Television

If you’re particularly hungry to escape current realities, and have a susceptibility to industrial-strength sentimentality wrapped in tastefully autumnal lighting, then “Little Voice” on Apple TV+ might appeal to you. A half-hour dramedy premiering Friday about an aspiring singer-songwriter who tends bar, teaches music and walks dogs on the suspiciously clean streets of New York, it’s coronavirus-free.Created by the musician Sara Bareilles and the filmmaker Jessie Nelson, the team behind the Broadway musical “Waitress,” the series espouses a democratic ideal: Anyone can find and cultivate her own little voice, conquer her stage fright, get up before an audience and (in a future season, anyway) become a star.It takes place, however, in the Kingdom of Twee. Bess (Brittany O’Grady), the confidence-impaired heroine, navigates the gig economy in a cloud of adorable pooches and adorable students (They come in two varieties, very young and very old). She works on her songs in a storage unit that looks like an Anthropologie-appointed seraglio, next door to the unit where handsome but obnoxious Ethan (Sean Teale) is editing his film about dancing grandparents. It’s as if WeWork has spun off WeMeetCute.And there’s more. The South Asian roommate (Shalini Bathina) who plays guitar in an all-female mariachi band. The brother (Kevin Valdez) who lives in a group home for young men on the spectrum and whose adorable obsession is Broadway musicals. (Apparently it’s OK, in the name of representation, to use a bunch of guys with autism as a comic chorus. That said, they’re reasonably funny.) The first word Ethan makes when he and Bess play Scrabble: songbird. Bingo.“Little Voice” is not, on the surface, anything like “Friends,” but it weds the mechanics of that kind of glib New York sitcom with the grittier, but still fanciful, aesthetic of John Carney’s musical films like “Once” — dressing up the former, but not capturing much of the energy or the spirit of the latter. In the show’s vision of the city, musical talent is everywhere, and wherever Bess goes, people are busking. Sidewalk? Guy playing a grand piano. Central Park? Guy drumming on plastic pails. Subway platform? Old guys singing R&B.In fairness, this fairy-tale ambience is intrinsic to the show, and you may find it charming in its own right. But the story elements Bareilles and Nelson provide over the nine-episode season (three will be available Friday) don’t have enough originality or energy to get you sufficiently invested in the fantasy. (Another of the show’s executive producers is J.J. Abrams, whose “Felicity” looks dark by comparison.)There’s a tepid rom-com triangle among Bess, the caustic Ethan and an earnest, supportive musician, Samuel (played with abashed charm by Colton Ryan). There are the complications supplied by Bess’s semi-guardianship of her sibling (an increasingly common trope, also seen this season in “Stumptown” and “Everything’s Gonna Be Okay”). Most familiar is the meddling-Indian-parents routine involving the roommate, an already timeworn device that’s enlivened by the casting of Sakina Jaffrey as the mother.And Bess herself, despite an appealing, self-effacing performance by O’Grady, is more of a commercial jingle than a soulful ballad. As with the characters in Carney’s films, we’re meant to see that she’s the real thing and to take a rooting interest in her overcoming her self-imposed barriers to success. But the insecurities and familial dynamics she deals with aren’t compelling enough to attach us to her. (And Bareilles’s anodyne, mushy tunes don’t do the trick on their own.)One thing that distinguishes “Little Voice” from other musical theater-meets-karaoke shows of its type is that it acknowledges its own crowd-pleasing tendencies. Samuel gently suggests adding a backbeat to Bess’s music to cut against its treacly qualities, and an overt nostalgia for vinyl records and classic rock and soul permeates the series; Bess’s YouTube viewing runs toward old interviews with Aretha Franklin and Joni Mitchell.The effect isn’t to undercut the ambient sentimentality, though, but to highlight it. Bess may sound embarrassed when she says, “My stuff seems earnest,” but “Little Voice” isn’t making any apologies. More

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In a new interview, Kourtney also talks about spending some time with her kids, Mason (10), Penelope (7) and Reign (5), saying, ‘I usually take one day on the weekend where we have no plans.’
Jul 8, 2020
AceShowbiz – Kourtney Kardashian has always shown her decreasing will to film for her family TV show “Keeping Up with the Kardashians” to the point she announced that she quit the E! reality TV series. In her cover story for the July/August issue of Vogue Arabia, the Poosh founder gave insight into her big decision.
“I have been filming the show non-stop for 13 years, 19 seasons and six spin-off seasons,” the mother of three revealed to the magz. “I was feeling unfulfilled and it became a toxic environment for me to continue to have it occupy as much of my life as it was.”
Despite that, Kourtney shared she’s thankful for the show. “I am grateful for the incredible memories and life the show has given me and my family,” she shared.
During the interview, Kourtney also talked about spending some time with her kids, Mason (10), Penelope (7) and Reign (5). “I usually take one day on the weekend where we have no plans, we hang out at the house in pajamas or sweats. We sleep in. I like to not be on a schedule on that day,” she explained.
Kourtney announced that she stepped away from the long-running series, which also stars her family including Kim Kardashian, Khloe Kardashian, Kris Jenner, Kylie Jenner and Kendall Jenner, in an April episode after a physical altercation with Kim as the latter criticized her work ethic.
“I’m definitely disappointed in myself. I don’t think that my response was matching up with what her exact comment was,” Kourtney said of the brawl. “Being violent isn’t the answer, but it was just the build up of years and months and everything.”
“I just feel like every day, it’s like they just pick on me and I just can’t do it anymore,” a tearful Kourt expressed during a sit down with pals Malika Haqq and Khadijah Haqq McCray. “I feel like I’m almost more mad at Khloe than Kim, ’cause I expect it from Kim. But, like, Khloe just takes everyone’s side, always, except for me-when I’m not even asking her opinion.”
Eventually, Kourtney thought it was time for her to exit the show. “I have decided to take a big step back from filming and really just pick and choose what I will allow cameras to follow,” Kourtney shared. “I think just now when I have something that I find is interesting to film, or that I would feel excited to film, that I do that.”

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Producer Peter Lenkov who also served as a showrunner on ‘Hawaii Five-0’ and ‘MacGyver’ TV reboots has been fired by The Eye following rumors of toxic work environments.
Jul 8, 2020
AceShowbiz – The creator of the “Hawaii Five-0” and “Magnum P.I.” TV reboots has been fired from U.S. network CBS amid allegations suggesting he cultivated toxic work environments on set.
Writer and producer Peter Lenkov had served as showrunner on the revivals of “Magnum P.I.” and “MacGyver”, as well as “Hawaii Five-0”, which concluded its 10-season run at the channel in April (20).
However, on Tuesday (07Jul20), it was announced his relationship with network bosses had been terminated after executives received multiple complaints about his behind-the-scenes behaviour.
Sources tell The Hollywood Reporter Lenkov was accused of manipulative and abusive treatment of staff on both “Hawaii Five-0” and “MacGyver” while he was allegedly known as a misogynist and frequently talked down to writers, especially women and people of colour.
In response to the news, Lenkov issued a public apology to those affected and vowed to “do better” moving forward.
“Now is the time to listen and I am listening,” he shared in a statement to the publication. “It’s difficult to hear that the working environment I ran was not the working environment my colleagues deserved, and for that, I am deeply sorry.”
“I accept responsibility for what I am hearing and am committed to doing the work that is required to do better and be better.”
In light of Lenkov’s exit, executive producers Monica Macer and Eric Guggenheim have been promoted to showrunners on their respective series, “MacGyver” and “Magnum P.I.”

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The ‘Normal People’ star Daisy Edgar-Jones is pitted against the ‘Killing Eve’ actress Jodie Comer for the coveted titled of Best Actress at the upcoming television awards.
Jul 8, 2020
AceShowbiz – Jodie Comer better watch out – Daisy Edgar-Jones is coming for her Best Actress crown at this year’s TV Choice Awards.
While the “Killing Eve” star is the reigning holder of the gong, Daisy looks set for success thanks to her hit show “Normal People” – which earned three nominations at the 2020 awards.
But in order to take home the prize, Daisy will also have to beat Michelle Keegan and “Vera” star Brenda Blethyn.
Her co-star Paul Mescal, who starred as her love interest Connell in the TV adaptation of Sally Rooney’s beloved book, is up for the Best Actor prize, but again faces tough competition – from David Tennant, Martin Clunes, and Stephen McGann.
In addition, “Normal People” has also been nominated for Best New Drama alongside “Gangs of London”, “Gentleman Jack”, and “White House Farm”.
Elsewhere, Ricky Gervais’ “After Life” is once again up for the Best Comedy Gong, but will have to beat “Friday Night Dinner”, “Brassic”, and “Still Open All Hours” to take home the prize.
And “Doctor Who” will battle it out for the Best Family Drama award against “Call the Midwife”, “Doc Martin”, and “Casualty”.
The 2020 TV Choice Awards are set to take place on 9 September (20), and voting is open from now until 17 July, with viewers encouraged to visit TV Choice to pick their winners

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I’ve watched “Peaky Blinders” more times than I can count and have tried watching numerous other shows but nothing is as good.  It has everything: the best writing, acting, cinematography, music — and Cillian Murphy. Can anything match it? — ArleneIt sounds like you have a severe, wonderful case of having a favorite show. Our tastes are not one lifelong upward trajectory, where we constantly find “better” things. It’s completely possible that you will never love another show as much as you love “Peaky Blinders.” Based on my inbox, you would not be alone! But also, having a favorite show is not a bad thing. It’s energizing. It’s pleasurable. Your quest is complete.Steer into the skid. Watch shows that have a similar vibe and use those similarities to reflect on the specifics of how much better your favorite show is than its closest brethren. One reason I like, for example, “Better Call Saul” so much is I know who else is in its weight class, and I know how many shows have had “I do things my way” kinds of protagonists and how often shows seem to forget little, but important, details. And every time another show does something stupid that “Saul” doesn’t, I feel a juicy thrill of superiority, like my horse won.So, for period dramas with lots of male pouting and no sideburns, “Boardwalk Empire” (which is available to stream with an HBO or HBO Max subscription) covers some similar territory and has those luxe production values that can hide some, but not all, sins. If you don’t mind a much slower pace and love all the biological decrepitude of period shows, try “Taboo” (Hulu), which stars Tom Hardy, who created the show with his father, Chips, and Steven Knight, the creator of “Peaky.” I wonder if grand-scale historical dramas like “Vikings” (Hulu) or the flashier “Spartacus” (Starz, or see three of four seasons free on IMDb TV) might sharpen what feels special about “Peaky Blinders,” too.Once you’re stocked up on genre context, go further afield. If you like the score to “Peaky,” I wonder if you’ll like the score from “Gentleman Jack,” which is based on a true story and is about a jazzy lesbian in Britain in the 1830s (on HBO). My favorite cinematography on TV right now is “Queen Sugar,” a present-day family drama set in rural Louisiana (Hulu). I think about the writing from “Lodge 49,” a gentle, dreamy drama about a fraternal order, and “David Makes Man,” an artful coming-of-age story, all the time because they have such distinctive voices. (“Lodge” is available on Hulu; Season 1 of “David” will be streaming on HBO Max starting July 16.)Oh, and duh, try “Deadwood” (on HBO).Can you recommend a show (maybe like “Friday Night Lights”?) for a teenage boy and his mom? As he has grown, we loved watching “Robin Hood” (surprisingly good), “Malcolm in the Middle” (also excellent) and “Brooklyn Nine-Nine,” and now we’re casting about. — LindsayIt’s more like “The O.C.” than “Friday Night Lights,” but try “All American,” a high school football drama on the CW starring Taye Diggs. If you’ve watched a lot of teen shows, some of its ideas will be familiar to you, but presumably your son is just arriving at the genre. I dug “Cleverman,” an Australian superhero show based on Aboriginal mythology; it can be on the bleak side, but that doesn’t strike me as a vice (on Netflix). “Malcolm In the Middle” (on Hulu) makes me think you might like other quirky single-camera family comedies like “Everybody Hates Chris,” “Fresh Off the Boat” or “The Middle.”I know we’re all tired of making our own fun during the quarantine, but this might be the time to make the selection process part of the shared activity itself and agree to try five minutes of 10 different shows (each pick five? each pick four and two chosen at random?) just to see what happens. You can even teach him what channel surfing used to mean.My spouse and I have been watching “Killing Eve” and just finished the first season of “Queen Sono.” What other female assassin shows can we watch? — Kathleen, a Times Culture editor (and devoted reader)If you wish “Killing Eve” (on BBC America) would cross pollinate with a really good episode of “The X-Files,” you will love “Orphan Black” (Amazon Prime Video), which is not strictly an assassin show but does include a central female assassin, and lots of chasing and violence and phone calls that end abruptly. I love the incongruous buoyancy of “Killing Eve,” and “Orphan” has some of that, too, like the crunch and intrigue of a pickle spear on a diner plate.If you’re getting maxed out on genuine violence and want something lighter but still in a similar space, watch the cartoon series “Harley Quinn” (DC Universe), which is a clever satire of supervillainy but keeps that “do ‘bad guys’ overcome their guilt over doing evil things, or do they never experience the guilt at all, which is actually what makes them bad?” thread that many cat-and-mouse stories rely on. It’s bold and racy in all the fun ways.Series’ availability on streaming platforms is subject to change, and varies by country. Send in your questions to [email protected]. Questions are edited for length and clarity. More

Paramount Television

During a SAG Foundation Conversations interview, the actor known for his portrayal of Captain Jean-Luc Picard explains why Commander Data’s death scene was so emotional for him.
Jul 7, 2020
AceShowbiz – Sir Patrick Stewart still can’t talk about his final scene with longtime “Star Trek” co-star Brent Spiner without getting choked up.
The actor admits he and his old friend had to do a lot of personal preparation before shooting Commander Data’s death scene on “Star Trek: Picard”, because it was so emotional.
“I get choked up talking about it,” he said during a recent SAG Foundation Conversations interview. “Brent Spiner, who I love very much, and I have such a history going back 25 years… to be sitting quietly, just the two of us, for most of the day that scene took to shoot. We were talking about elements of our characters’ lives, but they were huge overlaps with our personal lives as well.”
“When the moment came to leave him I’d been asked to walk to the door, turn around and say, ‘Goodbye Commander’. I couldn’t do it because of all of the associations of Goodbye to Data, Goodbye to Brent Spiner, Goodbye to Star Trek; all of these things.”
Stewart insisted on taking the chair he used in the scene home, adding, “I asked if I could buy it because that chair took on so much importance.”
“This is sentimental trash but I can go and sit in that chair… and feel what I felt when I was alone on the set with Brent,” he smiled.

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This Disney deal comes days after the football quarterback was revealed to be working with director Ava DuVernay on a separate series titled ‘Colin in Black and White’ for Netflix.
Jul 7, 2020
AceShowbiz – Sportsman and activist Colin Kaepernick is developing his own TV docuseries after landing a production deal with Disney bosses.
The American football quarterback has signed a first-look contract through his Ra Vision Media company to share scripted and unscripted stories about race and social injustice issues, while also providing opportunities for directors and producers of colour.
The first release from the partnership will be an in-depth ESPN series chronicling Kaepernick’s life, with exclusive interviews and archival video footage focusing particularly on the last five years, during which he was controversially frozen out of the National Football League for kneeling during the pre-game U.S. national anthem to highlight racial injustice and police brutality.
Kaepernick has been without a team since his contract with the San Francisco 49ers expired at the end of the 2016/2017 season.
In a statement announcing the media endeavour, Kaepernick shared: “I am excited to announce this historic partnership with Disney across all of its platforms to elevate Black and Brown directors, creators, storytellers, and producers, and to inspire the youth with compelling and authentic perspectives.”
“I look forward to sharing the docuseries on my life story, in addition to many other culturally impactful projects we are developing,” he added.

Former ESPN sports journalist Jemele Hill will serve as a producer on the show.
The news of the Disney deal emerges days after Kaepernick was also revealed to be working with director Ava DuVernay on a separate series, the six-part “Colin in Black and White”, which will focus on his teenage years and early sports success in California.
Kaepernick will narrate and executive produce “Colin in Black and White”, which is set to start shooting later this year and premiere on Netflix in 2021.

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Creator Liz Feldman confirms the news, adding that she is ‘beyond grateful’ to Netflix for supporting her hit series from day one and letting it be the show she wanted to make.
Jul 7, 2020
AceShowbiz – Christina Applegate’s acclaimed Netflix series “Dead to Me” has been renewed for a third and final season.
Creator Liz Feldman confirmed the news on Monday (July 06), revealing she is collaborating with bosses at the streaming service as part of an overall development deal.
“From start to finish, ‘Dead to Me’ is exactly the show I wanted to make,” Feldman said in a statement. “And it’s been an incredible gift. Telling a story sprung from grief and loss has stretched me as an artist and healed me as a human.”
“I’ll be forever indebted to my partners in crime, my friends for life, Christina and Linda (Cardellini), and our brilliantly talented writers, cast and crew. I am beyond grateful to Netflix for supporting ‘Dead to Me’ from day one, and I’m thrilled to continue our collaboration.”

Applegate also marked the show’s conclusion with a dedication to the team behind the show – and the fans.
“I will miss these ladies,” she wrote. “But we felt this was the best way to tie up the story of these women. Thank you to all the fans. We will be getting back to work when it is safe to do so. Much love.”

Christina Applegate reacted to the renewal of ‘Dead to Me’ for its third and final season.
The second season of the series, which also stars James Marsden, debuted in May.

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