The Split Up is a spin-off from the hit BBC drama The Split and will follow another family’s law firm.
A spin-off from the hit BBC drama The Split has received a significant update.
Fans were gutted when the legal series starring Nicola Walker and Stephen Mangan wrapped up after three seasons in 2022, followed by a two-part special last year. Now, fresh information about the upcoming show The Split Up has emerged, including casting announcements.
The original programme featured Annika star Nicola as Hannah, grappling with the breakdown of her marriage to Nathan (Stephen) whilst juggling affairs, romance and complicated relationships, all while managing her family’s law practice alongside the chaos created by her two sisters and mother.
The Split Up will now centre on a different family law practice, this time based in Manchester and focusing on the British-Asian elite Kishan family.
The six-episode series will explore “the high-stakes world of Manchester’s divorce law circuit, where one family of lawyers, the Kishans, reigns supreme,” according to the previous announcement, reports Wales Online.
It adds: “Kishan Law is a British-Asian high net worth family law firm in Manchester, noted for its clientele and its reputation.
“They are the ‘go to firm’ for Manchester’s elite who come to them for their excellence, integrity, and discretion.
“But the future and legacy of Kishan Law hangs in the balance when a family secret from the past comes to light, throwing their professional and personal lives into turmoil.”
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The line-up for the series has already been unveiled, and it’s now been confirmed that The Good Place star Jameela Jamil is coming on board.
When the announcement was posted on social media featuring a photo of Jameela with leading lady Ritu Arya, the She-Hulk actress responded: “I love her.”
“My two favourites together,” one supporter wrote, whilst another added: “OMG can’t wait. Love you both!!!”
“Very excited for this,” a third person commented.
Jameela is joining The Umbrella Academy’s Ritu Arya, Unforgotten’s Sanjeev Bhaskar, alongside Aysha Kala (Virdee), Arian Nik (Film Club), Danny Ashok (Dinosaur), Dimitri Leonidas (Those About To Die), Mawaan Rizwan (Juice), Sindhu Vee (Matilda the Musical), Shalini Peiris (The White Lotus) and Tom Forbes (Queenie).
Celebrity guest appearances will also feature Lenny Henry and Jane Horrocks.
The BBC revealed: “The fast-rising star of Kishan Law is Aria Kishan (Ritu Arya), poised to step up and take the mantle from her father Dhruv (Sanjeev Bhaskar). However, the death of her mother has cast a new light over these plans for Dhruv, who has begun to wonder if his daughter can, or should, take on this responsibility single-handedly.
“Aria’s relationship is placed under scrutiny too with the wedding for long-term partner Neal (Danny Ashok) on the horizon, but with their personal and professional so entwined it’s unclear if their relationship can withstand any more pressure – a problem further compounded when a former secret flame (Dimitri Leonidas) arrives in Manchester unexpectedly.
“Alongside her siblings Maya (Aysha Kala) and Kav (Arian Nik), Aria must navigate the splits that divide family and those we love – and ask herself: who should you live your life for?”
Creator Ursula Rani Sarma expressed: “Having admired The Split and Abi Morgan for years, I was honoured to be asked to bring The Split Up to life. As a writer passionate about representation, it’s a dream come true to place a contemporary British South Asian family centre stage. Diversity deepens our understanding, enriches our stories, and reflects the true fabric of our society.
“It’s thrilling to watch our amazing cast led by Ritu and Sanjeev bring the Kishan family to life. I can’t wait for audiences to meet them and to witness the drama as it unfolds.”
Abi Morgan chimed in: “The chance to take all that was loved about The Split and use it to inspire the next generation of British South Asian talent, to create a new family of dynamic lawyers spilling over with all the messiness of life, both personally and professionally, has been a brilliant challenge, beautifully realised by lead writer Ursula Rani Sama. I hope audiences will take it to their hearts.”
A nostalgic follow-up to one of Nickelodeon’s most beloved comedies is in the works at Netflix
Netflix confirms long-awaited spin-off to hit Nickelodeon series(Image: NICKELODEON)
Netflix has just announced a highly anticipated spin-off to one of the most popular classic Nickelodeon shows over a decade after it came to an end.
The original series ran for four smash-hit seasons and introduced young fans to several major stars, including one of the world’s biggest pop icons.
Now, filming is currently underway in Vancouver for Hollywood Arts, which will return fans to the world of Victorious.
Starring the likes of Victoria Justice, Elizabeth Gillies and Wicked’s Ariana Grande, the original series took place at an elite performing arts high school where ambitious teens learn the ropes of showbiz.
Original star Daniella Monet, who starred as Trina Vega, the older sister of Justice’s Tori, will reprise her role for the long-awaited follow-up.
Several years after the events of the series, Trina still hasn’t gotten her big break, so she heads back to her alma mater to teach a new generation of fame-hungry students.
Monet shared via Tudum: “Coming back as Trina alongside such a dynamic, powerful cast of newcomers is something I feel very lucky and grateful to do.
“Victorious was in a lot of ways life-changing for all of us. Our cast is forever bonded by that experience, and to think that I have an opportunity to steward anything close to that is a feeling I can’t begin to describe.”
A synopsis reads: “Trina is back at Hollywood Arts High School, and this time she’s stepping behind the desk.
“The struggling performer finds herself filling in as a substitute teacher at the prestigious school, where she surprises herself by inspiring a group of ambitious teens.”
Joining Monet is a talented crop of up-and-coming stars, including Alyssa Miles (Hanging out with Alyssa and Xavier), Emmy Liu-Wang (Raven’s Home), Peyton Jackson (Woman in the Yard), Erika Swayze (Workin’ Moms) and Martin Kamm (Unsung Hero).
Plus, Community’s Yvette Nicole Brown will also be making a guest appearance as Principal Helen, having appeared during Victorious’ original run as well as Nickelodeon’s equally beloved teen comedy, Drake and Josh.
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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 House of Guinness.
Jake Farrow (Victorious, iCarly) and Samantha Martin (Henry Danger, Danger Force) will be showrunning and executive producing, and Monet is also on board as an exec. producer.
An exact release date has yet to be revealed, but Netflix has confirmed Hollywood Arts will be dropping its first season in 2026.
In the meantime, streamers can currently catch up with every episode of the original series while they wait for the sequel.
You don’t have to be afraid to put your dream in action, because you’ll never fade, Trina Vega, you’ll be the main attraction — in a “Victorious” spinoff.
Netflix announced Friday that “Hollywood Arts,” a spinoff of the Nickelodeon teen sitcom following a group of students attending a performing arts high school, is now in production. The new show will see Daniella Monet reprise her Trina role from the original series, which aired for four seasons on the kid-centric network.
“Coming back as Trina alongside such a dynamic, powerful cast of newcomers is something I feel very lucky and grateful to do,” Monet said in a news release, which announced the “Hollywood Arts” cast will also include young actors Alyssa Miles, Emmy Liu-Wang, Peyton Jackson, Martin Kamm and Erika Swayze.
“‘Victorious’ was in a lot of ways life changing for all of us, our cast is forever bonded by that experience, and to think that I have an opportunity to steward anything close to that is a feeling I can’t begin to describe,” Monet continued. “As an actress, producer, and mom, I am so eager to create something we can all be proud to share with the world.”
According to the logline, “Hollywood Arts” will see Trina return to her alma mater as “an unqualified substitute teacher” after struggling to make it as an actress. There, she will both clash and “unexpectedly” inspire the next generation of ambitious and talented performing arts school students.
In “Victorious,” which originally ran from 2010 to 2013, Trina was the untalented but overly confident older sister of Tori Vega, played by Victoria Justice. The cast of the hit teen series also included Ariana Grande, Avan Jogia, Elizabeth Gillies, Leon Thomas III and Matt Bennett.
The spinoff will also feature Yvette Nicole Brown as a guest star. Brown briefly appeared in “Victorious” as school principal Helen Dubois — a character who originated on Nickelodeon’s “Drake & Josh,” which ran from 2004 to 2007.
In addition to starring on “Hollywood Arts,” Monet will serve as an executive producer alongside showrunners Jake Farrow and Samantha Martin and director Jonathan Judge. (Dan Schneider, who created “Victorious” and whose alleged misconduct was at the center of the 2024 docuseries “Quiet on Set: The Dark Side of Kids TV,” is not involved.)
The 26-episode first season is expected to debut on Netflix in 2026 before hitting Nickelodeon and Paramount+. The series is currently in production in Ontario, Canada.
NCIS: Tony & Ziva has been a hit with fans and a second season is yet to be confirmed, but star Michael Weatherly has spoken out about the possibility of a crossover
NCIS Tony and Ziva airs weekly (Image: PARAMOUNT+)
NCIS: Tony & Ziva has already got viewers completely captivated and fresh episodes are being released each week on Paramount+.
The offshoot of the enduring crime drama NCIS features Michael Weatherly and Cote de Pablo returning to their beloved characters Tony DiNozzo and Ziva David.
The fresh series represents their first joint appearance in 12 years following NCIS season 11, and the original reveal drove supporters absolutely wild.
Weatherly, who additionally served as executive producer on the programme, chatted exclusively to Reach publications regarding a possible collaboration with the main cast.
When questioned about whether any character from the original NCIS might feature, he responded: “I think that’s a great question for everybody, whether that’s feasible.”
“For me the answer is of course, I would love to see that and really it’s just about making it the most quality appearance.
“You don’t want to just stunt cast, somebody with Mark Harmon’s haircut who walks by in the background and they are like ‘Oh, is that Gibbs?'”
“Or somebody with black pigtails with a spiderweb tattoo on her neck – that would have to be Abby.
“I think that would have to be heavily negotiated by all the powers that be, of which I am just a little micro contributor.”
The debut season comprises 10 episodes and is anticipated to wrap up on October 23.
Lead actor Michael Weatherly and lead actress Cote de Pablo(Image: Getty Images for Paramount+)
Regarding the possibility of a second season, showrunner John McNamara revealed to TV Insider: “I try never to count my chickens before they’re hatched.
“I’m just focused on finishing this season and trying to make it as good as possible.
“And honestly, it is going to be entirely up to the fans and the subscribers to Paramount+ and ultimately to Paramount and CBS. It’s their property and it’s their money.”
The programme has received glowing feedback from both audiences and critics, with IMDb describing it as “both a nostalgia trip and a compelling continuation”.
Given this reception, supporters can stay optimistic about a second series and potentially even a crossover episode.
NCIS: Tony & Ziva airs on Thursdays on Paramount+.
Downton Abbey: The Grand Finale is being released this week and despite the subtitle of the film, it’s already been teased that the story may not be over for fans just yet
Downton Abbey star Allen Leech has teased that a prequel could be released in the future(Image: Focus Features LLC/ Rory Mulvey. All Rights Reserved)
Downton Abbey: The Grand Finale fans are expecting to bid farewell to characters from the beloved franchise when it’s released on Friday. The third film in the series, it follows on from Downton Abbey (2019) and A New Era (2022).
Focusing on the Crawley family and their staff as they navigate how to lead Downton Abbey into the future, the film sees the story enter the 1930s. It’s previously been teased that it will “close off” the stories that began on the ITV show, which ran for six seasons from 2010 to 2015.
Despite being billed as the “grand finale,” it’s been suggested that fans may not have to say goodbye just yet. There’s been hints about potential spin-offs already and it’s now teased that a prequel series could be underway in the future.
It’s been teased that a potential Downton Abbey spin-off could explore the backstory of Violet Crawley, played by the late Maggie Smith (right), pictured beside Penelope Wilton (left)(Image: PA Photo/Focus Features, LLC/Ben Blackall)
Allen Leech, known for his role as former chauffeur Tom Branson, has teased that the story may not be over despite the marketing of the film. He’s suggested that a future prequel could delve into the backstory of Violet Crawley, played by the late Dame Maggie Smith.
Violet, the Dowager Countess of Grantham, was a matriarchal figure in the franchise but was killed off in the second film, released three years ago. Cast member Maggie then herself died, aged 89, just last year.
Allen, 44, said on Virgin Radio this week that Violet’s history could be explored in a prequel project. He shared that it could be in the pipeline moving forward, following rumours last year of a spin-off about Violet’s younger years.
Speaking on the Ryan Tubridy Show, he said: “I was chatting to the director, yesterday, Simon [Curtis], over lunch and he was saying there is a great poignancy about this movie, not just for Downton fans but for anyone. It’s about letting go and it’s about moving on.”
Asked about the potential for more stories, he said: “From what I hear, the plan is if they’re ever gonna do anything with it, they’re either gonna go back in time and [do a] prequel [about Violet] in her younger years, which would be very interesting.”
Allen added that a project set in the 1970s at the property could be on the cards instead. He said: “Or they’re gonna go seventies [and] all the debauched madness that happened in the house then. I think it’d be kind of interesting.”
The upcoming film has previously been described as a “last tributing” to Maggie. Speaking on the radio station last year, her on-screen son Hugh Bonneville, 61, said about the latest film: “It’s very much set in the house and saying goodbye to all these characters and we obviously say goodbye to Dame Maggie, which was very poignant on screen and now in real life. She’ll be sorely missed. But the final film will obviously be a great lasting tribute to her.”
Maggie had been among the cast when Downton Abbey first aired in the UK in 2010. It later proved popular in the US and its six seasons have been followed by the film continuations. As well as receiving critical acclaim, the show is said to have boosted tourism to villages like Bampton in Oxfordshire and Highclere Castle in Hampshire.
Speaking ahead of the third film’s release, creator Julian Fellowes, 76, told the Writing Studio: “It feels quite complete. I’m not saying we’ll never see Downton Abbey in any other form – one should never say never, but I think it feels natural and right that we have made the journey with the original concept and the original cast, so I’m rather pleased about that.”
Downton Abbey creator Julian Fellowes has previously suggested that he wouldn’t rule out spin-offs in the future(Image: Getty Images)
The new film is being released alongside the ITV special Downton Abbey Celebrates The Grand Finale later this week(Image: ITV)
He has however suggested that several characters could be worthy of spin-offs. Discussing the prospect of one centred on Thomas Barrow, played by Rob James-Collier, Julian told RadioTimes: “I think you could make a case for many of them.”
Fans eager for more Downton Abbey don’t have long to wait as ITV will also be releasing a special about the franchise on the day of the film’s release. It’s teased that the doors to the iconic property will be “opening one last time” for Downton Abbey Celebrates The Grand Finale as the cast reunite to share memories and secrets from the last 15 years.
Downton Abbey: The Grand Finale is released on Friday in the UK. Downton Abbey Celebrates The Grand Finale will be available on ITVX then too and the special will later air on ITV3 on Saturday at 9pm.
This article contains spoilers from the first season of “The Paper.”
The journey to spin off the U.S. version of “The Office” has, until now, been long and slow. (That’s what she said.)
While the unconventional workplace comedy about a humdrum band of paper company employees, adapted from a beloved British series of the same name, famously got off to a sluggish start on NBC with a low-rated six-episode first season, it became a rare case study of how a risky gamble can become a pop culture phenomenon and one of the most popular sitcoms in TV history. Talks of expanding “The Office” universe began as early as Season 3, when another office branch was introduced. “Parks and Recreation” was initially conceived as a spinoff but morphed into a standalone series. Another centered on socially awkward Dwight Schrute (Rainn Wilson) would get dropped. The series eventually ended its nine-season run in 2013 with no offshoot. But it still managed to have an afterlife without one, as fans obsessively continued to watch it in syndication or on streaming platforms.
Once “The Office” began making headlines in 2020 for the being the most streamed show in America, Greg Daniels, who captained the U.S. adaptation and was initially concerned about tarnishing its legacy with offshoots, was coming around to the idea that it was safely insulated enough to withstand any attempt to find a way to build out its kooky world.
Finally, more than a decade after “The Office” went off the air, Peacock is hoping the spinoff series “The Paper” can recycle some of that show’s success while finding its own path.
In “The Paper,” Domhnall Gleeson, left, stars as editor in chief Ned Sampson, and Tim Key plays executive Ken Davies.
(Aaron Epstein / Peacock)
This series shifts its focus to the staff at the Toledo Truth Teller, a struggling local newspaper in Ohio, which is being filmed by the same documentary crew that followed bumbling boss Michael Scott (Steve Carell) and his Scranton, Pa.-based Dunder Mifflin employees. (It’s a believable documentary subject when you consider the U.S. has lost more than one-third of its newspapers since 2005.) Daniels created the series with Michael Koman (“Nathan For You,” “How to With John Wilson”).
All 10 episodes of the first season were released Thursday on Peacock, and the show has been picked up for a second season. Daniels and Koman visited The Times earlier this month — and spoke in follow-up video calls — to discuss the comedy potential of a beleaguered industry, why Oscar is the obvious choice to be the crossover character in the spinoff and whether they plan to reference the president’s comments about the press. These are edited excerpts from the conversation.
The series was originally going to launch with four episodes, then switch to a weekly drop. But it was recently announced that the full season is dropping at once. What happened? And do you have strong feelings about release models?
Daniels: Every company is different. I do know that they’re [NBCUniversal] being incredibly supportive and there’s a giant team gaming out every move. I trust that they have the best of intentions and have a lot of good strategy. My inclination was always to sneak on the air without any fanfare whatsoever, and then maybe advertise after — that is very naive, apparently. One possible nice thing about it being handled this way is our superfans will be able to watch at their own convenience, and maybe before they’ve seen too many promos. I’ve always felt like the show was cut to be the introduction to the show itself. And the more you know jokes you see from later in the seasons, the more you’re coming at it with an unintended awareness of what’s to come. It may play better, just clean for all the superfans. Actually, I thought at first, the pace-out model would be good because that was how “The Office” was on NBC. But they did point out to me that probably the majority of “The Office” fans have watched it on streaming, where they could binge the whole thing.
Koman: It’s not really my area, but that’s how I like to watch things. I’m always happy when it’s up to me — I can make my own schedule, and I tend to watch things quickly.
The crisis facing local journalism doesn’t feel like an obvious backdrop for comedy — and if you’re in it, it’s more of a can’t-help-but-laugh–to-keep-from-crying vibe. How did you arrive at a newsroom as your backdrop and what was the pitch?
Daniels: You wouldn’t think that selling stationary was a particularly hilarious or glamorous place to set a show. I think that there are some intentional differences with this show, and in the sense that we didn’t want to repeat aspects of “The Office.” For me, I was incredibly protective of the original show and the cast. I just waited a long time to do something like this. The original “Office” cast was very supportive by the time it came about. Since it’s a documentary, if you’re going to really commit to that device, you have to think all the time about [how] there’s really camerapeople in the room; they’re trying to cover something; they wouldn’t be there to just cover what they thought was a funny workplace. They’re there to cover an actual story. And the hollowing out of local newspapers is an interesting story that you could imagine a documentary crew from PBS being like, “Oh, this is a good story.” Of course, since it’s a comedy show, the stuff that’s happening in the background is really the point of the show — all the funny interactions with people as they try to do stuff. Another way that we wanted it to be different was the whole interaction between Michael Scott and his staff — he was not a very inspirational boss, and Ned Sampson, played by Domhnall Gleeson, comes in and he does manage to inspire the people working there. And the question is more: Is he biting off way more than he can chew and his staff can chew? Or should they be right and believing in him?
Koman: I just think reality always makes the best backdrop. And it’s good if your characters are facing a challenge and you have something to root for.
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1.Clockwise from top left: Rainn Wilson as Dwight Schrute, Jenna Fischer as Pam Beesly, John Krasinksi as Jim Halpert, BJ Novak as Ryan Howard and Steve Carell as Michael Scott in “The Office.”2.Carell, Krasinksi and Wilson in a scene from the NBC comedy.(Justin Lubin / NBC Universal)
How did you land on Toledo?
Daniels: That was really about the alliteration of the Toledo Truth Teller. There’s something about the Cleveland Plain Dealer that I think is a super interesting thing. The name of it, I thought, has always been very intriguing. It kind of reminds you of the independence of these big Midwestern newspapers, which is different from now. It really feels like the big newspapers are L.A., New York, Washington, Dallas. I know the Cleveland Plain Dealer is still quite healthy, which is great. But there is something about the Midwest that feels nostalgic.
Koman: If I think of the heyday of print journalism, Ohio is just a place that comes to mind. They had so many really important newspapers and great journalists that came out of there, so it just seemed like … if somebody was going to try to revive something, that’s a state, and Toledo itself, is a place where you can see it happening.
Daniels: Toledo also has a certain “Office-y,” Scranton thing to it. There was a time where we were looking at where the other locations that Dunder Mifflin has offices. And the list is very funny. It’s like Yonkers and Nashua, New Hampshire. It’s all these words that are just kind of fun to roll off your tongue.
Greg, you had been resistant to the idea of expanding “The Office” universe. “Parks and Recreation” was originally meant to be a spinoff, but it eventually evolved away from that. Why now? What changed?
Daniels: There’s two questions. One is, why now? And part of that is that “Upload” [Daniels’ Prime Video series] is wrapping up. When we first started discussing it, I didn’t know what was going to happen with “Upload.” I had sold it and I was committed to being the showrunner and it kept getting picked up, so I kept having to put off thinking about any kind of [“The Office”] spinoff. But [the final season of] “Upload” is dropping Aug. 25. The other part of your your question — over the years, since the finale, the show had this enormous blow-up on Netflix. It just felt like this show is pretty bulletproof at this point. Even if we did a s— job with a spinoff, it’s not going to go back in time and mess up “The Office,” which was my concern. “The Office” was such a beautiful and rare confluence of the cast and the time and the format and the writers and everything — it seemed very arrogant to think you could pull that off again. But then after a while, it’s like, “Well, you got to try.” You can’t be intimidated out of ever doing anything.
Greg Daniels says the staff of a struggling newspaper is as relatable as their Dunder Mifflin predecessors: “That quality of morale being low is very ‘Office’-like. The tone is intended to be similar without having the characters be similar.”
(Jason Armond / Los Angeles Times)
How did you arrive at former Dunder Mifflin accountant Oscar Martinez (Oscar Núñez) being the connecting character between the two shows?
Daniels: When you look at the finale of “The Office,” everybody was going off in their own direction that had a lot of, in my view, meaningful wrap-up of their story. Jim and Pam were moving to Boston with Darrell; Toby was in England. But Oscar didn’t really have a big arc. He was pretty much Oscar the whole way through, and it didn’t feel like it was going to undo anything with “The Office” to keep Oscar involved.
Koman: It made sense, just on a business level, that if one company was acquired by another, that some people would move over into that company. He was the one person who, I think, would have stayed.
Daniels: He was maybe the most self-possessed. He had the most dignity, I think, of most of the characters. The idea that the crew has found him again just seemed appropriate. He did run for elective office at the end of “The Office,” so I feel like he is susceptible to being inspired and do something for his community, so he seems like a person who could buy into what Ned is selling.
Koman: Also, he has kind of a cosmopolitan personality. The city is like a third larger than Scranton.
Greg, you gave us one of the great will–they/won’t–they relationships in TV history with Jim and Pam. There are a couple of office romances brewing on “The Paper.” The season ends with Ned and Mare (Chelsea Frei) kissing. Is there a specific challenge with crafting a slow burn in the streaming era? How did you want to approach things this time around?
Daniels: You need to have stakes in stories. If you’re going to be very realistic and relatable, the stakes in people’s stories are mostly romantic because most people don’t battle aliens to save the world or whatever. So, the highest stakes a normal person usually has is who they’re going to marry or who they’re seeing, or what drama they’re in in their personal lives. There’s a column the New York Times does about people who are getting married, how-they-met kind of thing, which I love, and you realize that there’s hundreds and hundreds of stories of how people meet. It’s not all Sam and Diane or Pam and Jim. My aim would be to not have the audience be like, “Who’s the next Pam and Jim? Is that Pam and Jim?” That’s their relationship. Those two actors were brilliant. You can’t replicate it, but it doesn’t mean that other characters aren’t going to be romantically interested in each other.
Pam Beesly (Jenna Fischer) and Jim Halpert (John Kraskinski), the friends-to-lovers duo affectionately known as JAM, in a scene from “The Office.” (Paul Drinkwater/NBC)
“The Paper” features characters like interim managing editor Esmeralda (Sabrina Impacciatore), compositor turned reporter Mare (Chelsea Frei) and new boss Ned (Domhnall Gleeson). Mare and Ned have a will-they/won’t-they dynamic in the sitcom. (Aaron Epstein/Peacock)
We had a sense, at least through Kelly Kapoor and her pop culture references, that “The Office” took place in our shared reality, but it didn’t directly comment on real world matters. But considering the show’s setting and Ned’s idealism about the profession, with President Trump’s ongoing remarks about the press, can you see a day where those remarks or ideas are more directly referenced in some form? Or do you want to stay clear of that?
Daniels: I think there’s so many voices that [are] constantly talking about that, just from a comedy standpoint; I’m very tired of it. There’s also so many opinions that are so strong. My inclination is to do the fundamentals — it’s a character comedy. These are characters. They’re in a world of journalism [and it] has a lot of bumping between human beings and ethics, and to tell those stories is valuable. No matter what side you’re on, you can look at it and, hopefully, if there’s truth in what’s being presented, you can take something valuable away.
Koman: It’s important to think of this as a local paper. Their struggle is to credibly tell local stories, which is what I think the city needs, more than anything — a voice to just tell people what’s going on. Beyond that, I think the way that a culture will seep into a show like this — you should always have a sense of reality and that this is taking place in the present. I think of their minds as being focused on: How can we be a good news source for Toledo?
Michael Koman, who previously worked on docu-comedies “Nathan For You” and “How To With John Wilson,” on capturing the state of journalism realistically in “The Paper”: “What makes newspapers different than other businesses or other jobs is that people do arrive with a sense of enthusiasm for what they’re going to do. It seemed important that many of these people could have started their jobs like this, but now we’re meeting them at a point where that’s been tamped down enormously.”
(Jason Armond / Los Angeles Times)
The impulse when you hear about a spin-off or a reboot is to compare and to see who fits into what archetypes. Tell me about the types of characters you wanted to fill out in this newsroom.
Daniels: We tried to avoid that. What’s the point of doing something where everybody can go, “Oh, that’s the new Dwight”? They’re working in journalism and they have a very romantic, idealistic boss. He’s extremely interested in getting to the bottom of stories and being super rigorous and ethical, but he’s come in and replaced the temporary managing editor, Esmeralda, played by Sabrina Impacciatore, who has a very different view. She doesn’t really drill down that hard. She’s more about getting eyeballs.
Koman: What makes newspapers different than other businesses or other jobs is that people do arrive with a sense of enthusiasm for what they’re going to do. It seemed important that many of these people could have started their jobs like this, but now we’re meeting them at a point where that’s been tamped down enormously. Morale is low. In terms of who this group of people was, you could feel like that’s been dampened enormously and somebody new can come in who, either out of naivety or just optimism, thinks that he can revive it.
Daniels: That quality of morale being low is very “Office”-like. The tone is intended to be similar without having the characters be similar.
The title sequence is a montage of the various ways people make use of newspapers — rather than reading it. How would you describe your relationship to print journalism?
Daniels: When I first moved out here, I had a subscription to the L.A. Times, and the volume of papers was so gigantic, and it would come with these white ties to hold it all together. I built furniture in my apartment out of stacks of L.A. Times because they were so big. So it’d be like two weeks of them, I could make a stool and make a table with a full week’s worth stacked up.
Koman: Yes, I would say that digital media is all well and good until you need to pack glasses, then you hunt for a newspaper.
Daniels: One of my earliest memories is my parents trying to read the newspaper on their bed, and I wanted their attention, so I would roll onto the newspapers and look up at them, which would really irritate them. They were a big newspaper household.
Much like the news media, your industry is confronting budget constraints and technological disruption that is forcing changes to business models and programming strategies. What are your concerns about your industry right now?
Daniels: One of the big themes is the return to advertising. The streamers have all added ad tiers and that naturally is going to change the programming a bit. I don’t think, necessarily, [that] it’s bad. When you look at the heyday of Netflix, a lot of their biggest stuff had been developed under the old advertising model. I sometimes think about the French movie business, where it seems like they don’t care if something makes money or not. It’s just, if you’re in the club, you get to make movies over and over again. I’ve always felt like that there’s something more democratic about: You actually have to get people to watch your thing somehow.
Koman: The strangest thing about this industry is that it might change a lot, [but] the thing you’re making is a timeless product. You’re telling a story. There’s the part of it that is like, “Well, this will eventually be finished and will be presented somewhere” — and you have no control over how that’s going to change. But what you’re actually trying to make would have to hold up under any conditions.
He wrote on Instagram: “And just like that… I’m officially out of the love island villa. What a mad, unforgettable ride.
“First off, thank you to every single one of you who’s supported me—whether you were backing me to find love, keeping up with the show, or just curious from what you’ve seen online—I’m genuinely grateful.
“My journey might’ve been shorter than expected, but I walked in as me and walked out as me. No regrets,” he continued.
Dumped Love Island star Remell confirms he’s dating villa girl he wasn’t coupled up with as they ‘soft launch’ romance
“I got to meet some incredible people, make real bonds and live out something most only dream about.
“Seeing my name in headlines has been surreal to say the least—but trust, this is just the beginning.”
“I’m walking out with my head high and my heart full. Can’t wait to show you lot what’s next.”
Upcoming spin-off Y: Marshals has added three stars from the original drama to the cast
Yellowstone’s forthcoming spin-off, focusing on Kayce Dutton (played by Luke Grimes), is set to feature at least three more big names from the original series.
Y: Marshals will follow the son of ranch owner John Dutton (Kevin Costner) in the aftermath of his father’s death as he leaves the ranch to combat crime across Montana.
Deadline has now revealed that Yellowstone veterans Gil Birmingham, Brecken Merrill and Mo Brings Plenty will be reprising their roles from the main show.
Birmingham played Chief Thomas Rainwater, who had a feud with the Duttons over disputed land, while Brings Plenty played Rainwater’s driver and right-hand man, Mo.
Meanwhile, Merrill played Kayce’s son Tate alongside Kelsey Asbille as wife and mother Monica Dutton.
Thomas Rainwater and his right-hand man Mo will both return(Image: PARAMOUNT)
It’s not yet known if Asbille will be returning, though Deadline suggests her absence may be explained within the series.
In addition to these three Yellowstone favourites, Y: Marshals has confirmed four more cast members joining Grimes and the previously announced Logan Marshall-Green.
Arielle Kebbel (Rescue: HI-Surf), Ash Santos (Pulse) and Tatanka Means (Reservation Dogs) are on board as series regulars.
They’ll be playing members of the US Marshals Belle, Andrea and Miles, respectively. Finally, The West Wing and Lost star Brett Cullen will take on a recurring role as Montana’s head of US Marshals, Harry Gifford, reports the Express.
The exact storyline for the upcoming Yellowstone spin-off is being kept under wraps, but a series synopsis has given fans a taste of what’s to come.
Brecken Merrill is back as Tate – but Kelsey Asbille’s Monica may not return(Image: PARAMOUNT)
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According to Deadline, it states: “In Y: Marshals, with the Yellowstone Ranch behind him, Kayce Dutton (Grimes) joins an elite unit of U.S. Marshals, combining his skills as a cowboy and Navy SEAL to bring range justice to Montana, where he and his teammates must balance family, duty and the high psychological cost that comes with serving as the last line of defense in the region’s war on violence.”
In other news, Oscar-nominated actress Annette Bening has been confirmed to join another Yellowstone spin-off.
She’ll be taking on the role of Beulah Jackson, the boss of a competing ranch, in the tentatively named The Dutton Ranch, which will carry on the tale of Beth Dutton (Kelly Reilly) and Rip Wheeler (Cole Hauser).
Y: Marshals will premiere in late 2025 – early 2026 on CBS. Yellowstone is available to stream on Paramount+.
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