Comedy director James Burrows, the 11-time Emmy-winning director who co-created “Cheers” and helped turn such long-running sitcoms as “Taxi,” “Friends,” “Will & Grace” and “The Big Bang Theory” into fan favorites, has died, his family confirmed to People. He was 85.
“We celebrate the extraordinary life and enduring legacy of James ‘Jimmy’ Burrows, who passed away peacefully today surrounded by his loving family,” his family said in a statement to People. “For more than five decades, Burrows was one of the most influential and beloved directors in television history. As a legendary director, mentor, and creative force, he helped shape generations of comedy and brought immeasurable joy to audiences around the world.”
A master of the multi-camera sitcom, Burrows started his career shooting episodes of “The Mary Tyler Moore Show” in 1974 and “The Bob Newhart Show” in 1975. He soon joined the quality-oriented production company, MTM, which counted James L. Brooks, Steven Bochco and Gary David Goldberg among its alumni.
“They were smart enough to know that it’s better to have a director who can talk to actors rather than a director who can move cameras. You can’t really learn how to make something funny, but you can learn to move the cameras,” Burrows said in a 1995 interview with The Times.
Burrows was born in Los Angeles and later moved to New York with his family where he attended the High School of Music & Art. He graduated from Oberlin College and completed a graduate program at the Yale School of Drama. He worked years as a stage manager with his father, a playwright and director, assisting on shows such as “Breakfast at Tiffany’s” starring Moore and Richard Chamberlain.
He solidified his name in television with “Cheers,” co-creating the lively Boston travern “where everybody knows your name” with Glen and Les Charles. Over its 11 seasons on the air, Burrows directed 237 of its 275 episodes, emerging as a behind-the-scenes comedy legend.
“You bring ‘em in, you sit ‘em down and they talk. That’s all ‘Cheers’ was,” Burrows told The Times. “The word is more important than the goofiness. It was all about the words — which is how I was trained, how my father was trained, how anybody who reads books is trained. It’s the word.”
His father, Abe Burrows, was a Pulitzer Prize-winning playwright, screenwriter and director who performed in radio comedies and co-wrote the books for the Broadway musicals “Guys and Dolls” and “How to Succeed in Business Without Really Trying.” The younger Burrows said that growing up on radio comedies helped him hone his ear for humor.
“I know what’s funny, and I probably know the best way to deliver the joke. Whether it’s walking out of a room, facing that way, facing this way,” Burrows said in a 2010 interview with The Times. “I just have a sense of that.”
Another skill he learned from his dad? was working on his feet.
“He’d run the scenes over and over. He created this wonderful camaraderie, which I always try to do. I love to do ensemble shows because that’s where you get the camaraderie.”
Burrows, often considered a fatherly manager, tried to bridge the gap between actors and writers and notably took the cast of “Friends” on a trip to Las Vegas before directing 15 episodes of the blockbuster comedy. He also threw a party for the “Mike & Molly” cast to build rapport because he believed when everyone liked each other, it showed onscreen.
Actors would know when a joke landed when they would hear Burrows giggle as the scene unfolded.
“I’m the guy that wants you to walk the comic plank for me,” he said. “Take it as far out as you want to take it and I’ll bring it back. Sometimes I’ll take it further. But trust me.”
With his slate of hits — he’s credited for directing several shows in NBC’s primetime “Must See TV” lineup of the 1990s — Burrows amassed sizable wealth and, from an early age, was in constant demand by those seeking his magic touch for their show. However, he also saw his fair share of flops: Henry Winkler’s “Monty, “Cafe Americain” with Valerie Bertinelli and a slew of promising pilots that never got off the ground. He also felt that ABC’s “The Associates” and “The Class” on CBS were canceled too soon.
From 1998 to 2006, Burrows helmed every episode of “Will & Grace,” the Emmy-nominated sitcom about a woman and her gay best friend that aired on NBC for eight seasons during its original run. To Burrows, it was the funniest show he ever worked on. He was also behind the camera for the comedy’s 2017 revival, which brought the envelope-pushing antics of Will, Grace, Jack and Karen back for three more seasons.
“It was a fairytale literally and figuratively,” he said in a 2016 Hypable interview. “It was not of the real world in a strange kind of way. These were exaggerated characters. Although they were grounded with Will and Grace, there was this exaggeration that made the stuff you could do and get away with on that show so extraordinary.”
He won his 11th Emmy Award serving as an executive producer on 2019’s all-star re-staging of “Live in front of a Studio Audience: ‘All in the Family’ and ‘Good Times.’” A year earlier, he was nominated for directing the “‘All in the Family’ and ‘The Jeffersons’” TV special.
James Burrows behind the scenes.
(Chris Pizzello / Invision / Associated Press)
Throughout his career Burrows had a penchant for directing pilots because it meant “you’re better than an episodic director” and could create something new in the writer-driven medium of television. He was also drawn to “more uptown, the more urbane, the more sophisticated” comedies. He tried doing cinema once — 1981’s “Partners” with Ryan O’Neal and John Hurt — and said the result confirmed his belief that he was built for television.
“I’m not a cinematic guy. I’m a theater guy. For what I do, I need a live audience,” he said in a 2016 interview with the Television Academy.
Among his favorite TV moments were the pilots for “Frasier” and “Third Rock From the Sun,” the long-awaited kiss between Sam (Ted Danson) and Diane (Shelley Long) and Woody’s (Woody Harrelson) wedding on “Cheers,” Rev. Jim (Christopher Lloyd) taking his driving test in “Taxi,” Ross (David Schwimmer) being attacked by a cat in “Friends” and Will, Grace, Jack and Karen getting in the shower together on “Will & Grace.”
Late into his career, Burrows continued to work in the multi-camera sitcom format, which is shot in a studio, usually before a live audience. In 2013, he was honored by the Television Academy, and, in 2016, he celebrated directing his 1,000th episode of television programming, crossing the milestone with an episode of “Crowded.” NBC marked the milestone with “Must See TV: An All-Star Tribute” special. According to critics, the show — billed by several outlets as the elusive “Friends” reunion and came off as a living eulogy to Burrows — fell short and did not do the legendary director justice.
In all, Burrows was nominated for 45 Emmy Awards and 17 Directors Guild of America Awards.
Cameron Brink said she’d appreciate some grace. She really would.
Sparks fans should give her some, because where else is she going to get it?
Certainly not from WNBA refs. Not from opponents with more to play for than ever. Certainly not from the game itself; basketball moves fast, and a bummer can become a bust in a blink.
But Brink, 24, is not on the brink of bust territory, no. Block that thought. Technically, it’s Year 3, but after a torn ACL derailed her as a rookie two summers ago, it’s practically like Year 2 for the former Stanford star. And by design, the WNBA is testing her confidence, her decision-making and her patience as she tries to reestablish herself as one of the WNBA’s best young players.
So, grace.
The recognizable 6-foot-4 forward — she’s the long-blond-haired hooper in the New Balance ads — was the No. 2 overall pick in 2024.
Now she’s her team’s No. 3 option in the post. She’s coming off the bench behind Nneka Ogwumike and Dearica Hamby for the Sparks, who are a modest 6-6 after wins this week over the expansion Portland Fire and the struggling Seattle Storm.
Against the Fire, Brink scored two points and picked up four fouls in nine minutes. Then she went to Seattle and had 15 points in 18 minutes but was pulled with more than five minutes left in the fourth quarter after getting her third, fourth and fifth fouls in 86 seconds. (WNBA players get six fouls before being disqualified.)
For the season, Brink has been called for 49 fouls in 208 minutes. A foul about every four minutes!
They’re silly fouls and they’re phantom calls. Egregious and ticky-tack. Costly and common. A real fouled-up buffet. She sets screens that get scrutinized as if by the most vigilant TSA agent. And sometimes, yes, she’s doing the accidental tripping. Other times, the officials are.
Her reputation precedes her, so everyone gets a superstar’s whistle when being defended by Brink. Opponents bake it into their game plans.
That can’t continue.
All that fouling is hindering Brink’s development because it’s robbing her of important in-game reps — which she needs, foremost, to figure out how to stop fouling.
Sparks forward Cameron Brink, left, blocks the shot of the Tempo’s Laura Juskaite during a game last month.
(Jeff Lewis / Associated Press)
“At the pro level,” said Tara VanDerveer, Brink’s coach at Stanford, “every young player always has a lot of work to do. And I saw her make a three. I see her block shots. She rebounds, she can handle the ball, she’s unselfish, she’s a terrific talent. But there’s always things players need to work on.”
We know what Brink’s thing is.
“She has to be disciplined,” VanDerveer said. “And if you want something so badly, if you want to be an All-Star someday or make the Olympic team, you’ve got to be dependable … and I think anyone can change, if it’s behavior they recognize is not in their best interests or not in their team’s best interests. It’s hard, but it’s something I think people can do.
“That’s what Cam is working on.”
And, VanDerveer added, “I’m really so excited that Nneka is there, because she will give her such great guidance and mentorship.”
And grace. Brink is getting that from Ogwumike — also a former Stanford star, the Sparks legend returned to L.A. this season after two seasons in Seattle — and her other teammates.
“I just do my best to lead by example,” Ogwumike, 35, said. “But then also let [Brink] know that she’s very capable, that she’s more than capable, which is exactly why she’s here with us and it’s exactly why we need her on this team.”
Sparks forward Cameron Brink, wearing a facemask, controls the ball while defended by Sun forward Raegan Beers.
(Joe Buglewicz / Getty Images)
But how long will Brink get grace from the Sparks in the what-have-you-done-for-me-lately business of basketball?
The foul trouble tells us why a win-now team wouldn’t trust her, why the Sparks would give meaningful minutes to two veteran post players ahead of her. Why they wouldn’t prioritize Brink’s development alongside winning as they strive to snap a previously unthinkable five-year playoff drought.
And what about fans? How patient will you all be with a player who was drafted immediately after Caitlin Clark and five spots in front of Angel Reese?
These days, that might depend on what the parlay calls for.
Or, preferably, whether you remember Brink’s first 15 WNBA games. All starts, all signs pointing to stardom. She showed up in 2024 throwing lavish block parties. Her 2.3 blocks per game were message-sending spikes, like what Lisa Leslie used to enthrall Sparks crowds with.
From the jump, she had guys coming to games at Crypto.com Arena wearing her No. 22 jersey and little girls arriving in groups with No. 22 painted on their cheeks and “I love Cam Brink” signs in hand.
And then the torn ACL cost her 25 games of her rookie season and another 25 last season, plus her spot on the United States’ Olympic 3×3 women’s basketball team in Paris in 2024.
She had to start over. Lost a lot of ground. But you see that masked woman stuck on the Sparks’ bench for all but 17 minutes per game?
You can’t miss her. She’s looking uncomfortable in protective facial gear that either hinders her breathing or her peripheral vision, her only options to protect the torn septum she suffered in a victory over the Las Vegas Aces last month.
She’s the one with the 6-8 wingspan who’s averaging 9.2 points, 4.3 rebounds and 1.5 blocks while shooting 52.1% from the field in her limited minutes.
She’s still Cameron Brink. Between fouls, she’s fluid and fast and covers more of the court than almost anyone in the WNBA, able to leap from defending guards to centers in a single bound.
“It’s just looking at every day as a new opportunity to learn and grow and not getting too bogged down when things don’t go exactly as you planned,” Brink told me. “Because more times than not, things are not going to go how you want them to. And that’s life. So I just want to be able to put my best effort out there every single night.
She knows what the Sparks need from her: “To perform, just come on the floor and compete.”
In the debut episode of “The De Los Podcast,” hosts Fidel Martinez and Suzy Exposito spoke with the Latin Grammy-nominated singer and actor Leslie Grace about her long-awaited new music — plus some of the highlights and pain points throughout her film career.
Released in May, Grace’s bilingual record “Amor, ¿Quién Eres?” is the first album she’s released in over a decade. Suffused with what Exposito described as “tropical eleganza,” the album is a far cry from the Christian music Grace recorded in her teen years — and a marked shift from the Latin Grammy-nominated self-titled project she released in 2013. She touched on some of the personal developments required to reach the more sensual sonic landscape she explored in her latest release.
“The biggest learning has been how to protect my creative space, while I grow it and discover at the same time,” she told De Los.
The 31-year-old also discussed her work in the 2021 movie musical “In the Heights” — and the online backlash the film received due to the lack of other Afro-Latinos in the cast.
“The lack of representation within film [and] diversity within the Latin community is a conversation we haven’t touched on as much,” she said. “Only so many films [are] given a shot. There [are] certain ways that Latinos are portrayed that are very narrowed down in film. I think it’s a worthwhile conversation at any time. I’m glad that people started to talk about that, so [we] can get more stories.”
Reflecting further on her filmography, Grace talked about the canceled release of “Batgirl,” in which she played the titular role. The film, which was originally for a late 2022 debut on the HBO Max streaming service, was axed by its studio Warner Bros. for financial reasons.
“It was disappointing because we knew the film that we were making,” Grace said of the movie, which was in postproduction when it was scrapped. “I knew that it wasn’t a reflection of our work, because this is something that happens. But I think because of the context of the conversation around representation, and the way that films can be discarded, after a lot of work and time and money has gone into something … the creative community really felt for me.”
During that period, Grace said the support from other creatives helped her move forward. She has since starred in more independent films in recent years — including “In the Summers,” which won a grand jury prize at the Sundance Film Festival in 2024 — and the 2026 features “Stages” and “Campeón Gabacho,” which premiered at this year’s edition of South By Southwest.
“I really am grateful for every person that reached out to me and was like: ‘Hey, I’ve got you, whatever you need,’ or ‘This is wrong,’” Grace said. “When something happens to me, I focus on my experience and what I gained from it, that no one could really take away.”
SOPHIA Grace and Rosie were the viral child stars who went from their Essex bedrooms to rubbing shoulders with Hollywood’s finest – landing roles alongside the likes of Ariana Grande, appearing on the Ellen Show and even bagging their own movie.
15 years on from Sophia Grace Brownlee and Rosie McClelland rise to fame as child stars, the pair are living very different livesThe cousins were catapulted into the spotlight after uploading fun videos to YouTube as children, which led to them appearing on The Ellen ShowCredit: YouTube/TheEllenShow
Sophia Grace, now 23, and Rosie, now 19, were cousins who rose to prominence by uploading videos from their Essex bedrooms to YouTube.
She invited them to fly across to the US to appear as guests on her eponymous show, which led to a regular slot for the girls and exposure to fans across the pond, who fell in love with the tutu-wearing duo and their British charm.
The girls had their own segment on the show where they would chat with A-listers, from Justin Bieber to Hugh Grant and Taylor Swift. This then led to them bagging appearances on Nickelodeon show Sam and Cat, which featured Ariana Grande in the titular role, and their own movie by the channel, Sophia Grace & Rosie’s Royal Adventure.
Now, Rosie is an aspiring pop star and often shares music videos to her social mediaCredit: InstagramWhilst Sophia Grace is a mum influencer as she gives insight into her life with her two childrenCredit: InstagramThe stars famously rubbed shoulders with a myriad of celebrities, including Nicki Minaj, Katy Perry, Hugh Grant and many moreCredit: Ellen ShowThey even bagged their own segment on the Ellen show and several TV appearancesCredit: YouTube/TheEllenShow
However, as Sophia Grace and Rosie got older, the high-flying opportunities also came to a halt, with the young women no longer as in demand as their younger selves once were.
A close friend of the cousins tells The Sun: “People don’t realise how intense it was back then for the girls. One minute Sophia and Rosie were just kids playing dress-up, and the next they were everywhere – on TV, interviews and cashing in on big brand deals.
“It felt like the world couldn’t get enough of them. But that kind of spotlight doesn’t really grow with you, it stays frozen in time.
“I remember when things started to shift. It wasn’t dramatic, the calls just slowed down. Not because they weren’t talented, but because they weren’t those tiny girls in tutus that the world couldn’t help but fall in love with anymore. The industry loves a moment, it’s not always about the person behind it.”
Now, Sophia Grace is a doting mum-of-two and often shares mumfluencer content with her little ones to her Instagram page, which still boasts an impressive 1.5 million followers.
Whilst Rosie, who has just shy of one million followers, is an aspiring pop star and often shares music videos and new songs to her profile.
Despite the pair still successful online, that doesn’t mean it’s been an easy transition, as they navigated being shunned from Hollywood for simply growing up.
The friend said: “They had to go through that strange identity thing a lot of child stars face. Like, who am I if I’m not that version of me everyone fell in love with? It’s not just about losing jobs, it’s about outgrowing a character the whole world still expects you to be.
“There was definitely a period where it hurt. They’d worked so hard, and suddenly it felt like they had to prove themselves all over again, but as completely different people. That’s exhausting, especially when your past success kind of boxes you in.”
The cousins appeared on the Nickelodeon show Sam and Cat alongside TV stars Ariana Grande and Jannette McCurdyCredit: GettyBut as the pair got older and shook off their tutu-wearing images, their opportunities stateside also came to a haltCredit: InstagramThe Sun is told that both girls managed to stay grounded despite their mega-fame, with becoming a mum being the ‘making’ of Sophia GraceCredit: InstagramWhilst Rosie has spent years working on her music before relaunching her career on her own termsCredit: Instagram
This had the girls thinking about what is next as they reinvented their careers, rather than remaining stuck.
“What people don’t see is how much strength it took for them to step back and rethink everything. They didn’t just cling to what used to work. They had to start asking bigger questions like what do we actually enjoy now? What kind of life do we want outside of all that?
“They’ve had to evolve and figure out who they are without the glitz glam and cameras. And I think that was harder than actually being famous in the first place.
“There’s something bittersweet about it. Now they’re building something quieter, more personal and it actually belongs fully to them this time.”
From Drew Barrymore to Macaulay Culkin and Britney Spears, several stars have spoken out about their struggles with mental health, addiction, financial issues and more after being put under such pressure so young.
But Sophia Grace and Rosie have managed to successfully manage becoming household names so young whilst avoiding being plagued with the curse.
“People always expect a sad ending with child stars, like it’s inevitable that something will go wrong once the spotlight fades. But that was never going to be their story,” said the friend.
Explaining how they managed to remain grounded, they said that the pair have always been “normal and down to earth”, even when things were “unpredictable” in their careers.
“Sophia was always the one with that natural warmth. Even as a kid, she had this way of making people feel comfortable around her, what you saw was exactly what you got,” said our insider.
“Becoming a mum didn’t change her either, it’s been the making of her. She talks a lot about wanting to give her child stability, something consistent and safe, because she knows firsthand how unusual her own childhood was.
“What people see online is only a small window into their world – behind the scenes she’s very careful, and very protective of her family life. She’s also been smart financially, which people don’t expect. She made sure early on that she wasn’t just spending what she earned, she was thinking about the future. She’s got investments, savings and she’s financially fine for a very long time.”
And for Rosie, it seems that music was always the long-term plan.
“She stepped back, took time to grow up outside of the spotlight, build up her confidence and then came back to it on her own terms. That’s something I really admire about her. She’s spent years working on her voice, writing, figuring out what she actually wants to say as an artist instead of trying to recreate something from the past.
“There’s a lot of discipline there, and a kind of quiet confidence that people may have otherwise overlooked. She’s not chasing attention at all because she’s building something meaningful and long term.
“The thing that really stands out about both of them is that they never lost themselves in it. They had good people around them from early on, family who kept things steady and didn’t let the fame become everything. And they listened to that. They made choices that weren’t the flashiest, but they were the right ones for the lives they all wanted.”
The duo were also meticulously careful about money, our source says, despite having an influx of earnings so young.
“At the end of the day, they didn’t just grow out of being child stars, they grew into adults with lives that are real and wonderful. And that’s something you can’t fake for likes.”
WARNING CONTAINS SPOILERS: Prey originally aired on ITV in 2014 and starred John Simm and Rosie Cavaliero as two detectives
Angie Quinn Screen Time Reporter
23:04, 02 May 2026Updated 23:11, 02 May 2026
Prey season one stars Grace actor John Simm. (Image: ITV)
British crime thriller Prey has finally landed on Netflix and is already one of the most-watched shows.
*Warning contains spoilers* Prey originally aired on ITV from 2014 to 2015. The two-season thriller follows two criminal cases involving police officers in the Manchester area, with DS Susan Reinhart (Rosie Cavaliero) investigating both.
Grace icon John Simm stars in the first season as DC Marcus Farrow. The detective found himself in a tight spot when his ex-wife and sons were brutally murdered, and all of the criminal evidence points to him.
He is able to flee when the police van transporting him crashes, and Farrow runs off so he can find out who really murdered his family.
After taking the investigation into his own hands, Farrow discovers that it was DS Reinhardt’s boss, DCI Andrea MacKenzie (Anastasia Hille), who had been responsible for their deaths.
Life on Mars actor Philip Glenister leads the cast in the second season as he plays prison officer David Murdoch.
When Murdoch accompanies inmate Jules Hope (MyAnna Buring) on a routine hospital visit, he receives a call informing him his pregnant daughter Lucy (Sammy Winward) has been kidnapped, and he must follow the captors’ orders if he wants her to live.
Prey features a wealth of acting talent across the two seasons, including EastEnders’ Heather Peace, Doctor Strange’s Benedict Wong, Adrian Edmondson, Harry Potter’s Ralph Ineson, and Line of Duty’s Craig Parkinson.
At the time of writing, Prey is currently in the #5 position in Netflix’s UK TV chart, according to FlixPatrol. On Rotten Tomatoes, the series is also rated 100% on the Tomatometer.
The series has proved a hit with viewers, with many taking to IMDb to share their thoughts. “Great series, worth the time and a good binge watch – Brits do it best!” penned one viewer.
Another said, “I can’t believe that I just found this gem. Outstanding acting from virtually everyone, non-stop action, great storyline. Every character is so believable, so real. Three episodes, so well done!”.
Elsewhere, another fan wrote: “Absolutely loved this action packed thriller” to which a different account added: “Although John Simm is excellent in every role he plays I really thought this was one of the best.”
Prey seasons one and two are available to watch on Netflix
