The 49th Kennedy Center Honors gala will go on despite the recent closure of the Kennedy Center, with the event moving to the Capital One Arena in Washington, D.C., on Dec. 7. The honorees and a broadcaster for the program will be disclosed at a later date.
The annual event will take place amid an ongoing legal battle as President Trump attempts to add his name to the building.
Hours after a federal judge blocked the president’s attempt to restore his name, the Kennedy Center’s board voted on Sept. 15 to shutter the venue for renovations. Trump, however, threatened on social media to block the $250-million renovation, which he initially proposed, if his name weren’t added to the facade.
In mid-September, a picture of the president aboard Air Force One reviewing plans that were titled “Kennedy Center Demo[lished]” prompted panic as architectural, preservation and civic organizations asked the court for a “neutral officer to protect the building and institution.”
A federal judge ordered Kennedy Center leaders to provide 30 days’ notice before any changes, including demolition.
Last year’s Kennedy Center Honors gala, which recognizes artists who have contributed to American culture, was hosted by Trump and televised on CBS and Paramount. The ceremony, honoring Sylvester Stallone, Kiss, Gloria Gaynor, Michael Crawford and George Strait, earned the lowest ratings in its history. It was not announced whether Trump would return as master of ceremonies for this year’s event.
David Ellison said the merged Paramount and Warner Bros. Discovery will be called Skydance — the moniker he picked nearly two decades ago when the tech scion began building his Hollywood empire.
Ellison, currently the chairman and chief executive of Paramount, is aiming to finalize the acquisition of Warner Bros. Discovery by Tuesday. Then the combined company will assume the name and logo of his once small studio.
“We chose this name for a few important reasons,” Ellison wrote Friday in an X post. “As we bring Paramount and Warner Bros. together, we wanted to preserve what has made each of these studios iconic. Both have distinct identities, extraordinary legacies and brands that have resonated with audiences … We never wanted a new corporate identity to diminish, alter or overshadow either one.”
By calling the company “Skydance,” Ellison said the merged entity would have “an identity of its own while allowing Paramount and Warner Bros. — and all our extraordinary brands — to remain in the spotlight.”
In Hollywood, there had been much speculation over what jumbled mash-up of the corporate titles would be used, with WarnerMount and Paramount-Warner Bros. often mentioned as possibilities.
Both companies boast century-old studios, beloved media brands and a recent past that has included several fraught mergers. When AT&T sold WarnerMedia to David Zaslav’s Discovery in 2022, he selected Warner Bros. Discovery as the corporate name.
The merger is quickly reaching the finish line after U.S. District Judge Araceli Martínez-Olguín on Wednesday signed a settlement agreement, effectively ending an antitrust lawsuit brought in July by California Atty. Gen. Rob Bonta and 11 other state attorneys general who initially fought the formation of a new Hollywood colossus. Paramount now has won approvals by nearly 70 regulators for the industry-reshaping deal.
For more than a decade, Paramount has been the smallest of the major media companies, owning CBS, Comedy Central, BET, Nickelodeon and the Melrose Avenue studio. With the $111-billion merger with Warner, Skydance will gain more valuable assets including HBO, CNN, TBS, Food Network and Warner Bros. film and television studios, along with their massive libraries that include the Harry Potter, “Lord of the Rings,” and DC Comics franchises.
Earlier this week, Ellison announced he was bringing Ynon Kreiz, who has served as the CEO of toymaker Mattel for eight years, to run the new entity’s day-to-day operations. Kreiz, 61, brings years of operational experience that Paramount’s top executives had lacked.
Paramount released details of Kreiz’s contract on Thursday in a regulatory filing, saying he would receive an $5 million annual salary and an annual target bonus of $4.9 million. He will also qualify for a signing bonus of $31.5 million to come over to the new company, paid through restricted stock units.
In addition, HBO Chairman Casey Bloys is widely expected to become head of the merged company’s streaming programming. Paramount’s streaming chief Cindy Holland exited the company earlier this week to make way for Bloys.
During a Thursday appearance at the Bloomberg News Screentime media conference in Hollywood, Bloys declined to discuss his presumed new role. But he suggested that that Ellison’s company might bundle HBO Max and Paramount+ services, allowing the two services to remain for now, rather than try to fold them into one gigantic offering.
Skydance will carry than $80-billion in debt, much of it acquired to retire the holdings of Warner Bros. Discovery investors at $31.17 a share. The company also has promised investors that it would find $6 billion in cost-cuts within three years.
During a separate appearance at the Bloomberg conference, RedBird Capital Partners founder Gerry Cardinale, a Paramount investor and board member, said finding $6 billion in cuts would be relatively easy, and would not be focused solely on layoffs. It would include combining the technology stacks for the various streaming platforms.
But Cardinale acknowledged layoffs would be part of the cost-cuts, a prospect that frightened many in Hollywood after endless waves of job cuts at the two companies.
Warner’s outgoing chief executive Zaslav will leave with a golden parachute valued at about $887 million, which includes cash, stock and options valued at more than $550 million, according to regulatory filings.
In addition, Warner board members separately agreed to pay Zaslav’s tax bills, which could approach $330 million.
The new parents shared their happy life update in a joint Instagram post Monday featuring the public social media debut of their new bundle of joy.
“We took Labor Day literally this year,” Palvin wrote in the caption accompanying a photo of she and Sprouse holding their baby girl between them. The snapshot captured the family of three from the back as they watch a Dodgers game on TV while wearing matching jerseys.
The model debuted her baby bump in May at the Cannes Film Festival, where the couple posed together while walking a red carpet. They also announced that they were expecting on social media. Sprouse later shared in a July episode of his “Wildmen” podcast that they would be having a baby girl and that he was “excited to be a girl dad.”
On Tuesday, the actor once again took to his podcast to share some new tidbits about his daughter and life as a new parent.
“She’s very lovely, her name is Sylvie,” Sprouse said of his daughter. “Sylvie Sprouse. And she’s a very well-behaved baby.”
The former Disney Channel star also shared some details about Sylvie’s birth including some of the different options at Cedars-Sinai Medical Center.
“There’s moments when I look at Sylvie and I’m like, ‘This is the coolest thing ever,’” Sprouse said of being a new dad. “She’s looking at me and her eyes are opening … she’s looking at me and she smiles or something and it’s the cutest thing. My heart like jumps out of its chest.”
The “Suite Life of Zack & Cody” star and Victoria’s Secret model first met in 2017 and have been in a relationship since 2018. They were married in 2023.
California Deputy Atty. Gen. Marissa Roy has a lead in the race to replace Los Angeles City Atty. Hydee Feldstein Soto, who lost her seat in a historic primary rout this spring, new polling shows.
Among likely Los Angeles voters, Roy leads by 10 percentage points over her rival, Los Angeles County Deputy Dist. Atty. John McKinney, following the pair’s shocking electoral upset in June, according to a poll released last week by UC Berkeley’s Institute of Governmental Studies and co-sponsored by The Times.
The spread closely mirrors City Councilmember Nithya Raman’s breakaway lead in her bitter fight to unseat Mayor Karen Bass, who has outraised her for months.
But that’s where the similarities end.
The mayor’s contest has been called a “knife fight” for its no-holds-barred campaigning. It has also drawn sustained — and occasionally sensational — national attention since Raman’s buzzer-beating entrance in February.
By contrast, the city attorney’s race remains all but unknown: More than two-thirds of likely voters are still undecided, versus about a third who remain uncommitted in the mayor’s contest, polling showed.
L.A.’s top litigator commands a budget of nearly $200 million, plays a role in shaping city ordinances, and wages court battles on behalf of the public. The city attorney also prosecutes misdemeanors — a job most other cities keep separate. Each year, the office weighs some 120,000 violations, deciding whether to file charges and how to pursue them.
More recently, city attorneys across the country have championed activist litigation, spearheading suits against the Trump administration, among others.
Yet, few local voters know the job exists, and fewer still know the candidates by name.
Seventy percent of likely voters said they had no opinion of either McKinney or Roy — a fairly typical result for a down-ballot race, experts note.
Still, new data about voter priorities could signal how those undecideds might shake up the race in its final weeks.
Roughly a third of L.A. voters rank “moving homeless people indoors” and “crime and public safety” as top priorities, respectively; just slightly less say “fixing streets, sidewalks, streetlights and other city infrastructure” is essential.
McKinney, 58, pitches himself as a law-and-order moderate with plans to use the city attorney’s prosecutorial power to reduce disorder and move unhoused people off the streets. He manages more than 300 people at the district attorney’s office and spent decades in the courtroom securing high-profile convictions — advantages that he contends outweigh his lack of civil litigation experience.
Roy, 34, campaigns with an aura of sunny progressive pragmatism, arguing that the city can rein in ballooning liability in part by tackling its vexing infrastructure issues. She nods to the recent $17-billion settlement with Meta — a case her team at the attorney general’s office led — as evidence of the kind of ambitious, public interest litigation a large municipal attorney’s office could join.
Those disparate visions — along with crucial endorsements and influxes of cash — helped the pair define clear brands and constituencies going into the primary.
Both also got a boost from nationwide anti-incumbent fervor, staking sides across a mutual opponent whose name recognition had turned sour while rarely taking aim at each other.
But the general election is a different animal.
Although the Los Angeles electorate has been moving leftward for years, primary voters typically skew older and more conservative than those who show up for the general election, experts said.
Polls suggest that fact could create an uphill battle for McKinney, whose sway is biggest among conservatives, about 19% of the city’s electorate.
Some 21% of Republicans and nearly 30% of self-identified MAGA voters favored McKinney in the most recent poll, while Roy is favored by 25% of Democrats and by 3 in 10 voters who identify as progressive or democratic socialists.
By contrast, about a quarter of Republican voters now say they favor Bass for mayor, while Raman has a 14-point lead among Democrats. (Both are about equally underwater with MAGA voters.)
Like Raman, Roy has deep ties to the city’s insurgent democratic socialist political machine and hard-won endorsements from its progressive clubs. She has also successfully courted L.A.‘s influential unions and got an early boost from the L.A. County Democratic Party when it endorsed her this spring.
McKinney is endorsed by the city’s powerful police union and championed by L.A. County Dist. Atty. Nathan Hochman.
WASHINGTON — Thousands of people joined outside the John F. Kennedy Center for the Performing Arts on Friday evening to protest President Trump’s plans for the facility, lending their voices to a chorus of organizations and individuals who have been horrified that he might make good on his threat to close and tear down the storied institution.
The crowd streamed in from the nearest subway stop, crowding streets in the Foggy Bottom area of Washington and locking down traffic as they walked, many carrying signs, as they joined in an event dubbed “Hands Around the Kennedy Center.” At one point some held hands, forming a human chain around the center.
Chris Raleigh, co-founder of Hands Off the Arts, which set up the gathering, said in an interview that he hoped it would show that people are willing to fight to keep Trump’s plans for the building at bay.
One of the most iconic buildings on the Potomac River waterfront, the Kennedy Center has been a focus of Trump’s remake of Washington since 2025, when he began installing his loyalists on its governing board. Late last year, he had his named placed on the center in front of that of President Kennedy. A judge ruled that Trump’s name was illegally added and ordered it removed.
The Kennedy Center board, which remains aligned with the president, voted Tuesday to close the center indefinitely for repairs hours after U.S. District Judge Christopher Cooper blocked their plans to return Trump’s name to the building. On Thursday, the judge ordered the Kennedy Center to provide 30 days’ notice before making any major physical changes to the building, including demolishing it.
Raleigh said he, like others, is concerned that Trump could take the step without notifying the court. “Look at the East Wing,” he said, referring to the demolished portion of the White House. “We got up one morning and there was a giant hole there.”
Raleigh said the Kennedy Center is more in the public eye than the East Wing was. He added that he doesn’t believe the president fully understands why people are so upset, “but that’s our job, right? This may be the line that no one expected, but this is where the line is going to be.”
Protesters talked about the importance of the center as the pinnacle of the nation’s performing arts world.
Bud Wilkinson, a local member of the arts community, set up a chalkboard with Trump’s name written on it hundreds of times. Protesters flocked to him to erase the names and replace them with hearts.
“The Kennedy Center is vital to the arts in Washington. We need it. We need this,” Wilkinson said. “This is not just about putting the president’s name on the Kennedy Center. It’s about censoring the performances and the programming. That’s what started all this. So that’s what the nitty-gritty really is about this. So I want to replace all of this with love. That’s why there’s a heart.”
Alina Baciu talked about the opportunities and relationships that students at the Duke Ellington School of the Arts have with the center and how those relationships might be affected by what’s going on.
Her daughter had opportunities to take advantage of all the center had to offer as a student at the Ellington school, she said. “I mean, they borrowed the beautiful costumes and the beautiful dresses from the Washington National Opera for their performances at Duke Ellington,” she said. They also performed on the center’s Millennium Stage.
“All of those things have gone away because of this craziness. And it just hurts my heart,” Baciu said.
Laura Steinberg, a volunteer for the last 10 years, said the loss of performances has already been heart-wrenching. “This reminds me of that picture from Tiananmen Square, where that young man stood in front of the tank,” she said of the throngs present. “This was my visceral response to this. I’ll stand in front of the wrecking ball if it’s going to come to that. My guess is many of these people would come down because we saw what he did to the East Wing. Nobody thought he would actually do it. So I think the shock has mobilized people.”
Friday’s event followed a tumultuous week in federal courts in Washington, where filings and counter-filings flooded the courts as the administration continues pushing for the president’s vanity projects. The administration has made substantive steps to begin work on a number of projects, despite the fact they are still being litigated. Such projects include Trump’s triumphal arch and the administration’s takeover of East Potomac Golf Links and the U.S. Institute of Peace.
Speaking from the Oval Office, Trump said he was willing to save the center, which he said was losing money. He did not address a question about demolishing it.
“We have a lot of people working very hard on it to save it,” he said. “I can save it easily, but why should we be doing that and then raise money for the rest of our lives to keep it afloat? Because that’s what you have to do, if we get no recognition. I think the Trump administration should be recognized as having saved the Kennedy Center.”
A Bay Area Republican Party leader who earlier this year claimed dead people cast votes in Marin County in the Proposition 50 special election has backtracked on that comment.
But don’t expect him to stop digging. In an interview with The Times, John Turnacliff, chairman of the Marin County Republicans, said he still thinks more should to be done to ensure voter rolls are accurate, and indicated that he and his group would continue their probe.
At a Marin County Board of Supervisors meeting last week, Turnacliff apologized for his dead-voter claims. SFGATE was first to report on his apology.
“I’m here today to retract that statement I made a few months ago as far as those voters being on the roll,” he said at the meeting. “I did not find them. I apologize to the Board of Supervisors and to the registrar’s office and to the registrar for any angst and consternation that could have put on you since then.”
When the county supervisors met on Feb. 10, he claimed that Marin Republicans found that 73 dead people voted in the Nov. 4 Proposition 50 special election following a ballot analysis. The proposition, which passed by a wide margin, takes effect in January and redraws California’s congressional districts to favor Democrats.
Turnacliff then called on Natalie Adona, the county’s registrar of voters, to investigate.
“In summary, dead people are voting in Marin County, and we would like to know why,” he said at the meeting.
The county voluntarily reviewed the list of names provided to them by the Marin Republicans, according to reporting by SFGATE; the registrar found that there were up to five deceased people in the list, but there was no record of votes in their names following their deaths.
Following the county’s investigation, Turnacliff checked his work. He bought subscriptions to Ancestry.com and another personal information database. As he looked up the names on his group’s list, he realized that many were in fact alive.
“I jumped the gun,” he told The Times on Wednesday, referring to his “dead people” list. “I just thought, if I was wrong, I should admit it.”
He publicly apologized because he wanted to take the “aggressive high road,” and because he does not want to have an adversarial relationship with the registrar and her office, since he intends to work with them in the future and plans to observe future vote counts, he said.
He’s been praised for his admitting he was wrong, but some people have incorrectly interpreted the apology as an admission that voter fraud doesn’t exist, he said.
Turnacliff, who works in equipment leasing, began digging into Marin County voter rolls after the 2020 election, which he described as “not right,” echoing claims touted by Trump and beliefs held by many Republicans. “It comes from the heart. … There’s no political agenda,” Turnacliff said of his intentions.
He later added, in an email, that his group planned to keep investigating “other irregularities.”
“The next time I speak about election irregularities, I will have bulletproof evidence,” he said in the email.
WASHINGTON — The Kennedy Center Board of Trustees is planning to propose adding President Trump’s name to the facility’s exterior in recognition of his saving the building from its “precarious fiscal position,” according to a new court filing in a suit aimed at blocking the move.
It’s the latest development in the case revolving around adding the president’s name to the exterior of the cultural and arts facility that sits along the Potomac River in Washington and reflects the Trump-aligned board’s efforts to honor the president.
The new information came out of a court filing made by Democratic Rep. Joyce Beatty of Ohio, an ex-officio member of the board. Beatty, who has led an effort to block Trump from putting his name on the building, said in a filing she was alerting the court to the proposal because it could implicate a pending decision before the court.
Both the court and the Kennedy Center board are expected to hold meetings Tuesday.
Beatty’s filing includes two exhibits. One is a draft vote to shut the center down, asserting the building is unsafe for occupancy. That assertion incorrectly cites a consulting group’s finding, “which expressly disclaimed providing any such opinion,” according to Beatty.
The other document asserts the center faces dire financial straits. It specifically calls for Trump’s name to be placed in marble beneath the name of the center on the building’s exterior. It offers 10 options for a possible inscription, including “Renovation and endowment overseen by President Donald J. Trump and the Trump Kennedy Center Fund.” Another proposes: “With Gratitude for Support from President Donald J. Trump and the Trump Kennedy Center Fund.”
“The Board understands that without such appropriate recognition it is unlikely that President Trump will provide the fundamental oversight of the renovation of the main building and lead the fiscal rescue of the Center,” the board wrote in the proposed resolution.
Trump has spent much of his second term reshaping Washington, demolishing the East Wing of the White House to make way for a ballroom and planning a triumphal arch near Arlington National Cemetery as well as a renovated golf course along the Potomac River.
The Kennedy Center has been a stumbling block in that effort after a judge ruled in May that Trump’s name was added to the building illegally, ordering it to be removed.
Trump and his allies, however, have continued to fight the ruling.
The board voted last month to inscribe his name on the venue’s facade to read “The John F. Kennedy Center for the Performing Arts Restored and Renovated By President Donald J. Trump.”
If the Trump Kennedy Center Fund reached $100 million, another inscription would be added reading: “Endowed by the Trump Kennedy Center Fund.”
It’s never too late to go back to school. But after years of deferred admission, can a new generation of students at Hillman College score high at delivering a compelling, modern take on the groundbreaking sitcom “A Different World”?
The foundation for an updated version of the popular sitcom set at a historically Black college was set three decades ago. In the 1993 series finale, the show’s central couple — smart, bespeckled math whiz Dwayne Wayne (Kadeem Hardison) and high-maintenance Southern belle Whitley Gilbert-Wayne (Jasmine Guy) — were embarking on their next chapter as newlyweds, relocating to Japan and expecting their first child. Before their departure, a professor jokingly quips to Dwayne: “I can’t wait to have your child in my class in the year 2014.”
The only guide you need for fall entertainment.
But plans for a revival — the original series itself was a spinoff of “The Cosby Show,” centered on the Huxtables’ free-spirited daughter Denise (Lisa Bonet) — to suit that time frame were in limbo for years. Producer and director Debbie Allen, who joined the original series in its second season to help it better reflect the HBCU experience, actively pitched and tried to relaunch “A Different World” in the early 2010s, but those efforts were derailed by the highly publicized sexual assault allegations against the show’s creator, Bill Cosby.
“It’s very difficult,” Allen told The Times. “The biggest difficulty, just being totally transparent, was people’s hesitation to work with Mr. Cosby; to have anything to do with him. [But] we were so independent. He kind of put us on a boat and said, ‘Go.’ And that’s what we did. And he was happy to know that we were going on our way.”
In early 2023, another push began to revive the series while also distancing itself from Cosby. Now, its decades-long gap year finally complete, a new incarnation of “A Different World” is starting up classes this fall at Netflix. And it hopes to carry on the legacy of its predecessor, which was celebrated for its depiction of Black culture and life in a higher education setting during its six-season run on NBC, from 1987 to 1993, bringing HBCUs into the mainstream.
Rashida (Alijah Kai), left, Deborah (Maleah Joi Moon) and Hazel (Kennedi Reece) in Netflix’s “A Different World.” After years of trying to tell the story of a new class at fictional Hillman College, Debbie Allen, who returns as an executive producer and director, says the sequel arrives at the right moment: “If there’s any voice we need to hear from right now, it’s young people.”
(Daniel Delgado Jr. / Netflix)
Billed as a sequel series premiering Sept. 24, a Wayne offspring is our anchor for the freshman class at Hillman College, the show’s fictional historically Black college based in Virginia. Deborah Wayne (Maleah Joi Moon) is an aspiring artist forced to attend her parents’ alma mater on academic probation after her NYU acceptance is rescinded. As the youngest Wayne child, she continues the family’s legacy at the school: her older sister — the child Whitley was pregnant with at the end of the original series — and an older brother are both alums.
She’s joined by a mix of first-gen and legacy students: star quarterback Shaquille Johnson (Cornell Young IV), who is the only child of original character Ron Johnson (Darryl M. Bell); criminal justice major Rashida Duvall (Alijah Kai); psych major Amir Rodale (Jordan Aaron Hall); Ghanaian-Nigerian fashion merchandising student Kojo Achebe (Chibuikem Uche); and small-town pastor’s daughter Hazel Henry (Kennedi Reece).
Some of the show’s original creative team join Allen as executive producers, including Tom Werner, and original series writers Reggie Rock Bythewood and Gina Prince-Bythewood. (Mandy Summers of “That ’90s Show” is also an executive producer.) To shepherd this reimagined version of the sitcom, Allen enlisted her former “Grey’s Anatomy” colleague Felicia Pride, who was most recently part of the writing staff on “Bel-Air,” the dramatic reboot of ’90s comedy “The Fresh Prince of Bel-Air.” It was a dream call for Pride, who as a kid living in Baltimore recorded and rewatched episodes — namely, the one involving a step competition that she obsessively watched after school to learn the routine. But she was reluctant.
“I love the show so much,” Pride said, seated next to Allen inside a Netflix conference room in Los Angeles on a recent day. “I was like, ‘I don’t want to be the one to mess it up.’ But she [Debbie] was so adamant that the time was now to hear from young Black America — and that, I could get with.”
Allen remembers it this way: “I don’t have an ego. I begged her. It’s the truth. To get this show back up, we’ve tried for years. But this is the time that’s right … We had inspired all these kids, not just Black kids, all young people to go to college. This was a peep into college that had never happened before, where you saw young people being responsible and living their lives and being crazy, but still dealing with what is happening in this world. If the young people in the country don’t have a voice, that country is dead. And if there’s any voice we need to hear from right now, it’s young people.”
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1.The original “A Different World”: Dwayne (Kadeem Hardison), left, and Ron (Darryl M. Bell).2.Jaleesa (Dawnn Lewis), left, Freddie (Cree Summer) and Whitley (Jasmine Guy). With Netflix’s modern take, showrunner Felicia Pride wanted the series to be intergenerational: “That’s why I’m so glad that we were able to have the legacy cast in the show — I wanted it to have the heart.”(NBCUniversal via Getty Images)
The show has been credited with boosting enrollment at HBCUs. While overall HBCU enrollment rose by 26% between 1976 and 1994, according to the National Center for Education Statistics, much of that increase occurred during the stretch of the show’s run.
Pride said she rewatched the original series, paying particular attention to the shift that materialized in Season 2 when Allen was brought on to overhaul it, as a starting point. Allen had a document of ideas detailing the types of characters she wanted to see depicted, including a star athlete, the first out queer character in the show’s universe and an African student. One major detail was a nonnegotiable: Allen wanted the show to revolve around Dwayne and Whitley’s daughter. (How they arrived at the character’s name — Deborah (pronounced Deb-OR-ah), which also happens to be Allen’s first name — is fuzzy. Pride remembers the name already being set by Allen; Allen recalls being amused upon seeing it on the page, thinking Pride had chosen the name.)
And just as in college, legacy matters on TV.
“I wanted the show to feel of now,” Pride said. “I also wanted it to be intergenerational. That was important to me, and that’s why I’m so glad that we were able to have the legacy cast in the show — I wanted it to have the heart … These [characters] were like my friends. I felt comfort in them. I felt like I could be them. It was also culture in a way that I hadn’t seen before, represented by people who look like me.”
Several familiar faces from the original make their way into the sequel, some taking on the mentor role of the older characters from the original, others representing how one gives back to the community that shaped them. Hardison and Guy lead the cast from the original series who reprise their characters, along with Bell, Cree Summer as Freddie Brooks, Charnele Brown as Kimberly Reese Boyer, Ajai Sanders as Gina Deveaux, Karen Malina White as Charmaine Brown, Jada Pinkett Smith as Lena James, Jenifer Lewis as Dorothy Dandridge Davenport and Allen as Dr. Langhorne.
Several original “A Different World” cast members reprise their roles in the new version of the series, including Charnele Brown, left, Jasmine Guy, Kadeem Hardison, Darryl M. Bell and Cree Summer.
(Quantrell Colbert / Netflix)
“They were so happy to be back,” Allen said. “There was a day they were all together —”
“That was the day where I felt like, ‘Oh, this is history,’” Pride added.
“In between takes, it was just chaos,” Allen continued. “They just laughed and acted up. It was just wonderful.”
To make the new characters and their stories resonate in a deeper, more contemporary way required as large a commitment to reflecting HBCU life as the original had under Allen’s guidance. The creative team assembled two paid student councils from various HBCUs — one to advise the writers’ room on storylines and campus issues; the other worked on the show’s Atlanta set, with students hired as production assistants that had working schedules tailored to their classes. The background performers filling up scenes in the quads, classrooms and parties feature 59% HBCU students and grads. And some key characters are portrayed by HBCU alumni who bring their lived experience to the screen, including Reece, who went to Howard University.
The freshman season will explore issues that Gen Z is grappling with such as financial insecurity, learning struggles, activism in the age of social media and matters of mental health, as well as bigger systemic issues like uncertainty around funding for HBCUs and immigration enforcement. The series also doesn’t shy away from its real-world backdrop — while it doesn’t explicitly mention President Trump by name, there is reference to the state of affairs under his administration.
Actors Jordan Aaron Hall, left, Cornell Young IV, Chibuikem Uche and Dasan Frazier are part of the new class of students at Hillman College in “A Different World.”
(Eli Joshua Ade / Netflix)
But this version of “A Different World” departs from its source material in its narrative format and tone. The original series was a multi-camera sitcom taped in front of a studio audience — and Allen initially thought any sequel of it would follow that same blueprint. But when the new series found its home at Netflix, it became a 10-episode single-camera dramedy. (Allen directed three episodes in the season, including the premiere, which set the cinematic style of the series.) As if to signal this iteration hasn’t completely deviated from its roots, in the show’s opening moments, Deborah Wayne coolly flicks the iconic flip-up frames made famous by Hardison’s Dwayne. And its memorable theme song that had versions from Phoebe Snow, Aretha Franklin and Boyz II Men hasn’t gone anywhere: Brandy was tapped to give a fresh spin on it that helps straddle the line between generations.
Now, Allen and Pride are on the cusp of seeing how this long-gestating idea will fare in the streaming world.
“You play the cards you’re dealt,” Allen said. “It took a while, but it was right for it not to happen until now. Right now is when we need it. Young people are struggling to find hope and inspiration and guidance, connection …”
Allen’s hope is that the show will have enough seasons to let the characters evolve: “On Netflix, not too many shows go past three, maybe four [seasons],” Allen said. What’s the goal? “At least three.”
Pride isn’t thinking ahead to graduation just yet. She’s still thinking about surviving the first day of school with this different (but familiar) show made for a different world.
“I came to understand we can never re-create the original show, and … even trying to pursue that is just not the thing to do,” Pride said. “It was a different time. It was a different everything, and it should stand on its own. What I wanted to do, personally, was just [focus on]: How can we capture that spirit and hopefully have a show that young people today can see themselves in, and that people [who watched the original] can also enjoy and be proud of?”
