMAHAN: The Vault-Tec game.ROILAND: Yeah. The“Fallout Shelter” game.McMAHAN: There’s iOS games where you control little worlds, and you have to manage the food.ROILAND: And they had just announced it at E3 [an annual gaming expo], and they’re like, “And it’s free and it’s available right now.” So I downloaded it. This is around the time we were developing the show and I’m playing it and I was like: “Oh my God, wouldn’t it be fun to just have these kids shrinking humans? And then let’s just play with society.”What would a small town look like in the wall of these kids’ room? How would they form law? Because at that point it’s like: “Hey, we’re not in America anymore. We’re not in anywhere on Earth. We’re in our own ecosystem. We make the law. We make the rules.” And it’s sort of like how a pod in a prison might work. You know what I mean? It’s like: “Who knows if the strongest are going to be the ones making the law? Or the most intelligent?”But anyway, yes, it’s very fascinating to play around in that sandbox because humans are very interesting and society is interesting. How did we end up where we are now? It’s ridiculous. And when is it going to collapse? Tomorrow? A couple of days from now?McMAHAN: When we started writing “Solar Opposites,” we weren’t paying attention to politics. This was pre-2016. This was before I knew the name of everybody in the cabinet and who the secretary of the Treasury is, and I think we’re all, maybe against our own best wishes, our own wishes, more political than we used to be. And what we originally were trying to build in the Wall is, we wanted something that felt comfortably serialized in a mythologically broad and storytelling way — where you understand that when communities are created in a crisis that heroes and villains rise. We grew up seeing stories like that. You see that with, like, you said, “Lord of the Flies.” I would say, “Under the Dome” or “Escape From New York.” It’s a very sci-fi sort of sensibility.ROILAND: It was so funny to Trojan horse that dramatic human story into this crazy comedy.McMAHAN: Sorry we accurately predicted this weird proto-fascist era with our Wall story. That was our bad. More

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    Cole Sprouse Claims to Re-Watch 'The Suite Life of Zack and Cody' When Drunk

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    During an episode of Vogue’s 73 Questions, the ‘Riverdale’ star admits to ‘still have a really deep fondness’ for the Disney Channel series he fronted with twin brother Dylan Sprouse.

    Mar 25, 2021

    AceShowbiz –
    Cole Sprouse watches his old kids show “The Suite Life of Zack & Cody” when he’s drunk.

    The actor starred in the Disney Channel series alongside his twin brother Dylan Sprouse when they were children, and although he doesn’t enjoy watching himself, he does occasionally sit down to check out an episode.

    During an episode of Vogue’s “73 Questions”, the star said, “I know it sounds cheesy (but) I still have a really deep fondness for ‘The Suite Life’.”

    Asked if he has ever re-watched the series, he added, “When I’m drunk or feeling really narcissistic, yeah. I don’t really like to watch anything I do, so I try to stay away from it.”

    Cole, who also starred on the spin-off series “The Suite Life on Deck”, recently said he would “absolutely not” consider a “The Suite Life of Zack & Cody” reboot, as he weighed in on the announcement that “Sex and the City” is getting a revival series.

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    “Reboots are a tricky thing…,” he said. “The original shows, when they become successful, sit in this little golden plate of nostalgia and when you modernize it and go back to it, it has the potential to really disenfranchise the original fanbase, so it’s a very, very touchy thing…”

    “I’m asked all the time if Dylan and I are going to do a Suite Life reboot, and I go, ‘No, absolutely not.’ ”

    And last year, Dylan took to Instagram to mark 18 years since the show first aired with a touching tribute to all those involved in creating the series.

    He wrote, “It was so long ago that the cold open of the pilot episode was Cole searching for non-existent armpit hair on me. A lot had happened in our lives that was difficult then and this show, in a way, saved us. 1,000 years of gratitude to all involved. I love you all and I’m glad this show can still give families the nostalgia they once had when watching it. I’ll keep those memories forever.”

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    2021 NAACP Image Awards: Trevor Noah and Jada Pinkett Smith Are Among Big Winners

    WENN/Avalon

    While Trevor gets recognized for his hosting role and Jada picks up prize for her talk show series, Jamie Foxx’s ‘Soul’ takes home two trophies on the third night of the awards show.

    Mar 25, 2021

    AceShowbiz –
    Trevor Noah and Jada Pinkett Smith’s TV and Internet hits and Jamie Foxx’s beloved film “Soul” were among the big winners at the third night of the 2021 NAACP Image Awards in America on Wednesday, March 24.

    Comedian Noah picked up the Outstanding Host in a Talk or News/Information (Series or Special) for his work on “The Daily Show with Trevor Noah”, while Jada, her daughter Willow Smith and mum Adrienne Banfield-Norris claimed the Image Award for Outstanding Talk Series for their Facebook Watch series “Red Table Talk”.

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    Meanwhile, “Soul” took home trophies for Outstanding Animated Motion Picture and the film’s star, Jamie Foxx, scored the Outstanding Character Voice-Over Performance – Motion Picture. Another Disney hit, “Doc McStuffins”, also doubled up, landing the Outstanding Animated Series, while Laya DeLeon Hayes’ voice talents earned her the award for Outstanding Character Voice-Over Performance (Television).

    The full list of NCAAP Image Awards winners over the past three nights is:

    Outstanding Talk Series: “Red Table Talk”
    Outstanding Reality Program/Reality Competition or Game Show: “Celebrity Family Feud”
    Outstanding Variety Show (Series or Special): “VERZUZ”
    Outstanding News/Information (Series or Special): “The New York Times Presents: The Killing of Breonna Taylor”
    Outstanding Children’s Program: “Family Reunion”
    Outstanding Performance by a Youth (Series, Special, Television Movie or Limited-Series): Marsai Martin – “Black-ish”
    Outstanding Animated Series: “Doc McStuffins”
    Outstanding Animated Motion Picture: “Soul”
    Outstanding Character Voice-Over Performance (Television): Laya DeLeon Hayes – “Doc McStuffins”
    Outstanding Character Voice-Over Performance – Motion Picture: Jamie Foxx – “Soul”
    Outstanding Host in a Talk or News/Information (Series or Special) – Individual or Ensemble: Trevor Noah – “The Daily Show with Trevor Noah”
    Outstanding Host in a Reality/Reality Competition, Game Show or Variety (Series or Special) – Individual or Ensemble: Steve Harvey – “Celebrity Family Feud”
    Outstanding Guest Performance – Comedy or Drama Series: Loretta Devine – “P-Valley”
    Outstanding Breakthrough Creative (Television): Raynelle Swilling – “Cherish the Day”
    Special Award – Founder’s Award: Toni Vaz
    Outstanding Writing in a Comedy Series: Michaela Coel – “I May Destroy You” (Episode 112 ‘Ego Death’)
    Outstanding Writing in a Drama Series: Attica Locke – “Little Fires Everywhere” (Episode 104 ‘The Spider Web’)
    Outstanding Writing in a Television Movie or Special: Geri Cole – “The Power of We: A Sesame Street Special”
    Outstanding Writing in a Motion Picture: Radha Blank – “The Forty-Year-Old Version”
    Outstanding Directing in a Comedy Series: Anya Adams – “Black-ish” (Episode 611 ‘Hair Day’)
    Outstanding Directing in a Drama Series: Hanelle Culpepper – “Star Trek: Picard” (Episode 101 ‘Remembrance’)
    Outstanding Directing in a Television Movie or Special: Eugene Ashe – “Sylvie’s Love”
    Outstanding Directing in a Motion Picture: Gina Prince-Bythewood – “The Old Guard”
    Outstanding Short Form Series – Comedy or Drama: “#FreeRayshawn”
    Outstanding Performance in a Short Form: Laurence Fishburne – “#FreeRayshawn”
    Outstanding Short Form Series – Reality/Nonfiction: Between The Scenes – “The Daily Show with Trevor Noah”
    Outstanding Short-Film (Live Action): “Black Boy Joy”
    Outstanding Short-Film (Animated): “Canvas”
    Special Award – Spingarn Medal: Misty Copeland
    Outstanding Literary Work – Fiction: “The Awkward Black Man” – Walter Mosley
    Outstanding Literary Work – Nonfiction: “A Promised Land” – Barack Obama
    Outstanding Literary Work – Debut Author: “We’re Better Than This” – Elijah Cummings
    Outstanding Literary Work – Biography/Autobiography: The Dead Are Arising” – Les Payne, Tamara Payne
    Outstanding Literary Work – Instructional: “Vegetable Kingdom” – Bryant Terry
    Outstanding Literary Work – Poetry: “The Age of Phillis” – Honoree Jeffers
    Outstanding Literary Work – Children: “She Was the First!: The Trailblazing Life of Shirley Chisholm” – Katheryn Russell-Brown, Eric Velasquez
    Outstanding Literary Work – Youth/Teens: “Before the Ever After” – Jacqueline Woodson
    Outstanding Directing in a Documentary (Television or Motion Picture): Keith McQuirter – “By Whatever Means Necessary: The Times of Godfather of Harlem”
    Outstanding Writing in a Documentary (Television or Motion Picture): Melissa Haizlip – “Mr. SOUL!”
    Outstanding Documentary (Film): “John Lewis: Good Trouble”
    Outstanding Documentary (Television – Series or Special): “The Last Dance”
    Special Award – Youth Activist of the Year: Madison Potts
    Special Award – Activist of the Year: Reverend Dr. Wendell Anthony

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