Television

#masthead-section-label, #masthead-bar-one { display: none }The British Royal FamilyliveInterview and FalloutWhat Meghan and Harry DisclosedWhat We LearnedRace and RoyaltyAdvertisementContinue reading the main storySupported byContinue reading the main storyOprah, Meghan and Harry Draw 17.1 Million Viewers to CBSA two-hour special revived a faded TV genre, the “big-get” prime-time interview that once drew tens of millions for exclusive sit-downs with people like Michael Jackson and Monica Lewinsky.Meghan Markle and Prince Harry described racism within the royal family during an interview with Oprah Winfrey.Credit…Harpo Productions, via ReutersMarch 8, 2021Updated 4:36 p.m. ETOprah, Meghan and Harry drew a sizable audience on Sunday night, making for an old-style prime-time television moment in the age of on-demand viewing.Oprah Winfrey’s explosive two-hour interview with Meghan Markle and Prince Harry, who had largely kept their silence after announcing last year that they would give up their duties as members of Britain’s royal family, attracted 17.1 million viewers on CBS, according to preliminary Nielsen figures.The number of viewers climbed as the show went on. It drew 16.9 million in the first hour and 17.3 in the second, Nielsen reported. That audience was about twice the size of the viewership for the prime-time ratings winner in a given week.In a time when Netflix and other streaming platforms dominate viewing habits, the ratings for “Oprah With Meghan and Harry: A CBS Primetime Special” were strong — but they did not come close to the figures of similar prime-time exclusives from past decades. And the number of viewers fell short of the 22 million who watched a similarly ballyhooed interview in 2018, a “60 Minutes” episode in which Stephanie Clifford (also known as Stormy Daniels) told Anderson Cooper about her past affair with Donald J. Trump.Ms. Winfrey’s special aired after days of anticipatory coverage hinting at what the couple might reveal about their experiences with the royal family and their decision to leave the palace behind.Meghan did not hold back during the interview, telling Ms. Winfrey that she had contemplated suicide while living as a royal. She also blamed Britain’s first family for not providing her with sufficient protection from Britain’s ferocious tabloid press and described racism within the royal family, saying that, during her pregnancy, there had been “concerns and conversations about how dark” the skin of her child would be. Harry revealed a strained relationship with his father, Prince Charles, and brother, Prince William.The high level of interest in a special on a big broadcast network was something of a throwback to a moment when prime-time television interviews, jampacked with commercials, became a gathering spot for a mass audience.The “big get” interview is a TV genre unto itself, in which a famous anchor or host elbows out rivals to land an exclusive sit-down with a newsworthy subject. It is also a genre past its heyday. Along with Diane Sawyer and Barbara Walters, Ms. Winfrey, an interviewer extraordinaire who started her TV career in the 1970s, was a major player when the competition for such shows was at its height.In 1993, Ms. Winfrey’s prime-time interview of Michael Jackson at his Neverland Ranch, broadcast by ABC, attracted an audience of at least 62 million. Six years later, also on ABC, Ms. Walters sat down with Monica Lewinsky for a two-hour special that drew 48.5 million.Since then, the rise of digital media and its infinite screen-time options has cut deeply into the might of the big broadcasters. As the viewing audience fractured, opportunities for must-see prime-time interviews became vanishingly rare. Even the biggest one-on-ones of recent years have lacked the drawing power of the specials from two decades ago and more. The audience of 17.1 million for Ms. Winfrey’s interview of Meghan and Harry matched the number of viewers who tuned in when Caitlyn Jenner revealed that she was transgender to Ms. Sawyer on a 2015 episode of ABC’s “20/20.”The Sunday night special was unusual in that it was not overseen by a network news division. Ms. Winfrey’s company, Harpo Productions, produced it, and CBS paid at least $7 million to license the show, according to a person with knowledge of the arrangement. (The Wall Street Journal previously reported the figure.) The deal was also a gamble: It was taped after the network had bought the rights, according to two people with knowledge of how the show was made. During the interview, Ms. Winfrey said she had been trying to land the exclusive with the couple for about three years.CBS emerged the winning bidder despite Ms. Winfrey’s rocky experience at “60 Minutes,” where she was a special contributor in 2017 and 2018. In a 2019 interview with The Hollywood Reporter, Ms. Winfrey revealed that the show’s producers had criticized her delivery, saying she had “too much emotion” in her voice, even when she said her own name. (Ms. Winfrey has maintained a connection to the network through her good friend Gayle King, an anchor of “CBS This Morning,” and appeared on that show Monday.)Further complicating CBS’s attempt to get the big get was the thicket of media companies surrounding Ms. Winfrey and the former royal couple. Ms. Winfrey has her own cable network, OWN, and is a major part of the streaming platform AppleTV+. Recent episodes of Apple’s “The Oprah Conversation” have featured her interviews of Barack Obama, Dolly Parton and Mariah Carey.Meghan and Harry, for their part, signed a multiyear deal with Netflix last year to make documentaries and other shows. They also signed on to make podcasts for Spotify and released the first installment on Dec. 29. It included guest appearances by Elton John, Tyler Perry and other celebrities, as well as the first public utterance from their son, Archie.The pact between CBS and Harpo Productions was largely focused on TV rights. The interview ran live on ViacomCBS’s newly rebranded streaming service, Paramount+ but at least for now will not be available on Paramount+ for on-demand viewing. Instead, the special will be available on CBS.com and the CBS app for 30 days, a CBS spokesman said.Originally slotted for 90 minutes, it ended up a two-hour show. Before the broadcast, CBS released teaser clips, and British tabloids that have been unfriendly to Meghan shot back with anonymously sourced items on her apparent misdeeds.The estimate of 17.1 million viewers will only grow after Nielsen tabulates some viewers who streamed the special, as well as out-of-home viewing.AdvertisementContinue reading the main story More

#masthead-section-label, #masthead-bar-one { display: none }The British Royal FamilyliveInterview and FalloutWhat Meghan and Harry DisclosedWhat We LearnedRace and RoyaltyAdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s notebookPrince Harry Finally Takes On White Privilege: His OwnMeghan Markle and Harry’s interview revealed a catalyst for their reinvention, our critic writes: Harry’s racial awakening after attacks on Markle.Prince Harry and Meghan Markle speak with Oprah Winfrey about racism and other issues in a blockbuster interview on CBS on Sunday night.Credit…Harpo Productions, via ReutersMarch 8, 2021Updated 4:30 p.m. ETIt was well worth the wait. The first joint interview with Prince Harry and Meghan Markle since they stepped down from royal life last year (a process that became officially permanent last month) did not disappoint.I, for one, watched this tell-all with Oprah Winfrey while texting with many of the same Black women with whom I watched their wedding in 2018. Back then, we shared OMG emojis because we were pleasantly surprised by the way Black culture was so powerfully celebrated and Markle’s African-American identity so thoughtfully integrated into their ceremony at St. George’s Chapel.Now, we were aghast at the couple’s allegations that racism toward Markle and its various consequences were a primary reason they fled their home to find freedom in sunny California.Based on Markle’s deep commitment to women’s rights and the interview’s promo clip — Winfrey asks her, “Were you silent or were you silenced?” — I went into this assuming it would be a feminist revision of the couple’s fairy-tale romance. “The latter,” Markle responded in the interview. Later, she’d compare her life as a royal to Princess Ariel losing her voice after falling in love with a human in “The Little Mermaid.” In that analogy, this interview is the final breaking of that spell, with Markle now fully in control of her voice. It reminded us that she never needed a Prince Charming to rescue her, while showing us that their very modern marriage is what saved and ultimately liberated them both from the trappings and the trap that is the Crown.But therein lies the true catalyst for their radical reinvention: Harry’s racial awakening. Here, I do not just mean the accusations from the couple about the deep anxiety some royals had about the potential skin color of their son, Archie — which resulted, they said, in him not being offered the traditional rituals of the royal hospital picture, the title “Prince” and the security that comes with that status. Rather, the second hour of the interview was a culmination of a process that Harry had been undergoing since their first date in 2016, when he was becoming more cleareyed, confrontational and emboldened to take on the British monarchy into which he was born, and the white privilege that holds it up and has benefited him his entire life.Typically, we see racial awakenings as a tragic rite of passage for Black people. In slave narratives and early 20th-century African-American autobiographies and novels, there is often a moment in which a Black child realizes she is not only different from her white peers but that her darker skin or African-American parentage makes her inferior to them. The literary critic Henry Louis Gates Jr. once described it as a “scene of instruction.” In books like W.E.B. DuBois’s collection “The Souls of Black Folks,” from 1903, or Nella Larsen’s novel “Passing,” from 1929, this traumatic rupture is always intimate and severe, the first and most formative experience in a lifetime of racist insults.An official wedding photograph released by Kensington Palace in May 2018.Credit…Alexi Lubomirski/Agence France-Presse — Getty ImagesAs Black parents, we try to prepare our children for these inevitable encounters with The Talk, the sage advice and survival strategies we hope might blunt the damage of these betrayals. But every Black person I know has had such a moment. Mine was my senior year in high school when my white classmates charged that the only reason I had been admitted to the University of Pennsylvania was because of affirmative action, an insinuation that equated being Black with being underqualified, and an injury that has caused me to obsessively overachieve in almost every aspect of my professional life.I’ve rarely heard white friends discuss their parallel experiences of first realizing their privilege. In fact, this summer was unprecedented in the sheer number of public figures and predominately white organizations that released statements or tweets acknowledging their role in perpetuating systemic racism. In private, I and many of my Black friends received more sympathetic emails or Black Lives Matter solidarity texts from our white colleagues than ever before. It seemed, suddenly, white people too were having their own version of The Talk.And in popular culture, these awakenings are appearing with more frequency. In this season of NBC’s “This Is Us,” Randall’s white siblings, Kate and Kevin, are, as a result of the Black Lives Matter protests this summer, slowly coming to terms with how much their own white household, and their ongoing refusal to deal with racism, has harmed their African-American brother, who was adopted.Without such recognition by our white family members and friends, racial inferiority is merely thrust onto Black people as a unique burden that we must bear, disprove of and reject. This innocence is at the core of white privilege, and by extension, white power.Back in 2005, when Harry wore a Nazi uniform to a costume party, it would have been impossible to predict his trajectory. By last fall, however, his awakening was well underway, with him talking about how his marriage to Markle immediately changed his understanding of race. “I had no idea it existed,” he said of unconscious bias in British GQ. “And then, sad as it is to say, it took me many, many years to realize it, especially then living a day or a week in my wife’s shoes.”Last night, he took it a step further. First, he noted how “the race element” distinguished the tabloid frenzy surrounding Markle from others in the past. “It wasn’t just about her, it was about what she represents,” he said. Next, he indicted his family for not taking on the racist attacks hurled at their own, and then linked their institutionalized reticence or refusal to intervene to Britain’s much longer history of imperialism.“For us, for this union and the specifics around her race, there was an opportunity — many opportunities — for my family to show some public support,” he told Winfrey. “And I guess one of the most telling parts and the saddest parts, I guess, was over 70 female members of Parliament, both Conservative and Labour, came out and called out the colonial undertones of articles and headlines written about Meghan. Yet no one from my family ever said anything. That hurts.”With this provocation, Harry suggests the Royals were not merely unwilling to accept his biracial Black wife and their multiracial child but also what Markle embodied: the millions of Black people throughout Britain and the Commonwealth who finally saw themselves in the monarchy through Markle’s existence, finding optimism in this interracial union.And with that confession, Harry declared his independence from British racism — whether he realizes it goes beyond his family’s treatment of his son and is an essential ingredient to the monarchy itself, I don’t know. But I turned off the interview wondering how American race relations will further change him. That the couple landed in the United States during a pandemic that has disproportionately harmed African-American and Latino families, and in a period of racial protest and rising white nationalism, feels a bit like jumping out of the frying pan into the fire.But, maybe that’s the point.Freed from the constraints of not being able to confront racism head-on might mean that he will dedicate his life to dismantling it, not just out of necessity, but also as a way of writing a new chapter in his family’s history and bequeath his children a legacy of antiracism.And if that is the case, it really will be better than any fairy tale ever imagined.AdvertisementContinue reading the main story More

AdvertisementContinue reading the main storySupported byContinue reading the main storyMaking Chess Sing: ‘Queen’s Gambit’ to Be Adapted for the StageA creative team has not yet been set for the proposed show, which would be based on the 1983 novel that spawned the hit streaming series.Anya Taylor-Joy and Thomas Brodie-Sangster in the Netflix adaptation of the novel “The Queen’s Gambit.”Credit…via NetflixMarch 8, 2021, 11:02 a.m. ETBeth Harmon is making her next move.A production company led by a Disney heir is planning to adapt “The Queen’s Gambit” into a stage musical. The fictional story is about an orphan girl — that’s Harmon — who becomes a pill-popping prodigy in the overwhelmingly male world of chess.Level Forward, a company whose founders include Abigail Disney, a grandniece of Walt Disney, said on Monday that it has won the rights to adapt Walter Tevis’s 1983 novel, which has become newly noteworthy thanks to the enormous success of last year’s streaming series adaptation on Netflix.Level Forward is not yet announcing a creative team or any other details of the project.The company has a decidedly progressive bent (it describes itself as “an ecosystem of storytellers, business people and social change organizers”), and is a relatively recent but active player in the theater industry, co-producing four Broadway shows in 2019: “What the Constitution Means to Me,” “Slave Play,” “Jagged Little Pill” and a revival of “Oklahoma!”The game of chess, although seemingly unlikely fodder for song-and-dance, has inspired at least one other musical: In the 1980s, the lyricist Tim Rice collaborated with Benny Andersson and Björn Ulvaeus of Abba to write “Chess,” a fictional account of a tournament between an American and a Soviet grandmaster. The show had a well-received score that remains an object of affection and fascination for some, but, despite repeated efforts at revisions, it has not found success onstage; it ran for two months on Broadway in 1988.“The Queen’s Gambit” project is just at the start of its developmental life, and it’s not yet clear when or where there might be a production.AdvertisementContinue reading the main story More

#masthead-section-label, #masthead-bar-one { display: none }The British Royal FamilyThe Oprah InterviewWhat Meghan and Harry DisclosedWhat We LearnedBehind the InterviewAdvertisementContinue reading the main storySupported byContinue reading the main story‘I Just Didn’t Want to Be Alive Anymore’: Meghan Says Life as Royal Made Her SuicidalIn a bombshell interview with Oprah Winfrey, the Duchess of Sussex said she had asked officials at Buckingham Palace for medical help but was told it would damage the institution.Oprah Winfrey’s highly anticipated two-hour interview with Prince Harry and his wife, Meghan, aired on CBS Sunday night.Credit…Joe Pugliese/Harpo Productions, via Getty ImagesPublished More

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Porsha isn’t the only one who thinks so as Drew Sidora, a new cast member of the Bravo reality TV show, agrees, adding that she doesn’t like how Kenya tries to conduct an ‘investigation’ into the matter.

Mar 8, 2021
AceShowbiz – “The Real Housewives of Atlanta” season 13 returned with a new episode on Sunday, March 7. The new outing saw the ladies discussing how the headline-making StripperGate, where Porsha Williams and Tanya Sam allegedly had sex with male stripper Bolo at Cynthia Bailey’s bachelorette party, got leaked to the media.
Cynthias and her sister were the first ones to find out about it as they saw an article which headline read, “Two ‘RHOA’ stars allegedly had sex with stripper at Cynthia Bailey’s bachelorette.” Cynthia told Malorie that it wasn’t her who had sex with Bolo, though she couldn’t say the same when it came to her co-stars.
When the Housewives gathered later, they tried to figure out how the story got leaked and Porsha appeared to think that Kenya Moore, who was the most “pressed” about the hookup, was the one responsible for it. “In Page Six, they were saying it was a threesome,” Shamea Morton told Porsha after the ladies gathered for a hayride. “This went from us having a bachelorette party to now this has gone in the blogs? It just seems like a lot,” Porsha responded.

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Later in a confessional, Porsha shared that she believed that the leak was all Kenya’s doing. “It seems like a Kenya leak. It seems like a low-down, ‘Ehh this b***h’ type of leak. You might as well put it right there [at the top of the article], ‘Written by Kenya Moore.’ ”
Porsha wasn’t the only one who thought so. New cast member Drew Sidora also agreed, adding that she didn’t like how Kenya tried to conduct an “investigation” to try to find out who allegedly had sex with the stripper. Marlo Hampton suggested Porsha to talk with Kenya but Porsha refused, saying, “I don’t f*** with” her.
Kenya did talk about the StripperGate a lot after the story came out. “I heard a lot — and other people heard a lot, very specific things. Very specific things and very specific voices,” so she shared in an interview.
She also revealed that she found it unfair “that people will call that pot-stirring” as she argued, “We are a cast, and we are in a cast house, and if something happens like that in a cast house while you are working, then it should be discussed. You can’t do that at McDonald’s! You can’t go in the bathroom at McDonald’s and have sex with someone and think it’s OK because hey, you know, you were in the closet. No. You’re at work.”

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This marks Agent 13’s reappearance since ‘Captain America: Civil War’, in which the great-niece of legendary S.H.I.E.L.D. founder and Director Peggy Carter is believed to have already been on the run from her superior.

Mar 8, 2021
AceShowbiz – Disney+’s “The Falcon and the Winter Soldier” has released a new TV spot for viewing pleasure ahead of its premiere. In the latest video, which was unveiled on Sunday, March 7, a familiar face can be seen taking the spotlight as she returns to the Marvel Cinematic Universe.
The teaser opens with Sharon Carter, played by Emily VanCamp, shocking Falcon (Anthony Mackie) and Winter Soldier (Sebastian Stan) with her sudden appearance. The S.H.I.E.L.D. agent can be seen pointing a gun at the two Avengers before greeting them, “Here we go again.”
In the action-filled trailer, the Agent 13 is also featured beating some guys down. Meanwhile, Falcon and Winter Soldier are joining forces to beat a group of people who use a mask. This marks Sharon’s reappearance since “Captain America: Civil War”, in which the great-niece of legendary S.H.I.E.L.D. founder and Director Peggy Carter was believed to have already been on the run from her superior for breaking the rules.

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Fans are excited with Sharon’s return as one fan wrote on Twitter, “YESSS KEEP THE SHARON CARTER CONTENT COMING.” Echoing the sentiment, another fan added, “yes pls more sharon.”
“And hell yeah Emily Vancamp is back as Sharon Carter a.k.a. agent 13 I miss her she’s a badass hope she sticks around in the MCU that be great so I wonder what’s going to happen where she been all this time since after Captain America Civil War,” someone else commented.
Set after the events of “Avengers: Endgame”, “The Falcon and the Winter Soldier” features Sam Wilson/Falcon and Bucky Barnes/Winter Soldier teaming up in “a global adventure that tests their abilities–and their patience.” In the movie, Steve Rogers decided to retire from his role as Captain America and chose to be living an ordinary life in an alternate reality with his longtime love, Peggy Carter. He gave his shield to Sam instead.
The cast also includes Wyatt Russell who is tapped to take the role of John Walker, a.k.a. U.S. Agent, who is part of the West Coast Avengers in the comics. Meanwhile, Daniel Bruhl is returning as villain Baron Zemo. Directed by Kari Skogland (“The Handmaid’s Tale”) from a script by Malcolm Spellman (“Empire”), “The Falcon and the Winter Soldier” is set to premiere on March 19, 2021 on Disney+.

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#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyWhat’s on TV This Week: ‘Coming to America’ and the Grammy AwardsThe original “Coming to America” airs on Paramount Network. And this year’s Grammy Awards airs on CBS.Eddie Murphy, left, and Arsenio Hall in “Coming to America.”Credit…Paramount PicturesMarch 8, 2021, 1:00 a.m. ETBetween network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, March 8-14. Details and times are subject to change.MondayCOMING TO AMERICA (1988) 10 p.m. on Paramount Network. In a recent interview with The New York Times, Eddie Murphy and Arsenio Hall discussed the comic chemistry that they share, which is a — perhaps the — key ingredient in this fish-out-of-water comedy. “I’m a stand-up comic and a guy who does TV,” Hall said. “Eddie is a movie star. But we share with each other because the bottom line is we’re both comfortable in our own skin.” In “Coming to America,” Murphy plays a prince from a wealthy African country and Hall plays his sidekick, in a journey that takes that pair to Queens, New York. The movie, directed by John Landis, immortalized Murphy and Hall’s easy rapport; pair it with the sequel, “Coming 2 America,” which was released last week.TuesdayAMERICAN EXPERIENCE: VOICE OF FREEDOM 8 p.m. on PBS (check local listings). The life of the great contralto Marian Anderson — whose groundbreaking career included becoming, in 1955, the first Black singer to perform at the Metropolitan Opera — is covered in this documentary program, which debuted last month and airs again on Tuesday. Its appraisal of Anderson’s life is built around footage of her famous 1939 performance at the Lincoln Memorial, which was attended by 75,000 people and became a symbolic moment in the civil rights movement.COVID DIARIES NYC 9 p.m. on HBO. Five filmmakers in their late teens and early 20s capture their pandemic-era lives in this series of short, first-person documentaries. Several of the filmmakers’ family members are essential workers, including a Washington Heights bus driver and a postal worker.WednesdayCynthia Erivo in “Harriet.”Credit…Glen Wilson/Focus FeaturesHARRIET (2019) 8 p.m. on HBO. Cynthia Erivo will return to screens later this month, playing Aretha Franklin in the third season of National Geographic’s “Genius.” It’s not her first time embodying a foundational figure from America’s past. Erivo played Harriet Tubman in this 2019 biopic, directed by Kasi Lemmons, which dramatizes Tubman’s escape from bondage and her leadership in the underground railroad. Erivo’s performance is “precise and passionate” and the film itself “rousing and powerful,” A.O. Scott wrote in his review for The Times. Leslie Odom Jr. and Janelle Monáe also star, and the score is by Terence Blanchard.CAKE 10 p.m. on FXX. This anthology series is called “Cake,” but what it offers are more like cake pops: Little comedy shorts, both animated and live-action, that make it easy to consume more than you intended. The show’s fourth season, which debuts Wednesday, offers an array of fresh shorts from a variety of creators.ThursdayGeorge MacKay in “True History of the Kelly Gang.”Credit…IFC FilmsTRUE HISTORY OF THE KELLY GANG (2020) 6 p.m. on Showtime 2. It was easy to miss the release of this film last April, when potential U.S. viewers would have been distracted by the newly arrived coronavirus (and by “Tiger King”). But fans of Westerns — intense ones — might consider giving it another look. The movie offers a fictionalized account of the life of the legendary outlaw Ned Kelly, who led a gang in Australia in the 19th century. George MacKay plays Kelly during the gang’s final days, as they evade the law in Australian bush. The film, directed with elaborate flair by Justin Kurzel, is based on a Booker Prize-winning novel by Peter Carey — but Glenn Kenny, in his review for The Times, wrote that the language in the film pales next to the book’s prose. “A climactic shootout with startling strobe-like lighting effects is undeniably impressive,” Kenny wrote. “But the jumpy, springy qualities of the movie’s visual style are unfortunately undercut by its verbal content.”FridayJo Van Fleet and James Dean in “East of Eden.”Credit…Everett CollectionEAST OF EDEN (1955) 6 p.m. on TCM. How do you heave “East of Eden,” John Steinbeck’s chunky and elaborate tale of two families in California’s Central Valley, onto film? This adaptation, directed by Elia Kazan from a screenplay by Paul Osborn, does so by focusing on only a slice of the book. It casts James Dean and Raymond Massey as the sons of a strict Christian farmer, focusing on family tensions that deepen when the younger son (Dean) discovers that his mother (Jo Van Fleet), who he’d been told was dead, is alive and running a brothel in Salinas. He also develops a relationship with his older brother’s girlfriend (Julie Harris). This was Dean’s first leading film role, and he didn’t exactly get a standing ovation from the Times critic Bosley Crowther. “This young actor, who is here doing his first big screen stint, is a mass of histrionic gingerbread,” Crowther wrote a 1955 review. “He scuffs his feet, he whirls, he pouts, he sputters, he leans against walls, he rolls his eyes, he swallows his words, he ambles slack-kneed — all like Marlon Brando used to do. Never have we seen a performer so clearly follow another’s style.” The director, Crowther added, “should be spanked for permitting him to do such a sophomoric thing.” Crowther did like the CinemaScope cinematography, though.SaturdayTHE 2021 NICKELODEON KIDS’ CHOICE AWARDS 7:30 p.m. on Nick. After an admirably weird appearance alongside Maya Rudolph at the Golden Globe Awards last month, Kenan Thompson will take on full hosting duties for this year’s installment of Nickelodeon’s film and TV awards show, where his oddball humor will be served with a side of green slime. The nominees list has little overlap with the higher-brow awards shows. It includes Jim Carrey for “Sonic the Hedgehog” and Vanessa Hudgens for “The Princess Switch: Switched Again.”SundayFrom left: Taylor Swift, Megan Thee Stallion and Dua Lipa are among the artists announced as performers for the 63rd annual Grammy Awards.Credit…Dia Dipasupil/Getty Images For Iheartmedia, Rich Fury/Getty Images For Visible, Kevin Winter/Getty Images For DcpTHE 63RD ANNUAL GRAMMY AWARDS 8 p.m. on CBS. Taylor Swift, Billie Eilish, Dua Lipa, BTS, Harry Styles, Cardi B and Megan Thee Stallion are among the performers at this year’s Grammy Awards ceremony, which will be hosted by Trevor Noah on Sunday night. (The broadcast will mix live and recorded performances.) Swift, Lipa and Beyoncé dominate the nominees list; other performers up for multiple awards include the rapper Roddy Ricch, who will also perform, and the singer-songwriters Brittany Howard and Phoebe Bridgers.AdvertisementContinue reading the main story More

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As for ‘The Queen’s Gambit’, the Netflix show is presented with one of the huge prizes, Best Limited Series award, edging out ‘I May Destroy You’, ‘Small Axe’ and ‘Normal People’ among others.

Mar 8, 2021
AceShowbiz – The 2021 Critics Choice Awards has unveiled the full winners in TV department. Taking place on Sunday, March 7, the award-giving event that was hosted by Taye Diggs saw Netflix’s “The Crown” being the biggest winner that night after collecting four accolades including Best Drama Series.
Stars Josh O’Connor and Emma Corrin were also presented with an award each earlier that night. O’Connor was named as the Best Actor in a Drama Series for his role as Prince Charles on the hit series. As for Corrin, she took home the trophy for Best Actress in a Drama Series for her portrayal of Princess Diana. Gillian Anderson, who plays Margaret Tatcher on the show, meanwhile, won Best Supporting Actress in a Drama Series.
Trailing behind with 3 wins was “Ted Lasso”. At the event, the Apple TV+ comedy series starring Jason Sudeikis was named the Best Comedy Series with the actor winning Best Actor in a Comedy Series. Adding the number of the trophy that the show collected at the event was Hannah Waddingham, who won Best Supporting Actress in a Comedy Series for her role on the show.

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As for “The Queen’s Gambit”, the Netflix show was presented with one of the huge prizes, Best Limited Series award, edging out “I May Destroy You”, “Small Axe”, “Normal People” and “The Undoing” among others. Lead actress Anya Taylor-Joy was honored with Best Actress in a Limited Series or Movie Made for Television.
Also collecting 2 wins at this year’s Critics Choice Awards was comedy series “Schitt’s Creek”. Catherine O’Hara won Best Actress in a Comedy Series, while Daniel Levy received the trophy for Best Supporting Actor in a Comedy Series. Find out the full list of movie winners here.
Full TV Winner List of the 2021 Critics’ Choice Awards:
Best Drama Series: “The Crown”
Best Actor in a Drama Series: Josh O’Connor, “The Crown”
Best Actress in a Drama Series: Emma Corrin, “The Crown”
Best Supporting Actor in a Drama Series: Michael K. Williams, “Lovecraft Country”
Best Supporting Actress in a Drama Series: Gillian Anderson, “The Crown”
Best Comedy Series: “Ted Lasso”
Best Actor in a Comedy Series: Jason Sudeikis, “Ted Lasso”
Best Actress in a Comedy Series: Catherine O’Hara, “Schitt’s Creek”
Best Supporting Actor in a Comedy Series: Daniel Levy, “Schitt’s Creek”
Best Supporting Actress in a Comedy Series: Hannah Waddingham, “Ted Lasso”
Best Limited Series: “The Queen’s Gambit”
Best Movie Made for Television: “Hamilton”
Best Actor in a Limited Series or Movie Made for Television: John Boyega, “Small Axe”
Best Actress in a Limited Series or Movie Made for Television: Anya Taylor-Joy, “The Queen’s Gambit”
Best Supporting Actor in a Limited Series or Movie Made for Television: Donald Sutherland, “The Undoing”
Best Supporting Actress in a Limited Series or Movie Made for Television: Uzo Aduba, “Mrs. America”
Best Animated Series: “BoJack Horseman”
Best Talk Show: “Late Night with Seth Meyers”
Best Comedy Special: “Jerry Seinfeld: 23 Hours to Kill” & “Michelle Buteau: Welcome to Buteaupia” (tie)
Best Short Form Series: “Better Call Saul: Ethics Training with Kim Wexler”

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