Netflix subscribers will wake up to a video livestream of “The Breakfast Club” starting next month, marking the platform’s first daily live podcast.
The deal is part of the streaming platform’s ongoing focus on live programming, and the latest video podcast offering through its partnership with iHeartRadio, the company said on Thursday. The nearly three-hour show will include a live video feed exclusive to Netflix and will air every weekday morning.
“Taking this show live every day to a global audience on Netflix is a powerful example of how we’re expanding the reach of our biggest brands while giving audiences entirely new ways to experience them,” Bob Pittman, iHeartMedia’s chairman and chief executive, said in a statement. “Whether it’s morning in NYC or the afternoon in London, the conversation is live and reaching the world in real time.”
“The Breakfast Club” will air simultaneously on Netflix, the iHeartRadio app and it will continue to be syndicated by Premiere Networks on more than 100 broadcast radio stations nationwide. Netflix’s video feed is meant to provide more behind-the-scenes content, as radio formats will still need to include commercial breaks. Instead of pausing the program, Netflix watchers will get an uninterrupted stream, where those traditional breaks will be filled with exclusive segments and extended discussions.
“The media landscape will always evolve, but one thing consistently cuts through: live programming,” Charlamagne tha God said in a statement. “That’s a big reason ‘The Breakfast Club’ has sustained its reign for so long. We’re building something powerful — real‑time conversation, real community, on a global scale. The future belongs to those who can see what’s possible — and trust me, the vision for ‘The Breakfast Club’ and Netflix is crystal clear.”
The radio program first got its start in 2010 on WWPR-FM in New York. Over the years, it has become one of the most popular morning shows, rooted in Hip-Hop and R&B culture and known for its lively interviews and entertaining commentary from hosts Charlamagne Tha God, DJ Envy and Jess Hilarious. The show has welcomed guests like former President Barack Obama, and artists like Kendrick Lamar and Cardi B. In 2020, the talk show was inducted into the Radio Hall of Fame.
The race is dominated by just-under-the-wire releases, with three of the seven projected nominees dropping this month (the end of the eligibility window is May 31).
Matt Roush says, “Star-powered late arrivals ‘Remarkably Bright Creatures’ (with Sally Field, Lewis Pullman and the voice of Alfred Molina — as an octopus!) and ‘Miss You, Love You’ (with Allison Janney and Andrew Rannells) suddenly make this category a bit more interesting than usual.”
Trey Mangum says of the runaway No. 1 pick, “Dropping just in time is Netflix’s ‘Remarkably Bright Creatures,’ anchored by Sally Field and an absolute shoo-in.”
While several panelists continue to plead ignorance as to what, exactly, makes a movie debuting on television a TV movie or not a TV movie, some find titles to champion.
“This category continually confounds me, but I have to admit I still love a good, weird, chaotic stoner comedy despite having aged out of that demo,” says a somewhat responsible-sounding Tracy Brown, definitely not typing her comment at a Taco Bell. “All that is to say, I was charmed by ‘Pizza Movie,’ my dark horse pick.”
“Expect to see ‘Deep Cover,’ ‘Miss You, Love You,’ ‘Remarkably Bright Creatures,’ ‘Straw’ and ‘Swiped’ in the running. And what qualifies as a TV movie in 2026, when TV and film mediums are beyond fluid? No idea. I’m just here to blurb.”
“Vince Vaughn’s lightweight culinary comedy, ‘Nonnas,’ managed to earn a nomination for Netflix in 2025. Does that mean voters will be twice as likely to put Hulu’s ‘Mike & Nick & Nick & Alice’ — in which the actor plays two versions of the titular Nick — on their ballot?”
Los Angeles Times
Tracy Brown
1. “Remarkably Bright Creatures” 2. “Miss You, Love You” 3. “Deep Cover” 4. “Jack Ryan Ghost War” 5. “Pizza Movie”
“This category continually confounds me, but I have to admit I still love a good, weird, chaotic stoner comedy despite having aged out of that demo. All that is to say, I was charmed by ‘Pizza Movie,’ my dark horse pick. ‘Remarkably Bright Creatures’ is the likely front–runner but I wouldn’t count ‘Deep Cover’ out.”
Blavity
Trey Mangum
1. “Heads of State” 2. “Deep Cover” 3. “Remarkably Bright Creatures” 4. “Swiped” 5. “People We Meet on Vacation”
“Dropping just in time is Netflix’s ‘Remarkably Bright Creatures,’ anchored by Sally Field and an absolute shoo-in. Then there’s last year’s ‘Deep Cover,’ which is buoyed by the likes of Orlando Bloom and Bryce Dallas Howard.”
TV Insider
Matt Roush
1. “Remarkably Bright Creatures” 2. “Miss You, Love You” 3. “Jack Ryan Ghost War” 4. “Deep Cover” 5. “The Best You Can”
“Star-powered late arrivals ‘Remarkably Bright Creatures’ (with Sally Field, Lewis Pullman and the voice of Alfred Molina — as an octopus!) and ‘Miss You, Love You’ (with Allison Janney and Andrew Rannells) suddenly make this category a bit more interesting than usual. A ‘Jack Ryan’ movie gets in by name recognition.”
Los Angeles Times
Glenn Whipp
1. “Remarkably Bright Creatures” 2. “Swiped” 3. “Deep Cover” 4. “Miss You, Love You” 5. “People We Meet on Vacation”
“Six years after ‘My Octopus Teacher,’ we find there’s still much to learn from eight-limbed marine mollusks in ‘Remarkably Bright Creatures.’ Shameless, yes, but also sweet.”
A year ago, David Ellison was viewed as a white knight poised to save Paramount.
Hollywood embraced billionaire Larry Ellison’s son, figuring he had the means and the mettle to revive the faded studio after decades of neglect.
But now, as the 43-year-old tech scion works to close his $111-billion deal to buy Warner Bros. Discovery — which would mark his second major studio acquisition in less than a year — a large swath of Hollywood has soured on the budding mogul and his audacious bid to build a new media colossus.
David Ellison has spent the last year courting the president and his allies, including hosting a black-tie gala to honor Trump and attending state dinners and the president’s State of the Union address.
Ellison’s perceived coziness with the administration, along with controversial changes at CBS, has sullied his reputation in a town where image is everything.
Should the merger clear its regulatory hurdles, the Ellison family would control CNN and CBS News in addition to holding a significant stake in TikTok, the hugely influential social media app.
“When power is concentrated in fewer and fewer hands, the stories that get told and the livelihoods of the people who tell them become hostage to whoever that power serves,” Jane Fonda, the Oscar-winning actor who is helping lead the opposition, told The Times. “We are not going quietly.”
Paramount declined to comment. Ellison previously has pushed back on fears that Paramount’s takeover of Warner Bros. would be bad for Hollywood. Instead, Ellison envisions building a stronger company to boost the industry, including movie theaters.
If the Warner Bros. Discovery deal is finalized, Ellison would control two legendary news organizations and two iconic studios. His determined White House outreach to speed approval of the Warner Bros. deal has aroused deep suspicion among many in Hollywood, which has long been considered a liberal bastion.
“They got too close to Trump,” said Norm Eisen, executive chairman of Democracy Defenders Fund, one of the groups coordinating the opposition campaign. “People in Hollywood are concerned that the Ellisons are going to do to CNN what they did to CBS.”
One of Ellison’s first moves after taking over Paramount was to hire journalist Bari Weiss, who had no TV news experience, as CBS News editor-in-chief. Weiss, who built her reputation being a contrarian voice, along with her recently installed evening news anchor Tony Dokoupil got off to a rocky start.
During his inaugural week, Dokoupil awkwardly saluted Secretary of State Marco Rubio (a fellow Floridian). “CBS Evening News” viewership fell 9% this season. The program, which attracts 4.1 million viewers, musters less than half the audience for ABC’s “World News Tonight with David Muir.”
Ellison is aiming to get his deal done by September.
“The projected merger timeline would have Ellison in control of CNN before November,” Fonda said, noting the high stakes this fall because the midterm elections will decide control of Congress.
“If this merger goes ahead, the administration will have yet another lever to cast doubt on results it does not like,” Fonda said. “This is about corruption, not optics.”
Her group has urged California Atty. Gen. Rob Bonta to file a lawsuit to try to block the merger. Bonta has said his team is reviewing potential antitrust concerns with the deal, which he said has “red flags everywhere.”
Some in Hollywood favor Ellison’s takeover, saying it would lift two middling players to create more robust competition to Netflix, Disney and Amazon.
“This deal will set up an environment where we will have four competitive streaming services, and that’s a good thing for the creative community,” said Ari Emanuel, executive chairman of WME Group and Ellison’s agent.
Ellison is pressing ahead, working to secure government approvals in Britain, Europe and the U.S. Prominent Democrats in Congress have decried the deal and Ellison’s proposed ownership structure, which would include the royal families of Saudi Arabia, Qatar and Abu Dhabi as significant, but passive, investors.
Paramount leaders have tried to keep their heads down by focusing on their businesses. This year, the company has signed deals with Kim Kardashian, Neil Patrick Harris, Tituss Burgess and Kinetic Content, the reality TV firm behind Netflix’s “Love Is Blind.”
Some filmmakers have privately discussed whether to steer clear of Paramount, according to people knowledgeable of the discussions who were not authorized to comment. Taylor Sheridan, the prolific producer behind “Yellowstone” and “Landman,” last fall opted to switch teams. He eventually will make new shows for NBCUniversal instead of Paramount.
Colbert learned he was getting the boot in July, two days after he called Paramount’s $16-million settlement with Trump “a big fat bribe” during a show monologue. Paramount had agreed to pay the money to end Trump’s lawsuit over edits to a “60 Minutes” interview, a payout blasted by 1st Amendment advocates who viewed the Trump suit as frivolous.
Paramount settled because it needed Federal Communications Commission approval as part of its sale to the Ellison-owned Skydance Media. Paramount’s CBS has blamed declining revenues for its decision to oust Colbert, which came just before Ellison officially took the keys to Paramount.
This week, for the first time in 18 years, CBS will fall short of claiming the largest live audience in broadcast TV. NBC snagged the ratings crown, thanks to its sports-heavy lineup, prompting NBC late-night comedian Seth Meyers to crow about his network’s victory.
“We have taken down CBS,” Meyers told advertising buyers last week in New York. “Well, the Ellisons did, but I like to think we helped.”
Ellison’s supporters view the anti-merger campaign as politically motivated.
“So much of the criticism and negative sentiment originates from [Ellison’s] apparent relationship with Trump,” said one observer who was not authorized to speak publicly about the topic.
But interviews with numerous industry insiders reveal that concerns over Paramount’s proposed purchase of Warner go well beyond anti-Trump sentiment — or worries about CNN’s future.
The merger comes during an existential crisis for the industry, and for Los Angeles, as the shift to streaming has upended established business models.
“Whether it’s Ellison, Amazon, Apple or Netflix, these are essentially tech companies that are gaining increasing control over what has been a cultural and entertainment sector,” said Dominic Asmall Willsdon, executive director of the International Documentary Assn.
Amazon founder Jeff Bezos and Apple’s outgoing Chief Executive Tim Cook also have openly embraced Trump, which some see as a pragmatic move to curry favor in Washington to advance their sprawling businesses, which include film and TV operations in Culver City.
Much of the angst over the Ellison deal is driven by economic uncertainty. L.A.’s film industry has been decimated by a flight of production to other locations.
“L.A. has already had a taste of things to come,” Eisen said. “There’s less competition so the artists get hurt, and so do the working people who have long been an integral part of Hollywood.”
A combined Warner-Paramount would instantly become the largest employer for union writers, said Michele Mulroney, president of the Writers Guild of America West. It would control HBO, CBS, CNN, Comedy Central, HGTV, Animal Planet and two of the largest film and television studios.
“This media behemoth would have enormous leverage to reduce content, raise prices, increase control of production, suppress our members’ compensation and silence the voices of our members,” Mulroney said.
Jessica J. González, the L.A.-based co-chief executive of the 1st Amendment group Free Press, said: “This isn’t just about David Ellison. It’s about what David Ellison did with his last merger and how he uses his power.”
Ellison’s wealth and privilege have also fueled resentment among the rank and file who are struggling amid America’s growing economic disparity. Said one veteran executive: “We’re living in a new gilded age.”
For many, the prospect of more job losses is most unsettling.
Ellison and his team have vowed to make $6 billion in cuts following the merger. Those cuts are expected to include sizable layoffs on top of nearly 2,000 in job cuts at Paramount since last fall.
Hollywood has a troubled track record with mergers, including two failed takeovers of Warner Bros.
AT&T misfired with its 2018 acquisition of Time Warner, and within four years, the phone company had unloaded the firm to David Zaslav’s smaller Discovery. That transaction saddled Warner with more than $50 billion in debt, and Zaslav and his team laid off thousands of workers and cut dozens of projects to dramatically reduce the company’s debt and keep the company solvent.
Walt Disney Co.’s $72-billion acquisition of much of Rupert Murdoch’s 21st Century Fox in 2019 led to thousands of layoffs as one of the industry’s original studios all but disappeared.
“We have seen from that merger the earnings and employment numbers for screenwriters significantly reduced,” Mulroney said.
Emanuel, the power agent, pointed to Ellison’s commitment to keep the Warner and Paramount studios largely intact, with each entity releasing about 15 films into theaters each year.
“He’s going to be making a minimum of 30 movies a year for theatrical release plus content for both their own and other platforms because that’s the only way to generate revenue,” Emanuel said.
Still, critics question whether Ellison will be able to keep his commitment due to the $79-billion debt load he will take on.
“I’m sure [Ellison’s] intentions are genuine,” Mulroney said. “But a promise like that’s not enforceable, and there are no consequences if you don’t meet the quota that you’ve set for yourself.”
On Wednesday, S&P Global Ratings agency said Paramount Skydance will remain on a negative credit watch due to balance sheet concerns.
S&P also cited worries about Ellison’s prospects “given the immensely complicated endeavor of combining two of the largest global media companies and the limited track record of PSKY’s management team in integrating and transforming such companies.”
Emanuel and others say Ellison’s image won’t suffer long-term damage.
The two sides, he predicts, will eventually work together.
“Here’s a guy who’s willing to put a lot of money on the line and take huge risks to make our environment more competitive,” Emanuel said. “The one thing about David is that he’s not a vindictive person. He always does what’s best for the project.”
Netflix is dropping a three-part docuseries that revisits Michael Jackson’s2005 trial in which he was acquitted on charges of child molestation.
“Michael Jackson: The Verdict” drops June 3 and features archival footage and interviews with key players involved in the trial including jurors, figures from both the defense and the prosecution, journalists who were inside the courtroom and other eyewitnesses who saw the events unfold firsthand.
“It has been 20 years since the trial of Michael Jackson in which he was found not guilty. Yet, to this day, controversy still rages,” the filmmakers said. “No cameras were allowed in court, and so the public’s view of the facts at the time were filtered by commentators and presented piecemeal. It was time to take a forensic look at the trial as a whole.
“Anyone interested in the Michael Jackson story should feel this documentary gives them a window into what was largely a closed event and a chance to feel closer to what happened.”
The Santa Barbara Superior Court trial lasted 14 weeks, and the jury, which included eight women and four men, deliberated for more than 30 hours across seven days.
Jackson was acquitted on 10 felony charges: four counts of child molestation, four counts of plying a minor with alcohol in order to molest him, one count of attempted child molestation and one count of conspiracy to hold the boy and his family captive at the Neverland Ranch. He faced more than 20 years in prison.
Produced by Candle True Stories, the production company behind Netflix’s “Untold: The Liver King,” and directed by Nick Green, “Michael Jackson: The Verdict,” comes at a time of renewed interest in the “King of Pop.”
The Jackson-estate-approved biopic “Michael” hit theaters last month, and depicts the origin story of the hitmaker from childhood through his upward trajectory to superstar status in the 1980s. Notably, the movie omitted the slew of allegations that followed Jackson from the ’90s until his death in 2009.
The Netflix show has found itself in the top 10 in multiple countries, bringing in over 13 million views this week
The Netflix show has smashed records last week as the most watched on the streaming platform(Image: NurPhoto via Getty Images)
A controversial Netflix show dubbed “super dark” continues to break records in over a dozen countries worldwide.
The Roast of Kevin Hart livestream was finally released on Netflix earlier this month (May 10), having been hosted by Shane Gillis during Netflix is a Joke Fest. Featuring savage punchlines from the likes of Dwayne Johnson, Pete Davidson and Katt Williams, the show continues to divide fans.
Running for just under three hours, a Netflix synopsis reads: “Kevin Hart is in the hot seat and ready for all the smoke as roastmaster Shane Gillis and a dais of A-listers unleash a raw and ruthless night of laughs.”
Despite its controversy, the show has found its way onto Netflix’s Top 10 list, breaking records to sit in top place in 15 countries this week. According to Netflix’s Tudum, from May 11 to May 17, The Roast of Kevin Hart sits in first place in the Top 10 Shows with 13.5 million views.
But views continue to be divided as one person wrote on Rotten Tomatoes: “It’s no different than any other roast.. it’s light but super dark gut wrenching comedy. It’s an enjoyable watch.”
Another said: “This is the edgiest, funniest roast I’ve seen. It was not afraid to push the boundaries of comedy, something we need more of. I applaud the boldness and vision. I’d love to see more like this.”
A third added: “Omg!!! This was a proper roast, crying laughing, whilst walking around the room saying No! No! No! He didnt just say that.”
However, some viewers were unimpressed as one person wrote: “Easily the worst roast ever done. I love Shane, but he was so bad and unfunny. The Rock was the only one that did okay, everyone else was pretty poor. Just awful.”
Another said: “The cringe was high with this one. The few funny moments still didn’t make the 3 hrs worth it.”
A third penned: “Total waste of time. 3-4 funny jokes in 3hrs. Skip!”
Over on Reddit, one viewer stated: “Overall I enjoyed lots of the jokes but many felt like they were simply seeking to push the discomfort to extremes for the sake of edginess rather than for the sake of smart humour. It felt desperate to shock.
“I understand roast culture but this event had an edge I haven’t seen before and there seemed to be an air of discomfort amongst some people.”
The Roast of Kevin Hart can be streamed on Netflix.
Vinnie Jones says one career moment is way above all others
Vinnie Jones looks back on career in new Netflix doc(Image: Courtesy of Netflix)
Vinnie Jones believes winning the FA Cup will be written on his gravestone. Footballer and actor Jones, 61, was part of the Wimbledon team that stunned Liverpool in 1987 with their victory at Wembley. A new Netflix documentary looks at his extraordinary career working as a hod carrier and playing semi-pro football to becoming a Premier League star and then a Hollywood actor.
Looking back, Vinnie said: “I think the biggest achievement is the FA Cup. The odds, you know? Leeds was magnificent, but we built a good team and that was “shit or bust”—we had to get up that season. But Jack and the Beanstalk was a great story of mine as a kid, and that’s what we did at Wimbledon when we beat Liverpool.
“I remember the first round being 1-0 down against Mansfield away. Fast forward a few months, and you’ve beaten one of the greatest teams in the last 50 years. 1-0 in front of a hundred thousand people. It was some achievement. It will probably be on my gravestone, I should think.”
Vinnie is still making movies and also now has his own reality TV show In The Country, detailing his life after taking on 2,000 acres of West Sussex countryside, but it hasn’t all been plain sailing. His wife Tanya died in 2019 with cancer, having beaten the disease several times in the past.
Asked if his attitude in life was all about proving people wrong, he said: “Not prove people wrong, but to keep trying to get to the summit. When you get to the ledge, there’s another ledge and another ledge. I don’t really know where the summit is, to be honest. So I’ll go to the next ledge and the next ledge. Hopefully one day I’ll get there and go, “There’s no more ledges.
“We’re happy in life right now. I’ve got a couple of great movies and TV shows. It’s been a long road; the last six years has been a long road for me. You can’t stay on the same ledge. You’ve got to look up.”
Vinnie admits in the doc he has a “big ego” but also that he had periods in his life when he struggled due to trouble he got into but also heavy drinking, with no one to talk to about his problems. He recalls how he considered suicide when he took a shotgun into the woods near his home and was struggling with his mental health.
He says in the film: “I was on the bed and I was just curled up like the baby position and I was like, enough. I can’t keep doing this to people, can’t do it to the family. So far, I thought I could go for a walk up the wood…. I took the gun, walked up the wood, and then all stupid things go through your head. And the easiest thing to do was just to stop it right there and then, that would be it.
“And then I sort of came round, like being knocked out I suppose like in boxing, when you come around and miss all the scream and the shouting and everything is slow motion and you’re kind of back, you go right f*** this.”
Later in the film he adds: “I’ve taken as many knocks as I’ve given, but I’ve grabbed every opportunity that’s come my way. Be someone, make your mark. I’ve made my mark.”
Asked what people should take away from his story in the documentary, Vinnie says: “I can remember back when I was cutting the grass at the Masonic School in Bushey, just looking up and thinking: give me one chance, one chance, wherever it is, third division, fourth division, please, I want to be a professional footballer. You’re saying that every day. And then all of a sudden, a bolt of lightning or a flash or a spark gives you that chance.
“Talk to the universe and be straight with the universe. Ask for what you want and don’t let it down when it gives you that chance. That’s what it is. There’s a reason why the chance to win the lottery is a billion to one. To build on your dreams is up to us. I think we’re the bricklayers and the carpenters of our own dreams.”
Asked about mistakes in his life, he said: “The biggest regret is not giving up drinking probably 20 years beforehand. I tried it but never stuck at it. I think I’d have achieved a lot more without the booze. When I first went to Wimbledon on that trial, I never had a drink for a year. I wanted to be the fittest I could be. And then I fell into the culture.”
He added: “I wasn’t a drinker or a smoker growing up; it was just football. It was all part of being part of the Crazy Gang. I think I’d have been a lot better player if I hadn’t drunk through my career. But when you’re a young lad from a building site and the next minute you’re playing in front of 50,000 people, you never think it’s going to end.
“Older people say, ‘I hope you’re putting money away because this won’t last forever,’ but they’re talking to a brick wall. You think it’s going to last forever.” Thankfully for Vinnie he found a new career and big paydays in films including Lock Stock and Two Smoking Barrels.
* Untold UK: Vinnie Jones is on Netflix from Tuesday May 26.
Last week, news organizations and Disney bloggers learned that the Mouse House had filed building permits with the city of Anaheim related to a parking structure at Disneyland Resort.
That immediately sparked rumors about a third park — a long-held dream of Walt Disney Co. fans who want to see more rides, themed areas and Mickey-related shopping destinations.
But that will remain a dream — at least for the foreseeable future.
Anaheim city officials confirmed as much in an internal email about one of the news articles, noting to City Council members and the mayor that the permits were, in fact, for minor parking lot improvements within the existing Toy Story parking structure off Harbor Boulevard.
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The email, which was reviewed by The Times, said the improvements were not related to an already-approved expansion of Disneyland Resort, or “what could ultimately be developed on the property in the future.”
A Disneyland spokesperson told me the permits are related to painting and striping at the Toy Story parking structure. So much for a third theme park.
It’s not the first time there’s been a hullabaloo about an additional park at Disneyland Resort.
In the early 1990s, there were serious talks about a Disneyland expansion called Westcot Center, a West Coast version of Walt Disney World’s Epcot in Florida. The plan at one point was to include three hotels, a public plaza and a number of retail, dining and entertainment options all around a central lake. At one point, both Anaheim and Long Beach were vying to be chosen as the site.
But that all collapsed in the mid-’90s amid financial concerns. Disney later built California Adventure, and briefly teased the idea of a third theme park complex with both a water park and amusement park that could complement the two-park resort. But that but never came to fruition.
The idea came up yet again about 10 years ago at an annual shareholders meeting in San Francisco, when former Chief Executive Bob Iger batted down speculation about a third park.
“We have plans at Disneyland for an expansion that we have not announced but those plans at the present do not include a third gate,” he said at the time.
More on that expansion later, but the truth is Disney simply doesn’t have enough land in Anaheim to build out a third theme park. I spoke with Len Testa, president of theme park travel site TouringPlans.com, who laid out the issues for me.
A third park would probably need a minimum of 80 to 120 acres of land to accommodate big new rides, as well as necessary behind-the-scenes facilities like employee break rooms and other back-of-the-house infrastructure.
“They’re landlocked,” he said. “And to acquire that land now in any way that would keep the campus centralized and avoid the logistics of a far-flung transportation network, that would be prohibitively expensive.”
That’s not to say that Disneyland Resort isn’t expanding on the land it does have.
Two years ago, Anaheim approved expansion plans for a project known as DisneylandForward, which will allow the company to build new attractions alongside shops, restaurants and hotels.
Development plans include a bigger Avengers campus with two new rides, as well as a “Coco” ride and “Avatar”-themed area in California Adventure, as well as a new parking structure.
Although it’s not a park, adding new lands and rides is “mission critical” for Disneyland Resort, Testa told me. After all, to drive attendance, you need to regularly open new attractions.
And these new rides can’t just be any old rides — they have to be “epic, mammoth blockbusters” that no one’s seen before, which takes time, space and money, he said.
Disneyland Paris is a good example. The European tourism resort saw a notable boost in attendance after it opened a World of “Frozen”-themed land in March.
“When you have that type of expansion and you can fill the park, you feel very, very good about that,” Disney Chief Financial Officer Hugh Johnston said last week at the MoffettNathanson media, internet and communications conference. “When we leverage our [intellectual property] and take that IP and build big new attractions, not little things … it’s these big new things that actually tend to just really bring in the consumers.”
That’s also key when you consider Disney’s growing competition from Universal Studios, which recently opened Epic Universe in Orlando and siphoned off some attendance from Walt Disney World.
And while the company’s TV and film business is vital, its theme parks still throw off most of the cash — new Disney CEO Josh D’Amaro recently called the parks the “physical centerpiece of the company.” And of course, they retain a deep link to Disney’s heritage.
As Walt himself noted, Disneyland is a “living” entity that would “never be finished.”
Stuff We Wrote
Film shoots
Number of the week
Lionsgate’s musical biopic “Michael” retook the top spot at the box office last weekend with a haul of $26.1 million in the U.S. and Canada.
The film, which chronicles the early career of singer Michael Jackson, has had remarkable staying power atop the charts since it debuted in late April. The film’s weekend revenue was down only 31% in North America compared with the previous weekend.
Overall, “Michael” has now made an estimated $703.9 million in worldwide box office revenue, with $421.1 million coming from international markets.
What I’m watching
Now that WNBA season is in full swing, I’ve been watching my L.A. Sparks and caught the game against the Toronto Tempo on Sunday. It was a rough game, but here’s hoping the Sparks can start turning things around, and quickly.
A brand new thriller series from the creator of one of the most successful crime drama franchises of the past decade has become a huge Netflix hit
Nemesis has reached the number two spot on Netflix UK’s TV chart(Image: NETFLIX)
Fans of the wildly popular Power series won’t want to miss this.
A new Netflix crime drama has shot to the number two position on the streamer’s chart of top 10 TV shows, despite some disappointing ratings.
The new series from Power creator Courtney A. Kemp and co-creator Tani Marole currently has a Rotten Tomatoes audience score of just 49 percent, though critics have been more generous and awarded it an impressive 90 percent rating.
Its eight-part first season follows two rivals from opposite sides of the law who are at each other’s throats when a daring heist in Los Angeles opens up old wounds.
Nemesis then follows an exhilarating game of cat-and-mouse as an LAPD cop desperately tries to hunt down a criminal mastermind behind a string of robberies.
Matthew Law (Abbott Elementary) portrays LAPD Robbery-Homicide Division Lieutenant Isaiah Stiles, while Y’lan Noel (Insecure) is career criminal Coltrane Wilder.
After being released on Netflix just a few days ago, on Thursday, 14th May, the series has very quickly proven popular amongst UK fans, beating out hit thriller Man on Fire and true crime documentaries such as Should I Marry a Murderer? in this week’s charts.
A synopsis for this must-watch series reads: “What starts as a subversion of the heist genre, amped by thrilling life-or-death stakes, family dynamics, and explosive action, becomes an exploration of what drives us, sustains us, and ultimately destroys us.”
Despite its less-than encouraging audience score on RT, a strong fanbase has already formed around the show and is especially recommended for fans of Kemp’s previous TV hit, Power and its various spin-offs.
One RT user gushed: “Kept me engaged and not sure whose side I was on. Binge watched twice. I need season 2.”
Someone else exclaimed: “Love it!!! Courtney does it again!!! can’t wait for season 2!!!”
“Binged in one sitting- very authentic catchy story line. I hope there is a season two!!! Excellent show,” another agreed.
Rave responses continued on IMDb, where one fan said: “Ugh…this was a masterpiece! The rollercoaster, amount of cliffhangers, and overall writing was top notch!
“I pray they have a season 2, because this gave me all the entertainment I needed for this year! I am looking forward to how they are going to make it through this.”
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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.
This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows.
This includes the brand new UK drama Unchosen, starring Asa Butterfield and Christopher Eccleston.
For the time being, Netflix has not confirmed whether or not Nemesis will return for a second season, but co-creator Marole revealed to Decider that he and Kemp “have an arc in mind” for a follow-up.
“We need the numbers to go up so we can get a renewal guy. So run it up, guys. Run it up,” he added.
“There are no episodes off. Every episode moves forward. This is not a second viewing situation. This is first screen viewing. Put your phone down. Eyes up. Enjoy. Surround systems up.”
Ronda Rousey returns to the ring on Saturday to face Gina Carano at the Intuit Dome in a card that its promoters hope will prove that mixed martial arts (MMA) can generate the same excitement as boxing without the UFC.
The five-round, 145-pound bout airing on Netflix (6 p.m. PDT) will be the first MMA event promoted by Most Valuable Promotions (MVP), the company co-founded by Jake Paul and Nakisa Bridarian. According to Bridarian, the card is the most expensive in MVP history, with each fighter receiving at least $40,000 — a sum greater than what UFC rookies receive.
“I would say this is the most expensive MMA card ever put together,” Bridarian said Wednesday. “We can only do this because we have a partner [Netflix] that allows us to pull it off, and they deserve it.”
Rousey (12-2), a Riverside native, is returning to competition after a nine-year hiatus, during which she starred in movies, wrestled in the WWE and became a mother of two. Her informal retirement came after consecutive losses to Holly Holm in 2015 and Amanda Nunes in 2016. For the Californian, this fight is the career finale she never had.
Gina Carano participates in an open workout Wednesday at Venice Beach ahead of her Netflix MMA bout with Ronda Rousey at Intuit Dome.
(Sarah Stier / Getty Images for Netflix)
“It’s incredible, because I feel like, no matter what happens, I’m completely at peace with it,” Rousey said. “Before, winning was the most important thing in the world. Now, what matters most to me are my kids and my family.”
Rousey hopes the event will draw more than nine million viewers, a threshold that would help convince Netflix and MVP to invest in MMA on a sustained basis. The MMA ratings record belongs to the fight between Junior dos Santos and Cain Velasquez at UFC on Fox 1 on Nov. 12, 2011, which peaked at 8.8 million viewers and averaged 5.7 million during its broadcast.
Netflix has already demonstrated an appetite for combat sports, posting impressive numbers: it drew a global audience of 33 million for Paul versus Anthony Joshua, 41.4 million for the Canelo Álvarez-Terence Crawford bout and 108 million for the Paul-Mike Tyson fight. However, promoters are aware that MMA operates in a different league and that on Saturday they will have the top ambassador of women’s MMA in action.
Ronda Rousey lunges forward and punches during an open workout at Venice Beach on Wednesday ahead of Netflix MMA bout against Gina Carano at Intuit Dome.
(Sarah Stier / Getty Images for Netflix)
“I just want to convince MVP and Netflix that there’s something here worth investing in and that they should keep backing MMA,” Rousey said.
Carano (7-1), 44, also has a historic track record, having been part of the first women’s MMA fight on live television in 2007 and headlining the first Showtime card featuring two women as main event fighters, facing Cris Cyborg in 2009. Although Carano is unlikely to pose a competitive challenge for Rousey, both women are approaching the event more as pioneers than as rivals.
On Wednesday, Rousey trained at Venice Beach in front of dozens of fans, the same beach where she began her career. She was accompanied by Pauline Macías, a Brazilian judoka, MMA fighter and close friend since the age of 11.
“It’s the ending she deserves,” Rousey said of her special training session ahead of what could potentially be her final fight as a fighter.
Beyond her fight, Rousey has her sights set on becoming a promoter to improve conditions for fighters outside the UFC.
“It’s about giving the power back to the fighters and reminding people that we are the essence of this sport, not a brand or a belt,” said the 39-year-old fighter.
The match has been criticized for taking place more than 10 years late, well past the fighters’ prime. Carano disagreed.
“I think this fight is coming at just the right time,” Carano said. “Two years ago, you would have seen a different version of me. Right now, I’m in such a strong place that, well, I’ve had to go through all of this to get here.”
The television industry has changed dramatically over the last decade, but one tradition that won’t die is the annual gathering of ad-buying execs in Manhattan to hear the pitches of networks and streamers looking to sell their commercial time.
This past week’s lavish presentations, known as the upfronts, included the usual array of big-name actors (Arnold Schwarzenegger and Jennifer Lopez), NFL legends (Tom Brady and Mike Tomlin) and “Real Housewives,” past and present.
Jennifer Lopez and Brett Goldstein speak onstage during the 2026 Netflix Upfront at Sunset Pier 94 Studios on May 13.
(Dimitrios Kambouris/Getty Images for Netflix)
The selling buzzwords are far different from the days when the presentations were a vehicle for networks to boast about their ratings and present new program line-ups. The 2026 upfronts talked a lot about “connections” and “community” as the personalized nature of TV viewing brought on by streaming video-on-demand has been fully integrated into the buying and selling of commercials.
“Three of us could be watching the same show, maybe at a different time, maybe at the same time, but receive very different advertising based on what ad technologies, know about us as an audience segment,” said Josh Mattison, executive vice president of digital revenue pricing, planning and operations for Walt Disney Co. “The old model would be, hey, did 10 million people watch this ad? I think the new model is, which 10 million people watch this ad.”
Here’s a sampling of what ad executives were seeing and hearing this week:
Using new ad tools that target viewers
Every company presentation touted advancements in the ability to target consumers now that advertising has become the main source of revenue growth in the streaming business. They also played up new services — such as NBC’s Performance Insights Hub — providing advertisers with up to date information on the effectiveness of their advertising so they can adjust accordingly.
Streamers can take the consumer research collected by advertisers and align them with the viewing habits of their subscribers. The data are analyzed in a secure room to protect consumer privacy.
Netflix doesn’t ask subscribers for personal information in the sign-up process, as it can discourage people from buying the service. But the company does use the viewer habits on the platform to help advertisers reach the customers they seek.
“We are seeing where there is overlap and use that to help our advertisers target better,” Amy Reinhard, president of advertising for Netflix, told The Times. “It’s all based on viewer preferences.”
Every company is turning to AI to respond to the needs of advertisers. NBC now offers them the chance to insert commercials that relate to the action seen on the screen during live sports events.
Creators are going mainstream
YouTube’s annual upfront gatherings used to have the feel of an alternative show business universe, with personalities who built their rabid followings on the streaming platform far away from the audiences for traditional TV.
Now creators such as the sports stunt group Dude Perfect have their own studios. Beast Industries, the corporate home of MrBeast, held its own invitation-only breakfast for marketing executives at a high-end New York venue . YouTube stars, such as Jesser, are landing shows on other platforms.
At YouTube’s presentation at Lincoln Center, longtime favorites such as “Call Her Daddy” podcast mogul Alex Cooper and “SubwayTakes” host Kareem Rhama appeared on stage to announce new projects on the platform, looking more like established show producers rather than social media renegades.
Ten years ago, YouTube advertisers had to worry about their spots running next to Islamic State videos. Now it’s become common for marketers to embrace YouTube stars and fully integrate products and messages into their programs.
“When creators talk about your products on YouTube, viewers are 13 times more likely to search for your brands and five times more likely to buy,” said Paul Downey, president of Americas & Global Partners for YouTube.
Mary Ellen Coe, chief business officer for YouTube, told The Times that advertisers can determine if a creator is right for their brand by looking at audience numbers, subscriber data and comments from their communities of fans. But many have their own personal focus groups at home that introduce the hottest YouTube personalities.
“Most of these advertisers have children and teenagers and they go nuts for them,” Coe said.
“My kids don’t watch TV — they watch YouTube,” said Anthony Pedalino, vice president and head of media investment at the ad buying firm Giant Spoon. “So I think this is a bit of future proofing.”
Other companies are seeking creators for their platform.
Amazon Prime Video introduced an alternative feed of some of its NBA games on its streaming platform Twitch, which will turn them into a “CreatorCast.” The streamers who are regulars on the site call the action live in an effort to bring in younger fans. The format will be used in WNBA games in the league’s new season.
Fox touted its creator initiative that develops programs for Tubi, the company’s fast-growing ad-supported streaming platform that now has 100 million active users. The company also has a partnership with TikTok to support creators who want to turn their short-form clips into full-length programs.
There’s always room for comfort food
Amid all the innovations in ad buying and audience measurement presented during the week, many of the programs and personalities offered up by the major networks and streamers were extremely familiar.
“They may be resigned to the fact that people are going to go to emerging platforms for more niche and esoteric programs,” Pedalino said.
Oprah Winfrey made an entrance on the Beacon Theatre stage to promote the move of her podcasts to Amazon Prime Video.
Disney rolled out the cast of “Scrubs” to announce another 10-episode order of the early 2000s sitcom for Hulu. The series had a successful reboot as Gen Z viewers continue to devour vintage programs. Amazon Prime announced “The Greatest,” a Michael B. Jordan-produced mini-series on legendary heavyweight fighter Muhammad Ali, not exactly uncharted territory.
Fox introduced a reboot of “Baywatch,” which was canceled after a single season on NBC in 1990, but went on to become a worldwide hit in syndication over the decade that followed. The slow-motion shots of toned lifeguard bodies running into Venice beach waters are coming back without a hint of irony.
Netflix brought out the set of “Pop Culture Jeopardy” at its presentation at Sunset Pier 94 Studios, NBC previewed comedies with proven prime time stars and touted its 100th anniversary which will be celebrated with an old-fashioned variety special later this year.
On a recent weekday morning inside a studio in the heart of Hollywood, Rachel Lindsay and Van Lathan, co-hosts of The Ringer’s “Higher Learning,” were getting ready to roll.
By the time the podcasters came into the Spotify Sycamore Studios for their show, which covers all things in Black culture and politics, the overhead lights were set, and the cameras were precisely angled. Decorative books were propped up between their seats and a big red “Higher Learning” logo stood behind them.
As soon as everyone silenced their phones, the hosts began to banter like two old friends. Lindsay complimented Lathan on his recent foray into stand-up comedy at the Netflix is Joke Fest at the Laugh Factory.
“I just have to say … basically a star is born,” said Lindsay, grinning. “I have to talk about it. Now I never doubted you.”
The pair helms one of the many shows on The Ringer podcast network, known for its roster of A-list celebrity hosts and sports and culture commentators that recently moved into Spotify’s newest podcasting studios.
The 11,000 square-foot space on Sycamore Avenue was designed as both a home base for The Ringer’s production and a video podcasting hub for select Spotify creators.
Since its opening earlier this year, the space has welcomed more than 25 podcasters and shows, on top of the dozens of shows that still record at Spotify’s Mateo studios in the Arts District.
The company estimates that over the last five years it has contributed more than $10 billion to the podcasting industry, including payouts to creators and investments in new content.
Podcasts are just one arm of Spotify’s business, as the audio giant has over 100 million songs and 700,000 audiobooks on its platform. But video podcasts have become an increasingly important way for the company to keep listeners tuned in — and paying for subscriptions amid growing competition from Apple Music and YouTube Music. Despite a surge in profits in the first quarter, Spotify’s share price has fallen 25% this year as investors worry about a slowdown in subscriber growth.
Van Lathan and Rachel Lindsay record their podcast, “Higher Learning with Van Lathan and Rachel Lindsay,” at Spotify’s Sycamore Studios in Hollywood on May 7. The podcast is distributed on Spotify through The Ringer.
(Allen J. Schaben/Los Angeles Times)
One of the main drivers behind opening the Sycamore studios was to create a central hub for The Ringer, a media company Spotify acquired for $250 million in 2020.
Geoff Chow, Spotify‘s head of podcast studios and The Ringer’s managing director, said the investment is already paying off “in terms of the productivity and the quality of the content we’re able to produce from here.”
The Ringer is one of the streamer’s most popular assets. Spotify includes nine Ringer shows in its list of the top U.S. podcasts.
“They’re pouring into this space and their creators,” Lathan said, before recording a new “Higher Learning” episode. “We really have the freedom to do so much.”
He and Lindsay said the studio has elevated their show by switching up their workflow and increasing in-person work.
Thanks in part to its centralized location, tucked between the offices of SiriusXM and music and sports entertainment company Roc Nation, they say guests are more eager to visit and record in person. Lathan joked that even while walking down the street, he’ll run into radio personalities like Sway Calloway, who hosts his own successful “Sway in the Morning” show on SiriusXM, and convince them to come up for a tour of the space.
Sycamore has already seen guest appearances from Snoop Dogg on “Game Over with Max Kellerman and Rich Paul,” Pennsylvania Gov. Josh Shapiro on “Higher Learning with Van Lathan and Rachel Lindsay” and “Project Hail Mary” author Andy Weir on “House of R.”
“This street is so cool,” Lindsay added. “It’s just a different energy here.”
The duo first started recording at Spotify’s Arts District campus, which is more focused on audio-driven programs. But as the podcasting landscape evolves and video becomes a more important element, “Higher Learning” is now able to maximize on the new studio’s video-first capabilities.
Chris Thomas, studio operator, works in the control room on the podcast, “Higher Learning with Van Lathan and Rachel Lindsay.”
(Allen J. Schaben/Los Angeles Times)
Spotify also employs a combination of full-time employees and freelancers that staff each show, including sound engineers, lighting specialists and set designers who help keep the place running.
The Ringer, founded by media mogul Bill Simmons, exists online as a website, a podcast network and video production house, anchored in sports, pop culture and politics coverage. Some of its most popular programs include “The Bill Simmons Podcast,” “The Rewatchables” and the inaugural Golden Globe winner “Good Hang with Amy Poehler.”
Many of the hosts overlap within The Ringer’s podcasting ecosystem. Just between Lathan and Lindsay, they host and appear as regular guests on as many as five shows, so they work from the studio three to five times a week. By being in close quarters together, a greater sense of collaboration has enveloped The Ringer’s team. Chow said there are some days when Simmons will walk onto four shows a day, just to share his thoughts on a topic.
“This is my dream of what The Ringer is. We’re all here talking, we’re all existing together,” Lathan said. “We’re all popping in and out of different rooms all the time.”
Exterior view of the building that houses Spotify’s new Sycamore Studios. The company takes up one floor of the facility.
(Allen J. Schaben/Los Angeles Times)
The Ringer was first founded in 2016. At the time, Simmons had recently been ousted from ESPN due to a strained relationship with higher-ups. Simmons had spearheaded the network’s Grantland sports blog, which focused on cultural commentary that is similar to what The Ringer does today. The Ringer soon established itself as one of the fastest-growing independent podcast networks.
The brand still keeps its roots in fandom — whether it’s through football or “Game of Thrones,” said Chow. So, to have a space that reflects the diversity of its programming often makes recording more fruitful, especially during key moments like the NFL draft or awards season.
As The Ringer continues to expand its roots in Hollywood, the network remains focused on maximizing its content.
In January, The Ringer started airing select podcasts on Netflix to reach a wider audience. Chow said the partnership is off to a promising start. Each of the five recording studios at the Sycamore site is fully equipped with live-streaming technology — making the weekly Netflix live shows possible.
“Podcasts have become like a cultural hub and curator of things that are happening in the world,” Chow said. “We always want to innovate and test. That’s something that was exciting to us to think about bringing our audience new content in different places.”
Netflix’s ‘micro-series’ has already creeped its way into the UK’s top 10
Hayley Anderson Screen Time TV Reporter
17:04, 14 May 2026
There are 20 mini episodes to stream(Image: NETFLIX)
Fans of a “saucy” drama can binge-watch this one in just an afternoon.
Binge-watching is how most TV fanatics view their favourite shows nowadays with Netflix dropping the perfect “micro-series” for its subscribers.
Mexican thriller Between Father and Son has arrived with the 20-part series focussed on well-respected lawyer Barbara (played by Pamela Almanza) whose life changes after “just a few suspenseful minutes”.
She visits the house of her fiance Alvaro (Erick Elias) before getting married but unexpectedly finds herself attracted to her future step-son Iker (Graco Sendel).
On top of the forbidden sexual tension, there’s also the mystery around what happened to Alvaro’s first wife and Iker’s mum Fernanda who went missing.
Between Father and Son is perfect for those wanting to quickly binge their way through a series.
Each of the 20 episodes have a running time of 10 minutes or less, with seven instalments just seven minutes long.
So Netflix subscribers could binge-watch the entire boxset of Between Father and Son in under four hours if watched back-to-back.
However, while fans have been “hooked” by the Mexican drama, some have complained of a technical issue.
From episode four onwards, fans are currently unable to hear the dialogue in Between Father and Son.
Taking to X, a viewer questioned: “Why’s there no sound?”, as another on Reddit stated: “It doesn’t have any dialogue audio after episode three.”
They went on to add: “I am already hooked though and patiently waiting for the issue to be fixed!”
But others have shared that their audio is working fine, including the English dubbed version of the series.
Between Father and Son is available to watch on Netflix.
Considering the amount of comedy that was dropped on L.A. last week for the third Netflix is a Joke Festival, the idea that anyone can see it all is laughable. Yet of course, like fools, once again we tried. Between big outdoor shows, theaters and intimate club gigs, the seven day smorgasboard of stand-up, improv, variety shows, marathons and more was a wild ride we won’t soon forget. Here is our list of the funniest shows we saw at Netflix is a Joke 2026.
Monday, May 4
Ron White, from left, Jim Jefferies, Sam Jay, Shane Gillis, James McCann and Dan Soder at the Hollywood Bowl.
(Adam Rose / Netflix)
Shane Gillis and Friends Hollywood Bowl As a sea of comedy fans filled up the Hollywood Bowl to kick off the first outdoor event at Netflix is a Joke, Shane Gillis brought the energy of a season-opening football game to L.A.’s biggest bandshell. Commanding a solid roster of veteran comics including James McCann, Sam Jay, Ron White, Dan Soder, and Jim Jeffries, Gillis took on the role of a grizzled and playfully perverse football coach hosting the night and telling funny stories about his days as a very average high school football player on crappy all-white teams before he blew up in comedy.
“Whoever the home team was in high school football you got to pick the intro song that you would run onto the field to to get hyped. So when me and the white guys were the home team, our music would be like ‘Cut my life into pieces…’ [singing Papa Roach’s “Last Resort”] something scary, something suicidal. That’s as intimidating as white dudes get…sad. Those are the most dangerous whites. If this game doesn’t go well I might shoot this whole thing up on Monday,” Gillis joked.
Fortunately it did go pretty well throughout the night as Gillis brought up each comic that used their different styles to score plenty of laughs throughout the night. (Nate Jackson)
Mike Ward Dynasty Typewriter
Comedy transcends lines and borders, so when we heard that comedian Mike Ward hopped his own border in Canada to be at Dynasty Typewriter, we were all in. Rachel Bonnetta opened the show with a mix of playful confidence and high-energy hilarity, perfectly warming up the crowd before introducing the main attraction to fans. Record breaker and a master of storytelling in French, he didn’t disappoint with his all-English crossover, covering everything from his legendary Supreme Court of Canada case to teenage lust, dating after marriage, attempting generosity, and “trunk love.” Ward mentioned jokes translating from French to English and how they’d hit, but he was definitely in his element, and it all translated to perfect laughs. (Ali Lerman)
Tuesday, May 5
Theo Von and Mike Tyson record a live podcast at the Wiltern.
(Matthew Salacuse/Netflix )
Theo Von: ‘This Past Weekend’ Live- Guest: Mike Tyson- The Wiltern
Stand-up might own the Netflix Is a Joke Festival, but the podcasts they delivered are absolutely worth talking about. For Theo Von’s first-ever live taping of his hit podcast “This Past Weekend,” he landed the ultimate guest: Iron Mike Tyson. The sold-out crowd at the Wiltern erupted the second Von hit the stage, but that was nothing compared to the deafening roar of screams and “We love you, Mike!” when Tyson walked out.
Tyson admitted he wasn’t familiar with Von, but thankfully stated he did indeed like him, because that would have really messed up the rest of the episode! The two share an inquisitive and child-like energy, turning heavy conversations about growing up broke, the solitude of incarceration, and desperate cries for attention, into something remarkably light. Tyson’s vulnerable side was also on display while speaking about his daughter dying tragically, God’s plan for him, and speaking about his mentor Cus D’Amato, which quite literally brought him to tears. Can a show be heartfelt and insane at the same time? Definitely interested to see how they edit a few things, but when this knockout episode comes out, you’re truly in for a beautiful treat packed with plenty of wild moments. (A.L.)
Seinfeld featuring Leanne Morgan The Greek Theatre
Blending the big-city humor with hilarious Southern comfort might sound like an odd pairing when talking about comedy, but something about the combo of Jerry Seinfeld and Leanne Morgan just works. Yes, we love a good rant about the terrors of technology from a comedy legend like Seinfeld, who got famous long before the advent of artificial intelligence and smartphones. But his crotchety comedy on a cold night at the Greek Theatre was complimented by Morgan’s ability to add warmth and sweetness to her smack talk about being a small town cheermom in the world of competitive cheerleading which she described as “the Olympics meets Honey Boo Boo.”
Most big comedy shows at the fest had a strict no cellphones policy, Seinfeld was content with just reminding us that our friends are all sick of our stupid cellphone videos. “They don’t care what you’re doing, your life, your experiences, any more than you care about what your friends are doing…everyone is sick of everything. That’s where we’re starting tonight.”
Both are recognized around the world for being on popular TV shows bearing their names. One star seemed genuinely enthralled that people recognized her and clapped when she came out, the other one seemed like he couldn’t get out of the show fast enough and get back to bed. But the mix of both energies of these authentic polar opposites worked well together to keep the crowd laughing. (N.J.)
Wednesday, May 6
David Spade, Dana Carvey and Chris Rock at the Orpheum Theatre.
(Kit Karzen / Netflix)
‘Fly on the Wall’ podcast with Dana Carvey, David Spade and Chris Rock The Orpheum Theatre
The best way to get amazing stories out of a famous comedian is to be one yourself. It’s the reason a podcast like “Fly on the Wall” with David Spade and Dana Carvey succeed at squeezing the best out of their guests who are often on somebody’s Mt. Rushmore of Comedy. For the festival, the two “Saturday Night Live” alumni brought out the big guns by inviting their buddy Chris Rock downtown — ”way downtown” by his estimation — at 6 p.m. last Wednesday to the Orpheum for a live taping of the podcast. The three stars began by diving ever-so-casually into stories about their interactions with Michael Jackson, Tupac, Kanye and Dave Chappelle. Rock also got to expound on the classic period where he released some of the best comedy specials ever made.
He talked about his groundbreaking hour “Bring the Pain” being the result of doing as many shows as possible to pay for a divorce and as a result, “I got way better” he told Carvey and Spade. “Then I went on a Rocky run where he was knocking motherf— out.” He took that momentum into his next classic special, 1999’s “Bigger & Blacker,” that helped reshape the face of stand-up. “There’s a time in your life when you’re just a vessel and I was in that point of my life,” Rock said. (N.J.)
Nate Jackson at Laugh Factory Hollywood
It’s a skill for a comedian to be able to sit in the pocket of a crowd’s energy and keep a room full of people laughing and on their toes at the same time. Try doing it for six shows back to back. While it’s not the most consecutive sold-out shows he’s ever done at a venue (last year he delivered nine in a row at Zanies in Nashville), Nate Jackson’s ability to leave a mark on the fest at his week-long residency at Laugh Factory Hollywood was akin to watching an executive chef doing a week of cooking in his restaurant. In Jackson’s case that meant delivering some third-degree burns in the front several rows of the crowd known as the “roast zone.” When it comes to killing his customers Jackson prefaces every show the same way. “Rule number one, if I look at you and you don’t want no smoke, look away,” he told the Laugh Factory crowd.
“That is the rule and the standard, I do not get people unless they lock eyes and give me consent. As a matter of fact, this is called the Roast Zone. If anybody is accidentally down there, it’s time to get the f— out. Because rule number two is, if I look at you and you look at me and I start and you don’t like what I decided to talk about, looking away will no longer save you.” To the people that got a little too charred during his show, don’t say he didn’t warn you. (N.J.)
Thursday, May 7
Noah Wyle and Jon Stewart at the Hollywood Bowl.
(Adam Rose / Netflix)
Night of Too Many Stars Hollywood Bowl
It was a starry, starry night at Thursday’s sold-out Hollywood Bowl Netflix is a Joke Presents: Night of Too Many Stars epic comic bonanza fundraiser benefitting autism programs nationwide, including Autism Speaks. Founded in New York by writer-producer Robert Smigel and his wife Michelle in 2003 following their son Daniel’s autism spectrum disorder diagnosis, the Los Angeles gala was hosted by longtime supporter Jon Stewart and featured a roster of top–tier stand-up talent including Niki Glaser, Ali Wong, Conan O’Brien, Tiffany Haddish, Sarah Silverman, John Mulaney and Adam Sandler, who closed the show with a trio of upbeat tunes. Cast members of reality shows such as “Love on the Spectrum” were also on deck to introduce comics, and auction items throughout the event raised crucially needed funds for individuals on the spectrum: a mock “physical examination” by Noah Wyle, star of HBO’s juggernaut medical series “The Pitt” fetched $18,000; a woman paid $50,000 to be animated into an episode of “The Simpsons.” One man stood up and donated $100,000 with no prize attached. The most special part of the night: I attended along with my son, 19, who is on the autism spectrum and laughed and smiled for three hours straight. (Malina Saval)
Wanda Sykes Dolby Theatre
Politics, family, inflation, racism, weight gain and greed were among the multiple topics lampooned by Wanda Sykes during a dynamic and often wickedly funny tour stop at the Dolby Theatre last Thursday. Despite the large venue and packed-in audience, Sykes created an intimate club vibe, walking onstage in a utilitarian jumpsuit and instantly bonding with the audience over just how weird things have become in present-day America.
She likened 2026 to the Upside Down in “Stranger Things,” but populated with pedophiles, grifters and racists instead of demogorgons. Turn it upside down “and a billionaire falls through the ceiling,” she said. Her impersonation of Trump dancing and chatting with Epstein in the now infamous video clip was pure brilliance. How a 5-foot-2 Black woman looked more Trump than Trump was a feat unto itself.
Sykes also bemoaned the greed behind things marketed as conveniences, like supermarket self-checkout (“We’re working for free!”), food delivery bots and airport wheelchairs that get passengers to their gate without attendants. “That was someone’s job!” she said. Then added, “What if walking fast and [pushing heavy things] was the only thing they were good at?” Opening for Sykes was her former sidekick on “The Wanda Sykes Show,” Keith Robinson. (Lorraine Ali)
“Kill Tony” Intuit Dome
The number one live podcast in the world, “Kill Tony,” returned to its roots in our beloved city on Thursday, and this time for the local masses at Intuit Dome. Co-hosted by Tony Hinchcliffe and Brian Redban, when there’s a show of this caliber during a festival, you just know the guests are going to be jaw droppers. Fighting the L.A. traffic to kick off the Dome show were Jelly Roll and Teddy Swims backed up by the Kill Tony Band, maybe? You know, it was hard to hear through all the women screaming. Kidding, we were all scream-singing, and it was such a fun way to start a show. Sitting on panel were beloved KT guests Harland Williams and Gabriel Iglesias, and the “legends bucket” made its way to its first arena in L.A., and the pulls were indeed clutch. Ron White, Joe DeRosa, and Tony’s number one favorite comic, Tony Hinchcliffe (played by Adam Ray), showed the crowd exactly what effortless and absolutely merciless veteran comedy looks like. Between bucket pull madness, a ton of Golden Ticket winners dazzled throughout, treating L.A. to a little slice of what we see in Austin on Mondays. (AL)
Friday, May 8
“Stamptown” at the Montalbán Theatre.
(Aaron Epstein / Netflix)
‘Stamptown’ Montalban Theater
Comedy variety show “Stamptown” begins with master of ceremonies Jack Tucker (the clown persona of Zach Zucker) descending from the ceiling covered in sweat as pyrotechnic flares explode on stage and electric guitars summon him before he falls flat on his face. But don’t worry, it only gets more insane from there. Part musical revue, part comedy showcase, and part circus — “Stamptown,” which filmed its shows for an upcoming Netflix special, is what happens when the lunatics get control of the asylum and decide to put on a Las Vegas show from hell. Tucker’s rapid-fire delivery is punctuated with sound effects, music cues, and the use of a variety of props dangling from his person at all times (including handcuffs, a wad of cash, and two guns). Featuring celebrity cameos, acrobatic stunts, full-frontal nudity, and the show’s stagecrew and audience members getting in on the chaos — “Stamptown” is a true homage to the theatrical possibilities of performance that toes the line ofwhat you think is possible to be done under the label “comedy show.” “Stamptown” at the Montalbán was filmed as part of a Netflix special that will air later this year, which any lover of brain rot and pageantry should be sure to check out. (Leila Jordan)
Dave Chappelle The Palladium We’re not allowed to say anything about went on at the Dave Chappelle three-show residency at the Palladium other than the fact that it was an evening of music and comedy. Per usual they locked up the crowd’s phones to see his show but fortunately there were plenty of actual cameras capturing what went on so hopefully you get to see what we saw very soon. (NJ)
Hasan Minhaj versus Ronnie Chieng Dolby Theatre Known for their spirited debates on “The Daily Show,” political satirists Hasan Minhaj and Ronny Chieng faced off in a comedy showdown where they challenged one another to prove who is better suited to fix a broken America, Asians (Chieng is from Malaysia) or Indians (Minhaj’s parents are from India)?
Never mind that Indians are South Asians, the two comedians got plenty of laughs backing up their absurd arguments with flow charts, graphs, curated news clips, a faux AI bot called “Niri,” and plenty of racist rhetoric. They broke down the debate into categories: Who’s better at academics? Business and the economy? Cuisine? Chieng argued that Asians are better at sports with a list of Olympic gold medal wins over the past three Summer Games. He won’t use all of Asia, he said, just China. Result? The country had over 100 gold medals. India had just one. Minhaj wondered aloud: For people who love gold so much, why is it so hard for us to win one?
Their choreographed debate exploited and skewered stereotypes via expert timing and pointed wit, hitting home with the predominantly Asian and South Asian audience. (L.A.)
Saturday, May 9
Atsuko Okatsuka with Margaret Cho and Trevor Noah at the Orpheum.
(Andrew Max Levy / Netflix)
Atsuko Okatsuka The Orpheum Theatre
An Atsuko Okatsuka show is typically full of surprises as a result of her offbeat humor and twerk-master physicality. Her show at the Orpheum is the result of a brand-new hour she’s been performing on her Big Bowl Tour and includes plenty of jokes about dinosaurs and love of Jamaican dancehall choreography. But before she even took the stage with new material, fans got gleefully blindsided by the appearance of two comedy titans, Margaret Cho and Trevor Noah, who came out to deliver punchy opening sets that got loads of laughter to set the tone for Okatsuka’s evening of examining reality through her absurdist lens as an artistic performer who often feels like she’s from another planet. At the end of the show she announced that after releasing her first two specials on HBO (“The Intruder” in 2022) and Hulu (“Father,” which came out in 2025) her next special will be released (surprise!) on Netflix in 2027. (N.J.)
‘My Crazy Ex-Girlfriend’ Reunion
“Crazy Ex-Girlfriend” premiered on the CW Network in 2015 and managed to tell a complete four season story about mental illness in a musical comedy series that featured parody songs on everything from “Cats” to modern pop music to Jewish folk songs. Seven years after it ended, the cast and creatives behind the show reunited to perform a stripped-down selection of the series’ beloved songs. But this concert is not meant to serve as an introduction for those unfamiliar with the original show. The reunion performance is a tribute both to the miraculous existence of “Crazy Ex-Girlfriend” and to the devoted fans who still know all the words to songs like “Let’s Generalize About Men” and “Don’t Be a Lawyer.” (L.J.)
James McCann Hollywood Improv (Main Room)
Australian-born comedian James McCann topped the bill Saturday night at the Hollywood Improv, and the eclectic crowd packed the place ready to celebrate his arrival in L.A. Host Benton Harshaw and openers Ruby Setnik and Sam Campbell absolutely connected and killed. And if my word count were double, they’d get individual praise for setting the room up perfectly. High energy was the vibe when McCann got on stage to wild roars from the 9:30pm early show crowd and his energy match, noting he was excited to be at the historic club himself. Mullet looking flawless, poems in tow, and dark humor dialed to an 11, he questioned L.A.’s homeless crisis, may have questioned the audience a bit too much, and tore through his thoughts on a census overhaul, the insanity of the TV show “Survivor” (yes, it’s still on), the glory days of drinking, and having visions of finally being successful enough to hire his dream team. (A.L.)
Tom Segura, left, and Bert Kreischer speak during the Two Bears 5k event at the Rose Bowl.
(Jerod Harris / Getty Images for Netflix)
2 Bears 5K Rose Bowl
Can’t. Type. Too. Sore. And that’s not even from the run-walking, it’s from the afterparty inside Rose Bowl Stadium in Pasadena. Whether you kicked off this magical day of athleticism in downward dog with Ari Shaffir, or if you went straight for the starting line with Bert Kreischer, Tom Segura, and a svelte-looking Jelly Roll (bravo!), there was stretching, pacing, sweating and rejoicing to be had. The hang was so casual it allowed participants to rub elbows with a surplus of comics on hand like H. Foley, Kevin Ryan, Steph Tolev, Jefferson McDonald, Joe DeRosa, Jessimae Peluso, Greg Fitzsimmons, Daphnique Springs, Brittany Ross, Ian Fidance, Kim Congdon, and Dave Williamson. The finish line led runners directly into the Rose Bowl where there was plenty of Por Osos flowing, snacks, interactive games and recovery stations, and a live taping of 2 Bears 1 Cave with our favorite boys and celeb participants.
Sunday, May 10
Marcello Hernandez performed with Feid at the Hollywood Bowl on Sunday.
(Koury Angelo / Netflix)
Marcello Hernandez and Feid Hollywood Bowl
On “Saturday Night Live,” he plays a Latin Lover named Domingo. But at the Hollywood Bowl on Mother’s Day Sunday, headliner Marcello Hernández riffed on his real life as a mama’s boy growing up in Miami — expanding on material from his 2026 Netflix special, “American Boy” — and duly invited out his mom, Isabel, who was met with a standing ovation. “God gave me a mother who worked her entire life for me,” said Hernández, who eased on his elastic goofball schtick to exalt immigrant mothers. “Today, I give thanks to her — and to all the mothers who are here, as well as those you left back home.”
Attended by nearly 17,000 people, the Bowl’s biggest Spanish-language comedy event also featured a special (and sensual) musical performance by Colombian reggaeton heartthrob Feid, as well as Mexican comedian Sofia Niño de Rivera, who opened the show with her own riotous act. At some point she asked the audience if beating piñatas had been canceled by the woke mob; you’ll just have to trust me when I say it’s even funnier in Spanish. (Suzy Exposito)
Roast of Kevin Hart Kia Forum Los Angeles showed up to the Forum in Inglewood for the roast of Kevin Hart, the comedian we love to hate but also love to laugh with. It was a brutal takedown of Hart that could only be accomplished by the utmost respect and love from his peers. A surprise appearance by his longtime rival Katt Williams brought the entire house to their feet. Sheryl Underwood expertly executed the punchlines and made the culture the star of her set. Chelsea Handler could have been the star of her own show. The Rock’s WWE entrance brought the heat of the pyrotechnics to the stage with his explicit propositioning of Hart’s wife, Eniko, and an attempt to breastfeed Hart. Some controversial jokes by lesser, edgy comedians fell flat but Jeff Ross, the master of roasts, held the tempo together and kept the roast moving forward. There was something for everyone in this, as Hart, the hardest working person in comedy, has become famous for. (Janelle Webster)
Flight of the Conchords The Greek Theatre
Experiencing Flight of the Conchords at the Greek is something many fans of their lusty, yet-bone-dry musical comedy haven’t gotten to experience in a while. It’s been eight years since Jemaine Clement and Bret McKenzie have put us on “Business Time” with their stripped down odes to sexy R&B mixed with a hint of yacht rock, hip-hop power pop and whatever else they decided to throw together from their bag of classic jams that earned them fans in the early aughts. Following a killer opening set from comedian Arj Barker, Flight of the Conchords took the stage looking a bit more like silver foxes than young birds, which made the timeless chuckle-inducing tunes like “Robots,” “The Most Beautiful Girl (In the Room),” “Hurt Feelings” and “Business Time” land with even more impact as the crowd enjoyed some long-awaited nostalgia. Did they forget a few lyrics? Miss some solos? Mess up entire songs? Sure! But with a dose of Kiwi banter and the ability to laugh at themselves, the mistakes only made the show funnier and a reminder of why we’ve missed them. (N.J.)
Netflix picked up the rights to three more NFL contests amid government scrutiny over the migration of games from free TV to streaming.
The NFL’s first-ever regular season game in Melbourne, featuring the Los Angeles Rams and the San Francisco 49ers, will stream Sept. 10 on Netflix, the company announced Wednesday at its upfront presentation in New York. Netflix will present another NFL game first on Nov. 25 with a Thanksgiving eve game between the Rams and the Green Bay Packers at SoFi Stadium.
The streamer is also picking up a Saturday game in the final week of the regular season. With the Christmas double header Netflix has carried since 2024, the additions bring the total to five games next season.
The five games were a part of ESPN’s NFL package. ESPN relinquished the rights after the league took a 10% stake in the Walt Disney Co.-owned entity.
It was widely believed throughout the sports media business that all five games would go to streamers, split between Netflix and YouTube. But the other two will go to Fox, an international game that will air in the morning in the U.S., and NBC.
The two additional games are going to its traditional TV partners after politicians in Washington, including President Trump, raised concerns about the number of NFL contests that are moving off broadcast and behind streaming paywalls.
The Wall Street Journal reported last week that Fox Corp. Chairman Emeritus Rupert Murdoch visited Trump at the White House in February to warn how traditional TV networks could be priced out of the NFL due to competition from deep-pocketed streamers.
The Department of Justice has also inquired about whether the NFL is violating the antitrust status given to leagues when their teams collectively negotiate TV rights deals.
An NFL executive familiar with the deal who was not authorized to comment publicly said the added broadcast games are not related to the issues raised in Washington. “We always are looking for ways to increase reach at the benefit of our fans,” the executive said.
In recent years, the NFL has carved out a number of games from the broadcast packages to sell to Netflix and YouTube. Those games primarily come out of the regional Sunday afternoon games carried on Fox and CBS.
But the NFL makes the case that it offers 87% of its games on free over-the-air television than any other major sport. Games sold to streamers are still made available on the local TV stations in the local markets of the teams that are featured.
Questioned about his father’s meeting at the White House, Fox Corp. Executive Chairman Lachlan Murdoch told Wall Street analysts on Monday there is no tension between the league and his company, which has carried the NFL since 1994.
Murdoch also said there have been no new negotiations with the NFL, which has expressed a desire to redo its current media rights package that runs through the 2032-33 season but has an opt-out in 2030. Murdoch has previously said the company is paying fair market value in its current deal.
In addition to the international game in Week 10, Fox is getting an extra Saturday game in Week 15.
The NFL believes its product is undervalued in light of the massive $76-billion, 11-year contract the NBA entered with NBC, Amazon and ESPN last year. The NFL is in the middle of an 11-year deal that pays the league $110 billion for games that provide much higher ratings.
The league has also said the move to streaming in recent years — which includes putting the Thursday Night Football package on Amazon Prime Video — is necessary to reach younger viewers who are not watching traditional TV. The Thursday games are made available on free TV in the local markets of the teams featured.
The NFL does have the right to renegotiate with CBS before that opt-out due to the network’s transfer of ownership. CBS parent Paramount was acquired by Skydance Media last year.
The NFL and CBS are not close on the new deal. The league is looking to increase the network’s fee from $2.1 billion a year to $3 billion, according to people familiar with the discussions who were not authorized to comment.
The NFL is currently a break-even proposition for CBS at the current price.
But the NFL is at a significant advantage as the broadcast networks and their affiliated stations are dependent on the league, which provides a vast majority of the highest-rated programming on TV. NFL games give major leverage to TV station groups when they are negotiating new carriage deals from cable and satellite providers.
KYLIE MINOGUE and Jason Donovan’s romance defined a generation, and the couple broke hearts around the world when they split in 1989.
Now fans are set for a nostalgia overload as private footage of their time together has been unearthed.
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Kylie Minogue and Jason Donovan’s romance defined a generation, and the couple broke hearts around the world when they split in 1989Credit: NetflixIt will be shown in Kylie’s new three-part Netflix series, which is set to be released on May 20Credit: Getty
It will be shown in Kylie’s new three-part Netflix series, which is set to be released on May 20.
The self-shot footage includes videos of the couple on holiday together before Kylie made it big as a pop star.
When Kevin Hart announced in January that he’d licensed his name to Authentic Brands Group, the popular comedian was silent on a key detail: the future of his namesake media company.
Hart sold some ownership and oversight of his brand in exchange for an undisclosed sum of money and a stake in Authentic, a New York-based firm that manages the likenesses of Marilyn Monroe, Muhammad Ali, Shaquille O’Neal and David Beckham.
Hart used the partnership with Authentic to reset his relationship with the people around him and his company, according to six current and former employees. Hart’s employees say they worry that this deal marks the beginning of the end of Hartbeat, the comedian’s namesake media company that produces films, owns a network of short-form video channels and handles marketing for brands.
Though the announcement made no mention of Hartbeat, the agreement gave Hart money to buy out his private equity partner in the company over time and regain control of the use of his name, image and likeness. Hart’s endorsement deals, which had been a pillar of Hartbeat business, will now be handled by Authentic.
Once valued at about $650 million, Hartbeat has shriveled over the past few years. The company enacted its latest round of job cuts in December, firing the heads of its scripted TV division, as well as employees working across marketing, social media and brand partnerships, said the people. Earlier this year it let go the leaders of its podcast division and later sued them for breach of contract.
Hart has withdrawn from the company, leaving day-to-day management in the hands of a small group of executives. Staff meetings have been canceled. The development of new film and TV projects has slowed. A slate of new podcasts was pitched but never produced.
Hartbeat’s struggles reflected the challenging environment for many Hollywood production companies as media giants merge and cut spending. The company is also a cautionary tale in this age of the celebrity media mogul. Financial firms have plowed money into media companies led by high-profile figures, believing they could use their notoriety to build valuable businesses. Yet even seemingly successful ones have had a hard time.
Hartbeat, like many of its peers, has suffered from mismanagement and grappled with the tension between the needs of the star and his company. Hart, one of the hardest-working people in Hollywood, tired of subsidizing a company that relied so much on him
Hart declined to comment for this story, which is based on conversations with several current and former employees. On Sunday night, Hart, who hosted the widely viewed roast of NFL great Tom Brady two years ago, was the subject of his own roast on Netflix.
Building a Billion-Dollar Business
One of the most successful stand-up comedians and actors of his generation, Hart, 46, has always been entrepreneurial. In 2017, he started Laugh Out Loud, an online video comedy business that later grew to include branded entertainment. He also operated his own production company, Hartbeat Productions, that made programs for streaming services like Peacock, Quibi and Netflix Inc.
With Hollywood in the midst of a production boom, Hart watched his fellow celebrities get rich from their media enterprises. Reese Witherspoon sold her media company, Hello Sunshine, in a deal that valued it at as much as $900 million. Hart’s friend LeBron James raised money for his company, SpringHill, at a valuation of $725 million. Hart believed he could be next.
In late 2022, Hart merged his business interests under the Hartbeat banner and raised money by selling a 15% stake to the private equity firm Abry Partners. The deal valued the company at about $650 million.
The new business was predicated on three pillars: film and TV, short-form video and advertising. Hartbeat had a deal to produce movies for Netflix, a slate of podcasts for SiriusXM Holdings Inc. and original audio series for Audible. Hartbeat also developed relationships with advertisers such as Lyft Inc., Procter & Gamble Co. and DraftKings Inc.
While Hart would star in Hartbeat projects, the goal of the company was to develop projects and new business that didn’t involve its namesake founder. The company could leverage Hart to sell projects and secure broad programming partnerships. Hart would ask that Hartbeat be involved in producing his movies and any advertising campaign for which he was a spokesperson. His fees as a producer and brand ambassador would help pay the bills. The hope was he’d convince other celebrities to use Hartbeat as well. Thai Randolph, who had been running Laugh Out Loud, was named chief executive officer.
Hartbeat opened offices in New York and Atlanta and took over a 40,000-square-foot West Hollywood office once occupied by Oprah Winfrey. Hart redesigned the space and installed a world-class art collection.
The upper-level lobby featured a work by Ghanaian artist Serge Attukwei Clottey, while the conference room had a sculpture by Zimbabwean artist Moffat Takadiwa made of computer keyboard keys. A portrait of Kobe Bryant by Julian Pace hung outside a podcast studio.
Hart’s own office featured a dressing room, a series of paintings by South African artist Feni Chulumanco, multiple TVs and a desk from a prominent French designer. “He really has almost a full-service apartment in his suite,” Kai Williamson, who worked with Hart on the project, told Architectural Digest. Hart was interviewed for a story and also filmed an episode of the design magazine’s “Open Door” video series.
While Hartbeat expanded, Hollywood entered a recession. Economic uncertainty, rising interest rates and growing skepticism about the profitability of streaming caused major media companies to fire staff and pull back on buying new projects. Hartbeat was a little more insulated than most because talent like Hart could usually still get a project made. Still, producing projects without Hart in a starring role became more difficult.
Randolph left the company in late 2023 and was replaced by Jay Levine, who had spent much of his career at Warner Bros. Discovery Inc. Levine brought in a couple of other senior leaders with experience at major media companies.
A contingent of executives pushed Hart to scale back some ambitions, the people said. The company couldn’t afford to be working in so many different businesses at the same time, especially as areas like free, advertising-supported online video, and podcasts got more competitive. Hart was one of the most prolific and productive creative people in the world, starring in and producing movies, TV shows, comedy, short-form videos and advertisements. The point of the company was to relieve the stress on him, not add to it.
While Hartbeat closed its New York office, Hart was reluctant to scale back his vision or replace some long-time lieutenants. Levine negotiated his exit at the end of 2024 and was followed out the door by the company’s chief financial officer and chief content officer. Days before Thanksgiving, Hartbeat laid off about 20 people, nearly one quarter of its work force.
A year of chaos and conflict
In January 2025, Hart announced he would be the new CEO of Hartbeat and pledged to outline the firm’s strategy in the coming weeks. Instead, Hart went weeks and sometimes months without visiting the office, the people said, and empowered Jeff Clanagan and CFO Eric Stoneburner to run the company day to day. (Hart was on set to shoot at least a couple movies last year, in addition to his other work.)
A former concert promoter and movie producer, Clanagan had helped make Hart a major star. He had partnered with Hart to bring his stand-up specials to the big screen, producing shows such as 2013’s Kevin Hart: Let Me Explain, which grossed $32 million at the box office. Clanagan produced some of these specials under the banner of his own company, Codeblack Films, which helps promote, market and distribute video from Black creators.
Clanagan continued to operate Codeblack while serving in a senior capacity at Hartbeat, said the people. He pushed employees at Hartbeat to post its videos to the Codeblack channels as well, saying they could use the additional reach to raise awareness. The videos generated advertising sales for Codeblack.
Clanagan had employees at Hartbeat oversee Codeblack’s social media pages and asked to get those channels loaded into Hartbeat’s content management system. That gave Codeblack’s YouTube channels advantages over others because of Hart’s prominence and his company’s designation with YouTube. Employees raised concerns with human resources and the company’s lawyer.
Clanagan also became increasingly interested in video generated by artificial intelligence. He started a new app called Blktopia, a streaming service for Black viewers programmed with content from online creators and often made by AI. He urged employees to work on it, the people said. Clanagan initially responded to a request for comment and then retracted the text message.
Meanwhile, many of Hartbeat’s main businesses languished. Sales from the company’s YouTube channels fell and investment in new film and TV projects slowed. Hartbeat, once profitable, started to bleed cash. Hartbeat had hired Eric Eddings and Lesley Gwam to produce audio shows that didn’t involve Hart. While the pair developed a slate of projects, they never got approval to make them.
In mid-December, Hartbeat fired about a dozen employees, including some of those who were supposed to develop the podcasts. Eddings and Gwam then decided to start their own company and began trying to raise money. When Clanagan found out, Hartbeat fired them and sued for alleged theft of trade secrets and breach of contract.
A court approved a temporary restraining order but then rejected a preliminary injunction, saying Hartbeat had not demonstrated Eddings and Gwam had used proprietary information or trade secrets. The court said the request was “vague, ambiguous, and overly broad.” The case is ongoing.
Hartbeat also fired the heads of its TV division, Tiffany Brown and Mike Stein, who were in the middle of producing a TV show based on the film Barbershop for Amazon.com Inc. and a second season of the animated series Lil Kev.
The company made no official announcement explaining the cuts. The following week, senior leadership arranged a Zoom meeting. Hart remained off camera until it was his time to speak. He talked for a few minutes about changes at the company and took no questions. Hart changed his phone number in the weeks following the layoffs. (Some of his advisors had suggested he do this years earlier so that he wasn’t so available.)
A few weeks later, Hart announced the deal with Authentic Brands Group. Hart used some of the proceeds to buy out Abry Partners, freeing him to steer his brand deals to Authentic and outside of Hartbeat. A few of his employees and his publicist joined him at Authentic.
“This is a turning point for Hartbeat,” the company wrote in a subsequent email to employees, explaining that the deal would free Hart up to focus on what he does best, while allowing Hartbeat to stand on its own and grow beyond him.
“I know the past few months have been tough,” Hart wrote, adding that for too long the company had been too dependent on him. The email was said to be from “Kevin AKA Boss Man.” It was sent by Hart’s assistant.
Netflix has added one of the biggest British crime dramas of the 21st Century that Dr Foster fans shouldn’t miss
Suranne Jones as Dr Gemma Foster in the hit BBC thriller(Image: BBC)
Netflix has finally added the fourth and final season of hit BBC thriller Killing Eve and subscribers will be ecstatic.
The wildly popular crime drama starring Sandra Oh and Jodie Comer first premiered in 2018 and became an instant success thanks to its sharp writing and addictive narrative.
It follows Grey’s Anatomy star Oh as Eve Polastri, an MI5 analyst who is tasked with surveying and capturing an unhinged assassin known as Villanelle (played by Comer).
Over the course of their electrifying cat-and-mouse chase across the globe, the hunter and the hunted develop an obsession with each other, leading to disastrous consequences.
Also starring a roster of top British and Irish screen talent, including Fiona Shaw (Andor), Edward Bluemel (Sex Education), and Gemma Whelan (Game of Thrones), as well as Danish star Kim Bodnia (F1) as Villanelle’s Russian handler Konstantin, Killing Eve is considered one of the best British shows of the 21st Century so far.
Fans of the equally beloved psychological thriller Dr Foster, starring Suranne Jones, are urged to check out the series if they haven’t already.
While both shows deal with similar themes of obsession and scandal, Dr Foster also stars Comer as Kate Parks, the young university student whom Jones’s Dr Gemma Foster suspects of having an affair with her husband, Simon (Bertie Carvel).
Killing Eve has already amassed a gigantic following over the years, so make sure you take the opportunity to catch up on the show’s gripping finale. Furthermore, Dr Foster was recently confirmed to be returning for a long-awaited third season, making this the perfect time to dive in to another thriller while fans await its return.
One Rotten Tomatoes user raved: “Totally addictive. It looks like a story line about cat and mouse. But it’s much more than that.”
Someone else exclaimed: “Chefs kiss! This show is spectacular and I still rewatch it all the time! I even showed it to my cat so she knows what good tv looks like.”
“Loved this entire series,” another said, before lamenting: “Really wish it was renewed for a 5th season.”
Watch Unchosen on Sky for free
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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.
This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows.
This includes the brand new UK drama Unchosen, starring Asa Butterfield and Christopher Eccleston.
The enthusiastic reviews continue on IMDb, where one viewer says in a 10/10 write-up: “This show had me hooked after two minutes. What sounds like a typical agent hunting serial killer, surprises with great characters, surprising turning points and amazing cast. I absolutely love every part of it.”
Another fan called it “one of the best shows you’ll ever watch”, before going on to praise the cast for giving an “out-of-this-world masterclass” in acting.
And a final viewer exclaimed: “Warning: highly addictive! Jodie Comer is so charismatic as an assassin that I would hire her to kill me! The best from TV shows that I’ve seen in ages.”
Fancy revisiting an iconic British thriller or diving into Eve and Villanelle’s twisted rivalry for the very first time? Netflix has you covered this week with all four jaw-dropping seasons.
Fans missing Netflix’s hit comedy-drama series After Life should definitely mark their calendars for Ricky Gervais’ next project
Netflix shares thrilling update on Ricky Gervais’ next series(Image: NETFLIX)
The popular Netflix dramedy concluded four years ago.
Netflix has shared an exciting new look at Ricky Gervais’ next series and it looks like a must-watch for After Life fans.
It’s the star’s first series for the streamer since the hit dramedy wrapped up in 2022, concluding the tragically funny story of bereaved journalist Tony Johnson.
This time, Ricky is returning to the world of animation for an original animated series that will definitely have fans of The Ricky Gervais Show with Stephen Merchant and Karl Pilkington feeling nostalgic.
Alley Cats is created and directed by the Office star, who also takes on the leading role as a member of a gang of stray cats.
Netflix teases “the series follows the trials and tribulations of a group of feral British cats who seek companionship while ruminating about the struggles of everyday life”.
“From the funny to the absurd, the series is packed with Gervais’ signature style of heart and social commentary that audiences have come to expect,” the streamer’s synopsis adds.
It also boasts exceptional 2D animation by award-winning British animation studio, Blink Industries (Dead End: Paranormal Park, Don’t Hug Me I’m Scared).
This week, Netflix confirmed the release date for the new series as Friday, 7th August, with all six episodes of the first season dropping at once.
Co-starring with Ricky is a stellar line-up of British talent, including some frequent collaborators who have worked with him on After Life and other projects.
Tom Basden (The Ballad of Wallis Island), Andrew Brooke (PhoneShop), David Earl (Derek), Kerry Godliman (Trigger Point), Jo Hartley (Adolescence), and Diane Morgan (Motherland) complete the main cast. All of them have also previously appeared in After Life.
Natalie Cassidy (EastEnders) and Tony Way (After Life, Mandy) will also be taking on featured roles.
The new image features fans’ first look at the cast of cats, nestled together next to some wheelie bins as they look out over a city skyline.
Watch Unchosen on Sky for free
This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more
Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.
This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows.
This includes the brand new UK drama Unchosen, starring Asa Butterfield and Christopher Eccleston.
Netflix’s announcement has already sparked excitement amongst fans, who can’t wait for the After Life cast to return to Netflix for more laughs.
One X user said: “I’m laughing at this already after reading the cast.. This is going to be fun.”
“If it’s created by Ricky Gervais, I’ll give it a shot,” someone else replied. And another fan predicted: “Ricky Gervais doing adult animation? That cast is ridiculously stacked. Alley Cats might be the sleeper hit of August.”
Alley Cats premieres Friday, 7th August on Netflix.
Legends only dropped today (May 7) on Netflix, but audiences are already watching the six-part series, based on an incredible true story.
The show follows a group of customs officers, who become agents and adopt ‘legends’ or alter-egos as they go undercover to infiltrate Britain’s most notorious drug gangs as part of Margaret Thatcher’s war on drugs.
Coogan plays Don, the head of a top-secret group, which has been sent out into the field with minimal training and no budget or official recognition for their dangerous but vital work.
Many audience members are keen to know more about Coogan’s life away from the cameras, here’s the lowdown including his famous ex-girlfriends and a “truly terrifying” experience.
Get Netflix free with Sky
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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.
This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.
Steve Coogan’s famous ex-girlfriends
The star has dated some very famous faces in the past, most notably Nirvana frontman Kurt Cobain’s ex-wife, Courtney Love.
The pair had a fleeting fling with the Hole star – and both parties had some choice words about the romance.
Love described the fling in a 2021 social media post as “one of my life’s great shames” and went on to compare it to her solo musical endeavour America’s Sweetheart: “Like Steve Coogan, or crack, it’s one of my life’s great shames.”
Meanwhile, Coogan told GQ of their brief time together: “Some of it was true, most of it was b******s. To borrow the title of the film [2005’s A Cock and Bull Story], it was 20 per cent cock and 80 per cent bull.”
Along with Love, Coogan was also linked to model and restaurant heiress China Chow between 2008 to 2011, model Elle Basey from 2011 to 2014, and former TV presenter Melanie Sykes between 2018 and 2019.
He is father to Clare Coogan Cole, whom he shares with TV producer Anna Cole.
Coogan is now thought to be dating model and actress Caitlin Walsh since 2021.
Steve Coogan’s real accent
The star grew up in Middleton, Lancashire and studied in Manchester however, he recently admitted how he rarely gets to use his real accent as part of his work until he starred in Legends.
He explained in a recent interview: “I’ve played a lot of different people in my career, and it was quite nice to play someone who is from the North of England, which is where I’m from.
“It’s the first time I’ve been able to do my unfiltered, native accent, and that’s also quite enjoyable.”
Going on to speak about his character Don in Legends, Coogan said: “He’s no-nonsense and plain speaking, and people who meet him for the first time might consider him to be rude, unfiltered and direct.
“But they soon learn that he does care very deeply about the welfare of the people who work for him.
“He’s quite a moral man, despite his bluff, forthright nature, and that’s always an interesting character to play.”
Steve Coogan’s ‘terrifying’ ordeal
Coogan spoke candidly in his 2015 book Easily Distracted as per The Guardian about his former drug use and mental health, saying that he had a “truly terrifying cocaine-induced panic attack” in 1992 while living in Edinburgh.
He went on to describe how he had “been up all night doing drugs” when he started to feel dizzy and he was on the “verge of blacking out”.
A distraught Coogan was taken to hospital by a friend and thought he was going to die.
However, he was reassured by the doctor that it was a panic attack and he would be kept in overnight.
Instead of staying at the hospital, Coogan left and explained: “I was scared of what might be written about me in the papers.”
He continued to have panic attacks which led to depression.
Coogan sought out a therapist, who explained he was having panic attacks and taught him breathing exercises to manage any feelings of “impending catastrophe”.
As his panic attacks lessened, the Philomena star admitted he started doing cocaine again.
He reflected: “I spent tens of thousands of pounds on everyone else’s addiction, but it took me a long time to face up to my own.”
In the 2020 book Don’t Look Back In Anger, which featured interviews from numerous other Britpop era stars, Coogan said: “Some of the live shows I did I was still intoxicated from the night before. I didn’t care. I had a feeling of indestructibility.”
He added: “But the bottom line is the drugs don’t work.”
Although the star has now given up drugs, he still considers himself an addict.
Worst Ex Ever season two has already soared into Netflix’s top 10 most-watched list.
Hayley Anderson Screen Time TV Reporter
11:08, 07 May 2026
Geoffrey Paschel in TLC’s 90 Day Fiance. (Image: TLC)
Worst Ex Ever has returned to Netflix after a two-year hiatus to tell more horrifying relationship stories.
The series is back with a new four-part season delving into survivors’ true accounts of “romance gone wrong”.
Despite just being released on Wednesday, May 6, the true crime docu-series has already catapulted into Netflix’s top 10, landing the number two most-watched spot.
Episode two, Primetime Predator, revolves around someone 90 Day Fiance fans may recognise as Geoffrey Paschel starred in the fourth season of the TLC reality show.
Viewers may remember that during the show, he was discovered to have had prior drug-related convictions and to have faced allegations of domestic abuse from his ex-wives.
While he was in a relationship with Varya Malina during filming, TLC eventually banned him from appearing in the show’s reunion special.
Worst Ex Ever season two recalls events prior to him appearing on 90 Day Fiance when he met Tennessee teacher Kristen Wilson on a dating app in 2017.
She went on to find out that he had a criminal record and allegedly, a violent past with several of his exes.
In June 2019, just months before he was to start filming 90 Day Fiance, Paschel attacked Wilson and was later convicted.
According to the Knox County District Attorney’s office, he “grabbed the victim by the neck and slammed her head against the wall several times”.
Cosmopolitan reported that he also took Wilson’s phone so she wouldn’t be able to call for help.
Where is Geoffrey Paschel now?
Geoffrey Paschel is currently serving an 18-year prison sentence without the possibility of parole.
A jury found him guilty of aggravated kidnapping, domestic assault and interference with emergency calls following a two-day trial in October 2021.
The judge cited him as a “multiple offender” and is now incarcerated at a state prison in Tennessee.
Two years ago, Paschel tried to appeal his conviction but this was rejected at the Tennessee Court of Criminal Appeals.
While Paschel is behind bars, his 90 Day Fiance co-star Varya Malina has continued to stay by his side and shared updates regarding his imprisonment.
She last posted in September 2025 on Instagram a few pictures of the pair hiking together, along with the caption: “Happy birthday. Even though we can’t celebrate together today, my heart is with you every moment.”
Here’s where you’ve seen the cast of British spy thriller Legends on Netflix before.
Legends official Netflix trailer
Netflix’s Legends will be dropping this week – and the show has some very familiar faces in its star-studded cast.
Six-part series Legends arrives on Netflix today (May 7) and is based on the remarkable true story of a group of ordinary men and women who risked everything for their country.
The show follows several customs employees, who go undercover and adopt ‘legends’ to infiltrate Britain’s most dangerous drug gangs as they take on the war against drugs in the 1990s.
The British crime drama has an impressive cast list, who have been in some big projects previously.
Who is in the cast of Netflix’s Legends?
Guy – Tom Burke
Tom Burke stars as real-life legend Guy, who trades in his mundane job in customs to become a legend.
Burke has appeared in The Musketeers, War & Peace, Blade Runner 2099, BBC’s Strike, and The Lazarus Project.
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This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.
Don – Steve Coogan
Steve Coogan is Don, who oversees the legends. The actor, writer and producer is best known for his comedic alter-ego Alan Partridge, Philomena, The Sandman, and 24 Hour Party People.
Kate – Hayley Squires
The Night Manager, Great Expectations and Adult Material star Hayley Squires plays legend Kate.
Carter – Tom Hughes
Tom Hughes, best known for ITV’s Victoria, The Gold and Malpractice, takes on the role of drug kingpin Carter.
Bailey – Aml Ameen
Actor, director and producer Aml Ameen from The Porter, Rustin and Kidulthood, plays legend Bailey.
Erin – Jasmine Blackborow
Jasmine Blackborow, who has appeared in Netflix’s The Gentlemen, Marie Antoinette and Shadow and Bone, plays legends’ secretary Erin.
Blake – Douglas Hodge
Acclaimed actor, composer, director and writer Douglas Hodge from The Night Manager, The Great and Black Mirror stars as senior civil servant Blake, who oversees Don.
Eddie – Johnny Harris
Johnny Harris plays drug dealer Eddie after starring in This Is England ’86, Great Expectations, and A Gentleman in Moscow.
Mylonas – Gerald Kyd
Gerald Kyd, who has appeared in Casualty, Malory Towers, and The Assassin on Prime Video, plays Guy’s fixer Mylonas.
Hakan – Numan Acar
Numan Acar of Homeland, Jack Ryan and Young Sherlock fame plays Turkish drug dealer Hakan.
Sophie – Charlotte Ritchie
Ghosts, Call the Midwife and Netflix’s You star Charlotte Ritchie portrays Guy’s wife and fellow customs officer Sophie.
Zeki – Joshua Samuels
Joshua Samuels from The Gold, Saltburn and Nate & Jamie plays Kurdish drug dealer Zeki, who is working with Hakan.
Aziz – Kem Hassan
Actor and writer Kem Hassan stars as Hakan’s son Aziz. Legends marks his biggest role to date after appearing in The Sandman, Beyond Paradise and Grace.
Shaun – Thomas Coombes
Thomas Coombes stars as Shaun, who helps the Legends, and has featured in ITV crime drama Grace, Sky’s Save Me, Luther: The Fallen Sun, Miss Austen and Baby Reindeer.
Legends will be released on Netflix on Thursday, May 7
Warner Bros. Discovery’s impending sale has rattled Hollywood — and the company’s balance sheet as the auction’s high costs increasingly come into focus.
The New York-based media company released its first-quarter earnings Wednesday, which included a $2.9 billion loss. That amount includes $1.3 billion in restructuring expenses, including updated valuations for Warner’s declining linear cable television networks.
Contributing to the net loss was the $2.8 billion termination fee paid to Netflix in late February when the streaming giant bowed out of the bidding for Warner. The auction winner, Paramount Skydance, covered the payment to Netflix but Warner still must carry the obligation on its balance sheet in case the Paramount takeover falls apart. Should that happen, Warner would have to reimburse Paramount.
Warner also spent another $100 million to run the auction and prepare for the upcoming transaction, according to its regulatory filing.
“As we prepare for our next chapter, our focus remains on executing our key strategic priorities: scaling HBO Max globally, returning our Studios to industry leadership, and optimizing our Global Linear Networks,” Warner Bros. Discovery leaders said Wednesday in a letter to shareholders.
Warner generated $8.9 billion in revenue, a 3% decline from the same quarter one year ago, excluding the effect of foreign exchange rate fluctuations.
Its streaming services, including HBO Max, notched milestones in the quarter and 9% revenue growth to $2.9 billion. The company launched HBO Max in Germany, Italy, Britain and Ireland during the quarter.
Advertising revenue for streaming was up 20% compared to the first quarter of 2025.
The streaming unit posted a 17% increase to $438 million in adjusted earnings before interest, taxes, depreciation and amortization (EBITDA).
Warner’s studios, primarily its TV business, had a strong quarter.
Studios revenue rose 31% to $3.1 billion, compared to the prior year quarter.
Television revenue soared 58% (excluding exchange rate fluctuations) due to increased program licensing fees to support the launch of HBO Max in international markets. Those launches also propelled the movie studio, which saw revenue increase 21%.
Video games revenue declined 30% because of lower library revenues.
Adjusted EBITDA for the studios grew $516 million (158%) to $775 million compared to the prior year quarter.
The company’s vast linear television networks saw revenue fall 9% to $4.4 billion compared to the prior year period.
TV distribution revenue tumbled 8% largely due to a 10% decrease in domestic linear pay TV subscribers.
The company also felt the loss of its NBA contract for its TNT channel, which NBC picked up. Advertising revenue fell 12%. “The absence of the NBA negatively impacted the year-over-year growth rate,” Warner said.
As the costs of the merger with Paramount come into clearer focus, the opposition has grown louder.
More than 4,000 artists and entertainment industry workers, including Bryan Cranston, Noah Wyle, Kristen Stewart and Jane Fonda, have signed an open letter warning about the dangers of the merger with Paramount. “This transaction would further consolidate an already concentrated media landscape, reducing competition at a moment when our industries — and the audiences we serve — can least afford it,” according to the letter.
“The result will be fewer opportunities for creators, fewer jobs across the production ecosystem, higher costs, and less choice for audiences in the United States and around the world.”
Adjusted EBITDA for the television networks fell 10% to $1.6 billion, compared to the prior year quarter.
Warner ended the quarter with $3.3 billion in cash on hand and $33.4 billion of gross debt.
