A must-watch romantic comedy has just landed on BBC iPlayer.
The 1998 romantic comedy bagged seven Academy Awards(Image: Miramax )
An Academy Award-winning period drama starring an unrecognisable A-lister is now streaming for free.
BBC iPlayer has just added Shakespeare in Love to its library, ready for theatre and romcom lovers to devour.
Released in 1998, the star-studded film features Oscar winners Gwyneth Paltrow, Colin Firth and Ben Affleck. It also stars Dame Judi Dench in a role that almost completely disguises the acclaimed actress.
For those who missed the hit romantic drama, it follows young playwright William Shakespeare (played by Joseph Fiennes) as he is battling writer’s block.
While looking for a new muse, William meets his ideal woman, Viola (Paltrow), and is inspired to write one of his most famous plays, Romeo and Juliet.
Dame Judi Dench is almost unrecognisable in her Oscar-winning role (Image: Miramax/Laurie Sparham)
Dame Dench plays Queen Elizabeth I, donning the hair, makeup and 16th century garments to fit the royal part. Despite being on screen for around eight minutes, Dench’s performance earned her an Academy Award for Best Supporting Actress.
The drama’s accolades didn’t stop there, as Shakespeare in Love also took home the Best Picture prize, alongside the Best Costume; Best Original Music; Best Screenplay, and Best Art Direction awards. Paltrow also bagged the Best Leading Actress gong, which remains her only Oscar win to date.
Directed by John Madden, the period drama has an impressive 92% Rotten Tomatoes score. The critics’ consensus reads: “Endlessly witty, visually rapturous, and sweetly romantic, Shakespeare in Love is a delightful romantic comedy that succeeds on nearly every level.”
Shakespeare in Love is streaming now on iPlayer (Image: Miramax )
Casual moviegoers similarly rave about the nineties hit, with one viewer writing: “Incredibly heart-warming and wildly entertaining, this movie has something for everybody, and it is so much fun to watch. I definitely recommend it for romance and comedy fans!”
A second said: “I absolutely love this movie, it’s a timeless classic and an absolute must see. You’ll laugh, you’ll cry, and you’ll fall in love with the characters.
“It’s quoted almost daily in my household, and rightfully so! If you haven’t seen it already, I highly recommend this movie!”
Meanwhile, a third penned: “Simply put, this is a fun film that never lacks for comedy. Everyone in this film portrays their parts with elegance. And as if to top the entire film off, Dame Judi Dench plays a rather fantastically entertaining Queen Elizabeth I.”
Shakespeare in Love is streaming now on BBC iPlayer.
A controversial thriller that left fans feeling uneasy is leaving Netflix soon
Netflix fans ‘can’t sleep’ after watching twisted film that streaming giant is taking down(Image: Pixabay)
Netflix subscribers have just a limited time to stream a controversial thriller that left fans unable to sleep.
American Psycho was released in 2000, and is the film adaptation of the 1991 bestselling novel of the same name, written by Bret Easton Ellis.
Directed by Mary Harron, the horror thriller stars Christian Bale as Patrick Bateman, a narcissistic banker living in New York during the 80s, who is leading a double life as a serial killer.
Seeming normal to the outside world, behind closed doors Patrick is hiding an extreme violent streak as he commits unhinged and brutal acts of murder and torture.
The thriller was released over two decades ago
Packed within its 102 minute run-time, American Psycho has plenty of kills, drug-taking and sex. In one notable scene, an axe-wielding Patrick goes on a killer rampage, murdering Jared Leto’s character Paul Allen.
The cast of the film – which developed a cult following in the decades since its release -also includes stars like Willem Dafoe, Justin Theroux and Reese Witherspoon.
What’s more, the critical response to American Psycho was fairly good. On Rotten Tomatoes, it was given a 68% “fresh” rating based on over 100 reviews from 2000 to 2023.
Viewers were unable to sleep(Image: National Press)
The movie – which leaves Netflix on August 10 – fared pretty well at the box office too, grossing $34 million from a $7 million budget.
As for fan reaction, American Psycho certainly left people divided. Online, one person said: “It was so twisted I loved it.” Someone else fumed: “Not a fan, gross and too violent for me.”
A third chimed in: “I couldn’t sleep after watching it! One of those that sticks with you for sure.” Another also wrote: “It’s my favorite movie and it’s the movie I’ve seen the most times. I never get bored of it since there are so many great details.”
It is due to leave Netflix soon(Image: Publicity Picture)
Meanwhile, last year it was reported that Austin Butler is set to take on the role of Patrick in a modern remake of American Psycho.
Best known for his Academy Award-nominated performance as Elvis Presley in Baz Luhrmann’s Elvis, Austin is said to be collaborating with acclaimed director Luca Guadagnino for a fresh cinematic interpretation of the film.
Variety confirmed the casting and announced that the project is being developed by Lionsgate and will bring a bold new vision to the 2000s thriller.
All five seasons of a hit US medical drama are now available to stream on the platform
A “hidden gem” medical drama that had fans “hooked” is now streaming on Prime Video.
Based on Eric Manheimer’s 2012 memoir, New Amsterdam follows the journey of Dr Max Goodwin (played by Ryan Eggold) as he takes on the role of medical director at one of America’s oldest public hospitals.
In his new position, Max is determined to overhaul the neglected institution, cutting through red tape to deliver outstanding care to patients.
The series, which debuted in 2018, also features Freema Agyeman, Janet Montgomery, Jocko Sims, Anupam Kher, Tyler Labine and Sandra Mae Frank.
After a successful four-year run on NBC, it was revealed in 2022 that the show would conclude with its fifth season, comprising 13 episodes, reports Surrey Live.
New Amsterdam has landed on Prime Video(Image: Ralph Bavaro/NBC via Getty Images)
New Amsterdam can already be streamed in its entirety on Netflix, Sky and NOW, but now all five seasons have been added to Prime Video as well.
If you’re new or haven’t held a Prime membership for a full year, you can get a 30-day free trial of the complete Prime service (not just Prime Video) directly from Amazon.
Pricing in the UK stands at £8.99 per month or £95 per year. To enjoy the premium ad-free service, you’ll need to shell out an additional £2.99 per month.
Throughout its original run, New Amsterdam garnered mixed reviews from critics, who felt the show didn’t push any boundaries.
However, its audience was much more enthusiastic, with many preferring the drama over its medical rival Grey’s Anatomy.
The show ran for five seasons(Image: Ralph Bavaro/NBC via Getty Images)
“I was impressed by the social commentary in the writing! Well acted. All the usual obvious stuff but a few hidden gems for the few who still want to enjoy a show about life,” one viewer penned on IMDb.
Another chimed in: “This show looks at the human side of medicine and that is refreshing. In my opinion, it’s better than Grey’s Anatomy.”
A third shared: “Finally a medical drama without the usual drama. It’s not about the endless romance between the doctors and nurses, it is really focused about the medical aspect of the hospital. The characters are very refreshing and particularly Ryan Eggold is so endearing in his first remarkable role.”
Echoing the sentiment, a fourth fan wrote: “One of the best medical dramas I’ve seen. It had me hooked from the first episode.”
New Amsterdam is available to stream on Prime Video
The new season of what some fans consider the ‘best Walking Dead spin-off’ is finally streaming.
Fans can finally binge all episodes of Dead City season two from today (July 10). Viewers just need access to Sky Max or an entertainment pass on NOW streaming platform.
Fans over in the UK have had to wait a considerable amount of more time than those in the US for its release. However, all eight episodes have been released at once.
Here is everything you need to know about The Walking Dead: Dead City season two, including plot, cast and reviews so far.
Season two of the spin-off is finally streaming in the UK(Image: AMC)
What is second season of The Walking Dead: Dead City all about?
The series follows two of the most popular characters from the main and original Walking Dead series in Maggie and Negan. Audiences are used to seeing them on opposite sides but the first season saw them traveling together into a post-apocalyptic Manhattan cut off from the mainland .
They were in search of Maggie’s kidnapped son, Hershel. The crumbling city is filled with the dead and denizens who have made New York City their own world full of chaos, danger, beauty, and terror.
Season two picks up a year after Maggie infiltrated New York to save her son. Her group, The Brocks have been forced to join the New Babylon Federation while Maggie has been trying to move on with her life with teen son Hershel and Ginny.
However, those now in charge want to conscript the residents for a mission to finally take over the city. Meanwhile, Negan attempts to bring together the gangs that control Manhattan, knowing an invasion is inevitable.
Who stars in The Walking Dead: Dead City season two?
Lauren Cohan reprises her roles as Maggie Greene: formerly a part of Rick Grimes’ group on The Walking Dead. She is the leader of the Bricks, a community of survivors that relocated to New York from Virginia, where it was known as the Hilltop Colony.
Jeffrey Dean Morgan also returns as Negan: The reformed former leader of the Saviors who left the Commonwealth with his pregnant wife to build a life together at the end of The Walking Dead.
Gaius Charles as Perlie Armstrong: A marshal for the New Babylon Federation, a network of survivor communities in New York, who is tasked with hunting down Negan.
Željko Ivanek as Mile Jurkovic / The Croat: from Croatia, hence his name, he is a sadistic former member of the Saviors who kidnapped Maggie’s son in season one. He is also the leader of the Burazi (Brothers), a group of hostile survivors who have taken control of Manhattan.
Mahina Napoleon as Ginny: A young girl under Negan’s care who is selectively mute following the traumatic death of her father.
Lisa Emery as The Dama: The Croat’s mysterious ally.
Logan Kim takes over the part of Hershel Rhee, Maggie’s teenage son in season two.
Orange is the New Black’s Dascha Polanco plays Lucia Narvaez: A high-ranking marshal for New Babylon who takes part in their mission to control Manhattan.
Keir Gilchrist as Benjamin Pierce: New Babylon’s historian who documents the rebuilding of society and is fascinated by New York City.
Get Sky’s new TV and Netflix bundle
This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more
This delivers live and on-demand TV without a satellite dish or aerial and includes hit shows like The Last of Us and Squid Game.
What have The Walking Dead: Dead City reviews been like for season two?
The second season’s final has now aired in the US and as a result, full series reviews have started to be shared online. The first season received some high praise from fans, with one even claiming: “It’s definitely the best of the three spin off shows. I had low expectations going into this as the Daryl spin off was a big disappointment. But I was pleasantly surprised by how good this was and really enjoyed it.”
Unfortunately, it seems the second season hasn’t wowed the critics as much. It only has a 63% rating on Rotten Tomatoes while season one managed 80%.
However, one reviewer claimed the leads make it worth a watch. They said: “Jeffrey Dean Morgan and Lauren Cohen make the writer’s job easy as they consistently deliver within Negan and Maggie, making Season 2 well worthy of a watch.”
Another added: “The Walking Dead: Dead City goes weirder in season 2, with more eccentric groups, all the while continuing its introspective look at Maggie and Negan.”
Maggie and Negan reunite once again
Have the stars of Dead City said anything?
While Lauren Cohan reprised her role as Maggie, a character she has played since 2011, the star also directed an episode of Dead City for its second season.
Speaking about the new role, she said: “Being able to direct on a creative level is so satisfying because you collaborate with everyone and you get to you get to go into their world. You go into the production designers’ world you go into the costume designers’ world.”
She continued: “I felt like the responsibility to the fans is baked in because we know it, we love it. We just don’t want to get in the way of the thing we love. And the responsibility to my co-stars, working with the actors is the best part of the whole thing because we speak the language.”
The Walking Dead: Dead City is streaming on Sky and NOW.
Warner Bros. Discovery renamed its streaming service HBO Max on Wednesday, formally reversing its decision from two years ago to dump the prestigious HBO brand in a bid to make the service more appealing to a mainstream, meat-and-potatoes crowd.
The gambit to chase Netflix with a service called Max didn’t work. Warner Bros. Discovery’s leaders eventually recognized the tremendous value in the HBO name, and sheepishly brought it back for an encore.
“The good news is I have a drawer full of stationary from the last time around,” HBO Chairman Casey Bloys said in May, making light of Warner Bros. Discovery’s about-face during the company’s annual programming upfront presentation to advertisers at Madison Square Garden in New York.
The move marks the fifth name for the service in 15 years.
HBO’s first digital offering, introduced in 2010, was called HBO Go. Eventually the company added an HBO Now app. Then, in 2020, when the company launched its comprehensive streaming service with Warner Bros. movies and television shows, executives decided the HBO Max name would play to the company’s strengths while beckoning customers with a souped-up product and moniker to match.
That lasted until Chief Executive David Zaslav stepped in. The company truncated the name to Max because Zaslav and other executives felt the need to create some distance from HBO’s signature shows to make room for the nonscripted fare of Discovery’s channels, including HGTV and Food Network.
Now it’s back to HBO Max.
The company has said the shift was a response to audiences’ desire for quality over quantity.
“No consumer today is saying they want more content, but most consumers are saying they want better content,” the company said in May.
The change also represents a recognition that Warner Bros. Discovery, a medium-sized media company with a huge debt burden, couldn’t compete with Netflix, which tries to offer something for everyone.
And while some of the Max-branded shows, including “The Pitt,” are critically acclaimed, it was the HBO fare, including “The White Lotus,” that has been the most consistent draw for subscribers.
HBO built its legacy as a premium cable channel that required an additional fee on the monthly cable bill. Such groundbreaking series as “The Sopranos,” “Game of Thrones” and “Sex and the City” put the channel at the vanguard of prestige programming.
Most subscribers who currently have Max won’t need to download a new app, company insiders said.
An app update will eventually change the blue Max logo to a black HBO Max one.
Staff writer Stephen Battaglio contributed to this report.
Netflix has added the romantic drama We Live In Time to trtheir streaming platform and viewers are not only obsessed by it but revealed they can’t stop ‘sobbing’
Florence Pugh and Andrew Garfield’s chemistry on screen has been praised by viewers
Netflix has once again done what is does best by adding gripping drama to its streaming platform. And this time, the romantic drama We Live In Time has gripped the nation by storm.
The British based TV show, starring Andrew Garfield and Florence Pugh, follows the couple’s love story over a decade.
Alumut, played by Florence, who is a chef and former figure skater accidentally hits and knocks over Tobias, played by Andrew, with her car.
Viewers are then taken on their love journey as the pair navigate their way through ten years of different points in their lives.
The film was first released in cinemas across the nation in January this year before landing on Netflix. But it’s already fast become a huge hit among subscribers.
The official plot reads: “Almut (Florence Pugh) and Tobias (Andrew Garfield) are brought together in a surprise encounter that changes their lives. !”
Andrew Garfield and Florence Pugh star in new Netflix romantic drama(Image: Peter Mountain)
It adds: “As they embark on a path challenged by the limits of time, they learn to cherish each moment of the unconventional route their love story has taken, in filmmaker John Crowley’s decade-spanning, deeply moving romance.”
And viewers are loving it. One fan took to X and said that she could not sobbing after watching the highly acclaimed drama.
The fan said: “Finally watched we live in time and I’m so grateful I didn’t watch in the cinema I’ve not stopped sobbing.”
But that fan is by no means the only one. According to reports, the drama has received 79% on film website Rotten Tomatoes.
Those reviewing the drama on the site praised the believable chemistry between both lead characters.
After the show’s debut at at the Toronto Film Festival last year, the Guardian awarded it four stars and described it as “irresistible” and a “smart and sensitive crowd pleaser.”
Florence Pugh and Andrew Garfield’s chemistry on screen has been praised by viewers(Image: Peter Mountain)
It then added: “It’s such a joy to watch two such assured and natural performers allowed the room to exercise both movie star and actor muscles as well as showcase their ease with both comedy and drama.”
The review went on to add: “Their chemistry is just so electric that it would be hard to imagine how any of it could work quite so well without them.”
And in an interview with Radio Times, the director, John Crowley was asked about the chemistry between the two lead stars.
He explained: “I had an instinct that the two of them would work well together, and that’s not based on anything. That’s just a hunch, right? So it’s very unscientific.”
Once upon a time, sports fans wanted freedom of choice. Why pay for dozens — or perhaps hundreds — of television channels when all you wanted to do was to see your favorite teams play?
The cable era is in its sunset. Streaming is all the rage. No longer need you pay for channels that feature news, movies, cooking and gardening in order to watch the home team.
For sports fans, this has become an expensive mess, too.
The Dodgers require one subscription. The Lakers require another. The Angels, Kings and Clippers require another. The Galaxy and LAFC require another. The Ducks require another — although theirs is free for now.
Truth be told, the Dodgers and Lakers run L.A. The most valuable sports broadcasting property in town could be one that carries the Dodgers and Lakers.
For many fans in Los Angeles, that might represent freedom of choice: the one and only must-have sports subscription.
Could that future — one broadcast channel and one streaming app for the Dodgers and Lakers — become reality now that Mark Walter, the controlling owner of the Dodgers, is the new controlling owner of the Lakers? Walter hasn’t yet talked publicly about the Lakers deal, so we floated the idea by sports business insiders.
The Lakers are on Spectrum SportsNet. The Dodgers are on SportsNet LA. Who owns those channels?
Charter Communications, the parent company of Spectrum, owns SportsNet. The Dodgers, through an affiliated company, own SportsNet LA, although Charter operates it and pays the team a rights fee every year, just as it does with the Lakers.
Can Charter walk away from the Lakers deal because of the ownership change?
No.
Could Walter buy out Charter and put the Dodgers and Lakers on the same channel?
In theory, yes. Charter probably would give him the Lakers’ channel for free.
In reality? That appears unlikely any time soon. Walter didn’t get to be a billionaire by turning down half a billion dollars every year.
Go on.
When Charter’s predecessor, Time Warner Cable, launched the channels for the Lakers in 2012 and the Dodgers in 2014, cable and satellite channels were the way most fans watched their home teams. And, because cable and satellite packages required subscribers to pay for 100 channels even if they only watched five, those cooking and gardening enthusiasts helped enrich all those teams.
Fast forward to today: Nielsen reported that in May — for the first time — more Americans watched television via streaming than via broadcast and cable combined. This so-called “cord cutting” has turned the ownership of most sports channels from an asset to a liability, and many operators have either gone out of business or forced teams to take nine-figure hits to their rights fees.
What does this have to do with whether I can watch the Dodgers and Lakers on one channel?
The Dodgers’ channel and the Lakers’ channel each lose money. Walter would choose between acquiring a money-losing Lakers channel or keeping intact the two Charter deals that pay the Dodgers and Lakers more than $500 million combined each year. No team in baseball makes as much money from local television as the Dodgers, and no team in basketball makes as much money from local television as the Lakers.
The Lakers’ deal runs through 2032. The Dodgers’ deal runs through 2038.
Why are those dates important?
While other teams are experimenting with various combinations of cable, satellite, streaming and even free TV, the Lakers and Dodgers can cash in on guaranteed income and let those other teams be the guinea pigs for learning what works and what does not work in the new media world.
Major League Baseball would like to sell a national streaming package in 2028 — one spot to watch your team from wherever you are, with no blackouts — and the NBA figures to explore that option, too. That gives the Dodgers and Lakers a fairly long runway to see what might be best for them, including whether to retain their streaming rights or contribute them to a league package — and what they would require in order to do so.
Might a joint Dodgers-Lakers channel be a long-term solution?
It could be. With the NBA joining MLB in making postseason broadcasts entirely national, the calendar would align nicely: April to September for the Dodgers, October to April for the Lakers. Behind the scenes, one staff could largely replace two.
The time for the single-team sports channel has come and largely gone. The economics are poor, and the enthusiasm for 24-7, all-access coverage of one team has dissipated into the reality that most fans just want to watch the game.
How about Walter adding teams?
Nothing is impossible. Ted Leonsis, who owns the NHL’s Washington Capitals, NBA’s Washington Wizards and WNBA’s Washington Mystics, says the key to sports success could be an ownership bundle: own multiple teams, own the venues in which they play and own the platforms on which fans view their games.
Walter’s investments now include the Dodgers, Lakers and Sparks. SportsNet also airs the Sparks.
In 2012, Walter and his partners looked into buying AEG, which owns the Kings, the Galaxy and Crypto.comArena. AEG owner Philip Anschutz opted not to sell then, but Walter could renew that pursuit and, if successful, would control the two venues and four teams that call downtown L.A. home.
Disney+ has added the ‘best limited series ever’ that features one of the stars from Department Q.
Originally airing on BBC back in 2018, The Cry has a new streaming home on the platform that is also home to Marvel and The Simpsons. The series is based on the novel of the same name, written by Helen Fitzgerald.
According to the synopsis, the four-part drama follows young parents Joanna and Alistair who travel from Scotland to a town in Australia to visit family and fight for custody of Alistair’s daughter, Chloe, against his Australian ex-wife, Alexandra.
However, on the drive from Melbourne to the coastal town of Wilde Bay, their baby son Noah goes missing. In the aftermath of this tragedy, under public scrutiny, their relationship collapses and her psychological state disintegrates.
Jenna Coleman leads the series as Joanna. Coleman is known for her roles in Doctor Who, period drama Victoria and The Sandman. Also starring are Nine Perfect Strangers star Asher Keddie along with Kate Dickie who recently appeared in Netflix series Department Q.
Get Disney+ for £1.99 for four months
This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more
Disney+ has brought back its popular deal that lets new and returning customers join its Standard with Ads plan for £1.99 per month for four months.
This means members can stream hit shows like Andor, The Bear and Alien: Earth, plus countless titles from Star Wars and Marvel, for a fraction of the usual price.
Many fans have praised the series online ever since its initial debut. One person advised other Disney Plus subscribers: “The Cry is in a class of its own. The acting is sublime. Set aside a day and binge-watch it.”
Another claimed: “One of the best TV dramas I’ve ever seen! Totally hooks you in and you never know what’s gonna happen next! Jenna Coleman is incredible!”
Someone else commented: “Honestly one of the best limited series I have seen in a long time. I binge watched it in one hit which at four episodes long is not hard to do!”
Many viewers binge watched the series in just a day(Image: Synchronicity Films Ltd/Lachlan Moore)
They continued: “Sure, it isn’t perfect, but who cares when the acting is this good, and the story so gripping, intriguing and surprising from the beginning right until the very end.
“It’s truly every parent’s worst nightmare losing a child, but how this situation plays out is so different to other stories like this that I have seen.”
One viewer shared: “I can’t stop thinking about this series and I want to watch it all over again. Jenna Coleman, brilliant and so believable; and Ewen Leslie is so convincingly unlikable and silently frightening.
“I love the way time is shifted and your brain is forced to work a little harder. Continuity rules are broken, as are comfort levels.”
C-SPAN, the nonprofit outfit that has brought live gavel-to-gavel congressional coverage to cable TV viewers for decades, is feeling the squeeze faced by the rest of the TV business.
As consumers drop their traditional cable and satellite TV subscriptions for streaming platforms, C-SPAN’s main funding source is shrinking. The trend poses a threat to one of the rare media institutions that has bipartisan political support, including a fan in the Oval Office.
“It’s not a sustainable situation,” said C-SPAN Chief Executive Sam Feist said in an interview.
C-SPAN stands for Cable-Satellite Public Affairs Network, and therein lies the problem. The service is supported by cable and satellite operators who have seen their customer base steadily decline as consumers move to streaming platforms that now account for half of all TV viewing, according to recent data from Nielsen. C-SPAN, which reached around 100 million pay TV homes in 2015, is now down to 51 million households.
The contraction has led to a significant loss in revenue for C-SPAN, which has never sold advertising. C-SPAN took in $46.3 million in 2024, down 37% from $73 million in 2015, and is now running a deficit.
C-SPAN is not a glamorous TV operation. There are no high-priced anchors or slick studio sets. But it does need funding for the 30-plus camera crews that cover every moment the House and Senate are in session, think tank panels, town halls and other political events in Washington and around the country. C-SPAN uses its own cameras in the Capitol, enabling the service to catch the action when government-operated audio and visual equipment is cut off.
Feist said C-SPAN can fill its budget gap if companies that run smaller bundles of TV channels — such as Google’s YouTube TV and Walt Disney Co.’s Hulu Live TV — would agree to carry its feeds. Around 20 million households subscribe to such online subscription platforms, known as virtual multichannel video program distributors, which stream broadcast and cable channels.
It’s a big ask. Subscription streaming TV services are under pressure to keep their prices low so they can remain a cheaper alternative to a cable or satellite package. Every new channel increases the cost of a subscription.
C-SPAN is currently in discussions with Hulu and YouTube to get carriage.
“We are continuing to work with C-SPAN to find an approach that could support further access to their civic content,” a YouTube representative said. “We are proud that a large amount of C-SPAN’s content is available to viewers on the YouTube main platform, where it is accessible to everyone for free and generates advertising revenue for C-SPAN.”
C-SPAN was launched in 1979 when cable TV providers were looking to get in the good graces of local government officials who determined which companies would wire their communities.
Offering a civic-minded channel devoted to displaying democracy in action helped smooth the path for the pay TV industry’s expansion. C-SPAN went on to become a familiar brand that brought goodwill to cable and satellite companies, which have financed the service ever since.
But the C-SPAN legacy is not so meaningful to the upstart streaming services that have a growing number of customers who have never had a traditional pay TV subscription.
The stars of C-SPAN have started to weigh in. On June 2, the Senate passed a bipartisan resolution recognizing the anniversary of C-SPAN2, the channel devoted to the chamber’s sessions. The resolution said that live coverage of the proceedings needs to be accessible on all platforms.
C-SPAN also has support from the country’s most prominent TV viewer — President Trump. In recent months, Trump has posted on social media how he watches the channel in the overnight hours when highlights of the previous day, including his own press events, are presented.
While cable news channels such as CNN and MSNBC often dither over how much time they should devote to covering Trump’s rallies and public events, C-SPAN presents them in their entirety as a matter of course. The Trump White House communications office has praised the approach, which has remained consistent through all modern presidencies.
While some streaming outlets carry congressional proceedings, Feist notes that C-SPAN is still the only service that offers every event live over its three channels, even when they occur simultaneously. That was the case for the confirmations of FBI Director Kash Patel, Director of National Intelligence Tulsi Gabbard and Secretary of Health and Human Services Robert F. Kennedy Jr.
Feist, who is the former Washington bureau chief of CNN, said the neutral approach of C-SPAN has added value in a media environment where outlets now cater to the partisan leanings of their audiences. He cited an Ipsos poll that shows the political breakdown of its audience as 30% Democrat, 30% Republican and 36% independent.
“It matches the demographic of the country,” Feist said. “I think it puts us in a unique space in this ecosystem.”
Welcome to Screen Gab, the newsletter for everyone who needs a break from politicians’ interpretations of the Bible.
The fifth season of “The Chosen,” the faith-based TV series that has found success releasing select seasons in theaters, has begun its three-week rollout on Prime Video. George Xanthis, who plays John the Apostle, stopped by Guest Spot to discuss the show.
Also in this week’s Screen Gab, our streaming recommendations include a documentary that delves into the origin story of New Orleans’ first Black Mardi Gras krewe, and the latest installment in the travelogue adventures of actors/BFFs Ewan McGregor and Charley Boorman, known for their motorcycle journeys in “Long Way Round” and “Long Way Down.” This time, the pair is riding from McGregor’s home in Scotland to Boorman’s in England.
ICYMI
Must-read stories you might have missed
Showrunners R. Scott Gemmill (“The Pitt”), Lauren LeFranc (“The Penguin”), Craig Mazin (“The Last of Us”), Debora Cahn (“The Diplomat”), Seth Rogen (“The Studio”) and Jen Statsky (“Hacks”) pose for The Envelope’s Writers Emmy Roundtable.
Recommendations from the film and TV experts at The Times
Randolph Davis in a scene from “A King Like Me.”
(Netflix)
“A King Like Me” (Netflix)
Matthew O. Henderson has made a lively, lovely documentary about the Zulu Social Aid and Pleasure Club of New Orleans, preeminent among the krewes that parade on Mardis Gras. (You will know them by the painted coconuts they toss, their makeup and grass skirts.) It’s a history, a celebration and a disquisition, whose interests range from the benevolent societies that provided a form of neighborhood insurance, to the electioneering of men hoping to become that year’s king — Louis Armstrong served in 1949 — to surviving racism, Katrina and COVID (or not). The question is raised of whether the Zulus, Black men who have paraded in a sort of altered blackface and “African” dress for more than 100 years, should give up the long-controversial makeup or preserve it as a generations-old tradition; Henderson doesn’t take a side, but lets his subjects have their nuanced say. And as any film about New Orleans must, it’s full of music and food, hanging out and dancing in the streets. — Robert Lloyd
Charley Boorman, left, and Ewan McGregor in AppleTV+’s “Long Way Home.”
(Apple TV+)
“Long Way Home” (AppleTV+)
When “Outlander” debuted on Starz in August 2014, many Americans were as dazzled by Scotland, with its looming fells, pristine lakes and lyrical accents as they were by the time traveling love story. Since then, Scotland has become the new England, at least on television. Streamers are bursting with all manner of Scottish series, from the classics (“Rebus,” the 2000s original available on BritBox and the remake, on ViaPlay) to the brand new (“Dept. Q” on Netflix). In between are shows too numerous and diverse to name but given my penchant for murder mysteries, it is not surprising that my favorites include: “Case Histories” (Acorn TV, Tubi), “Shetland” (BritBox), “The Loch” (BritBox), “Karen Pirie” (BritBox) and “Annika” (PBS) — all of which offer breathtaking scenery, ancient stone edifices and, most important, a glowering, windswept alternative to Los Angeles, particularly in summer That’s exactly what I was looking for when I tuned into “Long Way Home” on Apple TV+.
The fourth installment of Ewan McGregor and Charley Boorman’s motorcycle adventures around the world begins at McGregor’s Scottish home, winds its way through Scandinavia into the Arctic, thence through the Baltic states and through continental Europe before finishing up back in Scotland. Having no European vacation plans of my own, it seemed a fine visual substitute; McGregor is always a charming screen presence, as is Boorman. It’s been five years since they joined forces for “Long Way Down,” 20 since their first trip in “Long Way Round,” and watching two 50-somethings hitch themselves onto vintage bikes to embark on a 19,000-mile journey to the Arctic and back is pretty inspiring — even if one of them has a name and face that guarantees a certain starstruck quality from even citizens of rural Finland and both have a multiperson camera crew/backup team should anything go seriously wrong.
Unlike other travelogues, this series does not linger over cuisine, haute or otherwise (there is a continual quest for coffee), aiming instead for a scattering of local crafts, traditions and events. The ever-shifting landscape is, in fact, amazingly beautiful, the people they meet along the way are often quite fascinating. The best parts, of course, are the unexpected bad weather, an unexpected road closure, an impromptu concertand mosquitoes. The bikes grumble and occasionally break down, as do the 50-somethings, which is reassuring to us ordinary folk who get to see the glory of all without having to straddle a motorcycle for two months. At 10 episodes that average 40 minutes, “Long Way Home” covers a lot of ground in a way that is both slow and speedy. My only complaint? Not nearly enough Scotland. — Mary McNamara
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
George Xanthis, left, as John and Jonathan Roumie as Jesus in “The Chosen: Last Supper.”
(Photo from Prime Video)
Season 5 of “The Chosen,” the TV series about the life of Jesus that became a surprise hit, already played in movie theaters earlier this year, but fans looking for ways to fill prime rest hours can now watch all eight episodes at home. Created by Dallas Jenkins, the faith-based drama has attracted a devoted audience since its premiere in 2017 with its look at Jesus’ life and teachings — and has found success leaning into an unconventional distribution strategy, with theatrical releases of Seasons 3 through 5 that have made millions at the box office. The first two episodes of the fifth season, which is titled “Last Supper” and chronicles the events of Holy Week, are available to stream on Prime Video, with the next three episodes dropping Sunday, before concluding with another three-episode release on June 29. Australian actor George Xanthis, who plays John the Apostle, stopped by Guest Spot via email to talk about the show’s success and the Pixar film that’s become scripture to him. — Yvonne Villarreal
“The Chosen” is striking a chord with an underserved audience often overlooked by major Hollywood studios. As an actor, did you feel any stigma about venturing into faith-based content? What has the experience of making it — and the response to it — illuminated for you?
I’ll start by saying that upon reading the first episode and finding out I was playing a “fisherman” by the name of “John,” I actually had no idea the project was faith-based! I think that tells you where this series has found success — it doesn’t read or play like something that is strictly faith-based, or something that is attempting to convert you. It’s a show about the real people that would have lived through first century Judea, how they battled against crippling Roman occupation and how they found refuge in a peaceful, love-preaching Rabbi. I guess I didn’t have time to feel any stigma, and before I knew it, we were a megahit all around the globe!
For the audience, there’s often a blurring of lines between performer and role. That would seem to be an interesting dynamic when portraying a figure of faith — how do you grapple with that push and pull of serving as a conduit for someone’s relationship to their faith while maintaining your grip on your function as an actor?
The show’s success has come from taking these “saints” in the apostles and bringing them away from the paintings and iconography we recognize and telling an origin story that audiences can relate to. At the end of the day, I am not necessarily depicting a saint as a figure of faith, but rather, I am a fisherman from Capernaum with a hot temperament learning to control his impulses with the lessons of love and compassion his Rabbi is teaching him. It’s important to respect people’s identification with these figures in whatever way they want to, but for me the best feedback I’ve received from fans about my portrayal of John has been how they see parts of themselves in John, when he makes mistakes, when he learns from his mistakes, when he makes them AGAIN and so on.
You’ve played real-life figures like George Stephanopoulos in “Impeachment: American Crime Story” and John Travolta in an Olivia Newton-John TV biopic. How does your approach and your mission with those known figures compare to what you’re striving to achieve with your portrayal of John the Apostle?
I started out in this industry in comedy, both stand-up and sketch comedy. A large part of my comedic success has come from doing impressions and impersonating notable people. When I got the roles of John Travolta and George Stephanopoulos, my process was the same as any impression — find the voice, find the body, mold myself into the people based on what I could see of them and mimic them as well as I could. With John [the Apostle], I’m depicting a real person but I don’t have the luxury of watching videos of him. So instead, the character arc helps govern my character building. An eager-to-please “Son of Thunder” has a short temper, sometimes waning patience but at the center of him is a compassionate soul who always looks out for others he cares about. It means my palate to play with is quite broad, and John’s temperament for any given moment usually exists somewhere between these extremes of “thunder” and “love.”
What have you watched recently that you’re recommending to everyone you know?
The most recent series I finished was “Peaky Blinders” (Netflix). Being an Australian and part of the Commonwealth, British-based television holds a special place in my heart, and I loved watching Birmingham come to life through the brutal eyes of Thomas Shelby. It’s a bucket list item of mine to be in a British film or series watching so much of it growing up. Here’s to hoping!
What’s your go-to comfort watch, the film or TV show you return to again and again?
There are so many, but becoming a new father, I realized just how much I have watched “Toy Story” (Disney+) and how much time I still have for that film. I’ll still watch it on planes as I make the 14-hour commute between Australia and the U.S. when there’s nothing else to watch. Fun fact: I can quote the movie word-for-word from beginning to end. Pick a moment, and I can carry on the movie verbatim — voices, music, sound effects and all!
LONDON — Music streaming service Deezer said Friday that it will start flagging albums with AI-generated songs, part of its fight against streaming fraudsters.
Deezer, based in Paris, is grappling with a surge in music on its platform created using artificial intelligence tools it says are being wielded to earn royalties fraudulently.
The app will display an on-screen label warning about “AI-generated content” and notify listeners that some tracks on an album were created with song generators.
Deezer is a small player in music streaming, which is dominated by Spotify, Amazon and Apple, but the company said AI-generated music is an “industry-wide issue.”
It’s committed to “safeguarding the rights of artists and songwriters at a time where copyright law is being put into question in favor of training AI models,” CEO Alexis Lanternier said in a press release.
Deezer’s move underscores the disruption caused by generative AI systems, which are trained on the contents of the internet including text, images and audio available online. AI companies are facing a slew of lawsuits challenging their practice of scraping the web for such training data without paying for it.
According to an AI song detection tool that Deezer rolled out this year, 18% of songs uploaded to its platform each day, or about 20,000 tracks, are now completely AI generated. Just three months earlier, that number was 10%, Lanternier said in a recent interview.
AI has many benefits but it also “creates a lot of questions” for the music industry, Lanternier told The Associated Press. Using AI to make music is fine as long as there’s an artist behind it but the problem arises when anyone, or even a bot, can use it to make music, he said.
Music fraudsters “create tons of songs. They upload, they try to get on playlists or recommendations, and as a result they gather royalties,” he said.
Musicians can’t upload music directly to Deezer or rival platforms like Spotify or Apple Music. Music labels or digital distribution platforms can do it for artists they have contracts with, while anyone else can use a “self service” distribution company.
Fully AI-generated music still accounts for only about 0.5% of total streams on Deezer. But the company said it’s “evident” that fraud is “the primary purpose” for these songs because it suspects that as many as seven in 10 listens of an AI song are done by streaming “farms” or bots, instead of humans.
Any AI songs used for “stream manipulation” will be cut off from royalty payments, Deezer said.
AI has been a hot topic in the music industry, with debates swirling around its creative possibilities as well as concerns about its legality.
Two of the most popular AI song generators, Suno and Udio, are being sued by record companies for copyright infringement, and face allegations they exploited recorded works of artists from Chuck Berry to Mariah Carey.
Gema, a German royalty-collection group, is suing Suno in a similar case filed in Munich, accusing the service of generating songs that are “confusingly similar” to original versions by artists it represents, including “Forever Young” by Alphaville, “Daddy Cool” by Boney M and Lou Bega’s “Mambo No. 5.”
Major record labels are reportedly negotiating with Suno and Udio for compensation, according to news reports earlier this month.
To detect songs for tagging, Lanternier says Deezer uses the same generators used to create songs to analyze their output.
“We identify patterns because the song creates such a complex signal. There is lots of information in the song,” Lanternier said.
The AI music generators seem to be unable to produce songs without subtle but recognizable patterns, which change constantly.
“So you have to update your tool every day,” Lanternier said. “So we keep generating songs to learn, to teach our algorithm. So we’re fighting AI with AI.”
Fraudsters can earn big money through streaming. Lanternier pointed to a criminal case last year in the U.S., which authorities said was the first ever involving artificially inflated music streaming. Prosecutors charged a man with wire fraud conspiracy, accusing him of generating hundreds of thousands of AI songs and using bots to automatically stream them billions of times, earning at least $10 million.
Media giant Paramount Global is trying to avoid a streaming future without Cartman, Stan, Kyle and Kenny.
As Paramount struggles to complete a key merger, the company is in the midst of a protracted negotiation to extend one of its biggest and most important franchises: the long-running foulmouthed cartoon “South Park.”
Paramount’s $900-million overall deal with “South Park” creators Matt Stone and Trey Parker doesn’t expire for another two years. New episodes run first on Paramount’s basic cable network Comedy Central.
But efforts to renew that venture and bring the show to the Paramount+ streaming service have hit a major snag, according to three people familiar with the discussions who were not authorized to speak publicly.
The situation highlights deep tensions and disagreements as a trio of executives try to manage Paramount until the company’s sale to David Ellison’s Skydance Media, which has the right to approve or deny large deals such as the “South Park” pact under covenants made with Paramount.
Paramount leaders are desperate to lock down “South Park’s” streaming rights in the U.S. and abroad. They’ve long been frustrated by a licensing arrangement made six years ago by the previous regime that sent “South Park” to rival HBO Max, owned by Warner Bros. Discovery. That deal expires this month.
“South Park” is one of Paramount’s most important shows. Along with “The Daily Show With Jon Stewart,” the four boys and their celebrity-skewering ways put Comedy Central on the map for basic cable viewers, taking on hot-button issues from Scientology and the War on Terror to the royal family and the Trump administration.
During a May earnings call, Paramount co-Chief Executive Chris McCarthy — who runs Paramount’s media networks as well as Showtime and MTV Entertainment Studios — told investors that “South Park” episodes would begin streaming on Paramount+ in July.
However, Paramount hasn’t nailed down the streaming rights to “South Park,” according to the three people familiar with the conversations. Since earlier this year, Paramount has made at least one offer to Parker and Stone as an early extension of their overall deal.
The company also wants to secure rights to stream the 333 episodes of “South Park” on Paramount+.
Some of the knowledgeable people expect “South Park” distribution fees to be valued at more than $200 million a year.
But Skydance hasn’t signed off, believing the deals to be too rich, according to the sources. Paramount executives believe the show is worth the big bucks, given the show’s enduring popularity and legacy.
Representatives for Paramount and Skydance declined to comment.
Hollywood agent Ari Emanuel, whose firm WME represents Parker and Stone, defended Paramount and Skydance’s handling of the situation on Friday by phone.
“Nobody has rejected anything. They are just doing their analysis,” Emanuel told The Times in a brief interview. “We’ve got offers from other distributors. Everybody wants this show.”
Skydance’s $8-billion takeover of Paramount has been in a holding pattern for months as the two companies wait for federal regulators’ approval. Skydance, backed by tech mogul Larry Ellison and RedBird Capital Partners, is eager to take over the storied media company.
They intend to bring increased financial rigor to Paramount’s operations, other sources have said. Paramount and Skydance have told Wall Street the deal will bring $2 billion in cost savings, with half of that coming in the first year.
Deadlines are looming. The new season, the program’s 27th, is scheduled to debut July 9 on Comedy Central.
Unless Paramount strikes a deal with the creators by June 23, the company risks losing the franchise’s streaming rights because Parker and Stone could shop the show to other interested streamers, such as Netflix, Amazon Prime Video or Hulu. However, sources cautioned that negotiations could go past the June deadline and that the parties expect a deal to get done.
Represented by their longtime attorney Kevin Morris, who is leading the current negotiations, the duo carved out the internet rights nearly two decades ago. They formed a joint venture with Paramount (then known as Viacom) called South Park Digital Studios. That decision proved highly lucrative for Parker and Stone, also known for the hit Broadway musical “The Book of Mormon.”
Paramount runs the joint venture with Stone and Parker, sharing control of the streaming rights to the show that launched in 1997 on Comedy Central, although the duo can veto streaming deals they find unfavorable.
Companies are typically not supposed to wade too deeply into another firm’s affairs. Federal antitrust laws prohibit so-called gun-jumping, when an acquiring company begins calling the shots before a deal’s official closure. But Paramount agreed to accept Skydance’s input on big-ticket expenditures while the two sides wait for the deal to close.
The “South Park” streaming rights negotiations also have been complicated by a lawsuit brought two years ago by Warner Bros. Discovery. That company accused Paramount of violating terms of its 2019 licensing pact for “South Park,” after Warner paid about $540 million for the show’s streaming rights.
Paramount and the “South Park” creators developed specials featuring the four animated boys in a fictional Colorado mountain town to stream exclusively on Paramount+. Warner argued the move violated its licensing deal. HBO Max declined to comment.
Two years after the HBO Max deal, Paramount struck a new accord with Parker and Stone for $900 million, sealing their partnership and ensuring new episodes of “South Park” would be made. That deal runs to 2027, although Paramount executives have offered to extend that arrangement for several years.
Paramount has long intended to shift the show to Paramount+ as soon as the HBO Max deal expires.
The various parties have long envisioned a scenario where domestic and international rights would be shared by at least two different streaming services. Although neither partner would have exclusive rights, the current trend in television is for studios to maximize revenue to help pay for expensive programs, like “South Park,” while maintaining some streaming rights.
Paramount also has been dealing with another crisis that has been complicated by the Skydance merger. The company has sought to settle President Trump’s $20-billion lawsuit claiming subsidiary CBS News deceptively edited a “60 Minutes” interview with then-Vice President Kamala Harris, an allegation CBS denies.
Trump’s case hasn’t been resolved, and the Federal Communications Commission has been slow to review Skydance’s proposed takeover of Paramount, extending the deal review.
The Skydance transaction has been pending at the FCC since last fall, leaving Paramount executives in limbo.
Disney+ is back with a mega-cheap £1.99 streaming offer – these are the series our team is loving
16:00, 13 Jun 2025Updated 16:21, 13 Jun 2025
This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more
Series we’re loving on Disney+
The weekend is here and for those keen to relax on the sofa with a bingeable series, there’s lots on offer. Disney+ is making headlines for the return of one of its most affordable deals, as prices drop to £1.99.
Shoppers will have to sign up for the subscription to get the £1.99 price, but there is no required contract and users can leave after each 30-day window. The deal is available to snap up by June 30, and it lasts for four months before rising to the previous £4.99 rate.
With a packed TV guide for the summer, including the live-action Snow White and Marvel’s Ironheart, there’s plenty to watch. As a team filled with series lovers, we’ve got a handful of recommendations from the new Welcome to Wrexham season, reality dramas The Secret Lives of Mormon Wives, or decade classics like Grey’s Anatomy.
Disney+ has brought back its popular deal that lets new and returning customers join its Standard with Ads plan for £1.99 per month for four months.
This means members can stream hit shows like Andor, The Bear and Alien: Earth, plus countless titles from Star Wars and Marvel, for a fraction of the usual price.
Narin’s favourites – Daredevil: Born Again and Welcome to Wrexham
Daredevil: Born Again might be the best TV series I’ve watched this year so far. Charlie Cox and Vincent D’Onofrio reprise their roles as Daredevil and Kingpin as the two old adversaries clash once more, with both men trying to juggle their public personas and secret lives inextricably linked with New York’s crime-ridden underbelly.
The result is a show that takes the best of the already-brilliant Netflix run (including some fan favourite returns) and surprisingly makes it even darker and more brutal – what would Walt say?
As a proud comic book geek I freely confess that Marvel fatigue has been a thing for a while now, with much of their output proving a miss rather than a hit for me. Daredevil: Born Again (and actually also Thunderbolts which will be coming to the streaming giant in due course) are a pleasing and much-needed return to quality and definitely a must-see.
Ryan Reynolds and Rob McElhenney from Welcome to Wrexham(Image: Alberto E. Rodriguez)
Welcome to Wrexham season four is streaming now on Disney+ and this £1.99 deal allows you to watch the thrilling climax of the celeb-led club’s season week by week. In the four short years since A-listers Ryan Reynolds and Rob McElhenney bought Wrexham AFC for £2 million the club’s fortunes have transformed, taking it into a £150m+ force in football.
This show offers a great behind-the-scenes look at that ascendance, led by both men alongside a cast of supporting characters, including the team’s sweary yet brilliant manager Phil Parkinson and Executive Director Humphrey Ker.
Don’t let the football distract you, though – at its core, this is as much a show about the community and people who live around Wrexham as the on-pitch shenanigans and all the better for it. If you like your reality TV heartwarming rather than angsty then this is your next perfect binge watch.
Harriet’s favourite – The Secret Lives of Mormon Wives
If drama, gossip, affairs and the craze of social media is your thing then I’d highlighy recommend The Secret Lives of Mormon Wives. Season 2 of the reality series has recently hit Disney+ after a gripping first season – and I’ve never been more hooked on a series.
The Secret Lives of Mormon Wives Season 2 is out on Disney+(Image: Disney)
Yes, you have to enjoy shows like Keeping Up with Kardashians and The Real Housewives to love this. The series follows a group of MomTok influencers and their Mormon community as they navigate growing social presence and scandals.
Jake’s favourite – Andor Season 2
I’ve been a huge Star Wars fan since I was a little kid, but had almost given up on the franchise after some of its recent output left me with Jedi fatigue. That was until the new season of Andor pulled me well and truly back in.
After admittedly not being blown away by the first season, I was completely gripped by the eponymous rebel spy’s latest mission, so much so that I binged the whole thing in one weekend. It may not feature any lightsabers or Jedi, but what it does offer cements its position as one of the greatest Star Wars titles there is and without doubt, the best episodic instalment yet.
There simply aren’t enough superlatives to describe the series; it’s beautifully shot, each performance is Emmy-worthy and the high-stakes of Andor’s mission result in incredibly intense viewing – especially in the latter half of the series. Going back to watch Rogue One – which is set immediately after the Andor finale – completely changes the viewer’s perspective on the story, making a great film even better.
Jada’s favourite – Abbotts Elementary
Quinta Brunson has been on my radar since she first went viral for her ‘he got money’ videos when I was a teenager, with her enthusiastically telling anyone who would listen that her cinema date was rich since he bought a large popcorn. I’ve watched her through the Buzzfeed years and when I heard that her award-winning show was going to be available to stream on Disney+ I knew it was time to get a subscription.
Abbott Elementary is about a public school in Philadelphia where the odds aren’t really in anyone’s favour. It’s so consistently funny that I’d love to be a fly on the wall of their writer’s room. Quinta plays Janine Teagues, a perky second-grade teacher with so much enthusiasm to make a positive difference. The cast are all hilarious in their own right, Ava the principal (played by Janelle James), who bribed her way into a job has to be one of the standout characters and over the seasons she seems a little more vulnerable even if she remains obnoxiously tone deaf.
There’s romantic tension with Janine and Gregory, played by Everybody Hates Chris star Tyler James Williams, that had me routing for them the whole way through as they awkwardly navigate their feelings.
It’s easily the best mockumentary sitcom I’ve ever seen, my only gripe is the episodes are released later in the UK than the US – so I made sure to catch up to the season finale when I visited the states earlier this year.
Eve’s favourite is something Disney+ doesn’t offer
1883 is, without a doubt, one of the best TV series I have watched to date. I’m a bit of an all-rounder when it comes to the shows I watch.
I’m a sucker for Gilmore Girls and Ginny & Georgia (both on Netflix) as well as the hit, edge-of-your-seat, relatively brutal mob-family extravaganza Mobland (Amazon Prime), Ted Lesso (Apple TV), The Last of Us (NOW) and New Girl (Disney+). All of which bring very different things to the table. But when I was recommended 1883, aside from knowing the bare bones of its description, I had no idea what to expect.
Ginny and Georgia season 3 – Get Netflix free with Sky
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 Ginny and Georgia.
A prequel to the highly regarded Yellowstone (a show still on my watch-list), 1883 is an American Western drama miniseries which follows the origin story of the Dutton family to the Yellowstone ranch. The show sees the five Dutton family members in post-Civil War America flee poverty in Texas and embark on a long, arduous journey through the Great Plains in the hope of a better future in Montana.
A description of the show on IMDB reads: “The post-Civil War generation of the Dutton family travels to Texas, and joins a wagon train undertaking the arduous journey west to Oregon, before settling in Montana to establish what would eventually become the Yellowstone Ranch.”
Exploring the use and roles ranchhands/cowboys as well as the history, challenges and conflicts faced by the Indiginous Americans during this period, it’s an action-packed, heart-wrenching story that had me hooked.
The 10-part series features some pretty big names in the world of film as country music such as Tim McGraw, Faith Hill, Sam Elliott and even has cameos from Billy Bob Thornton and Tom Hanks. Its sequel, 1923, stars Helen Mirren and Harrison Ford – also an incredible watch on Paramount+
Phoebe’s favourite – Grey’s Anatomy
Grey’s Anatomy is my mum’s favourite TV show of all time. She has been a loyal viewer since the first series aired in the mid-2000s, so when it was announced that the American medical drama would be available on Disney+, I wanted to see what all the fuss was about.
I signed up and began binge-watching the gripping show right away. I can happily say Grey’s Anatomy has earned a place in my top TV shows of all-time. It’s full of heart and passion, and a bunch of characters I adore. The show’s creator Shonda Rhimes has me laughing out loud one minute and ugly crying the next. With there being 21 series and over 400 episodes waiting to be watched, it’s sure to keep households entertained for months.
The last time it ran a similar deal was back in September, and that was only for 3 months of streaming.
However, this promotion comes directly from Disney itself, making it a brilliant chance to save money on one of the most popular streaming services around.
With this plan, you can stream in Full HD on two devices at the same time, and content is broken up by adverts.
Yep, it’s the no-frills version of Disney+ – but it’s still an absolute bargain at that reduced monthly cost.
For just £1.99 a month, you’ll get access to the entire Disney+ catalogue.
Parents, I imagine, will particularly appreciate this deal, with the school summer holidays fast approaching.
Naturally, the entire catalogue of Disney’s classic animated films is available to stream.
The latest addition to the platform is the live-action remake of Snow White – perfect if you missed it in cinemas (and are ready to face those CGI dwarves).
For Star Wars fans, the critically acclaimed Andor Series 2 is now available to stream in full.
Marvel lovers also have plenty to get excited about, with the latest series, Ironheart, set to premiere on 25th June.
But for my money, the biggest show on the horizon is Series 4 of The Bear.
This intense, heart-stirring and ever-so-slightly-stressful cooking drama is one of the best shows on TV, and the new season drops on 26th June.
I’ve been working up an appetite for this since thatSeason 3 finale last year.
Honestly, it’s worth the £1.99-per-month sign-up all by itself, in my opinion.
Kitchen dramas, superheroes, guilty-pleasure Mormon wife reality TV – it’s all there on Disney+.
Just make sure you sign up this month, before it returns to standard price.
Welcome to Screen Gab, the newsletter for everyone who longs for the expansion of dirty soda chain Swig so we can feel better equipped to deal with #MomTok drama (IYKYK).
It’s been a week since the second season of “The Secret Lives of Mormon Wives” dropped on Hulu, but die-hard reality TV watchers have likely already inhaled all nine episodes with the same unwavering commitment as the cast member trying to make us believe that her husband is related to Ben Affleck. (Spoiler alert: He is not. But we sure hope the actor watches while sipping on a 44-ounce iced coffee.) Taylor Frankie Paul, the self-proclaimed founder of #MomTok, the TikTok infuencer group that unites them, stopped by Guest Spot to talk about the new season of friendship and backstabbing.
Also in this week’s Screen Gab, our resident true-crime expert Lorraine Ali tells you why a docuseries about 1982’s unsolved Tylenol murder case is worth watching, and TV critic Robert Lloyd dives into the pleasures of watching professional surfers chase giant waves. Be sure to also find time to take in Lloyd’s tender tribute to “quintessential Regular Guy” George Wendt, who died this week at age 76; it’s linked below.
Newsletter
You are reading Screen Gab newsletter
Sign up to get recommendations for the TV shows and streaming movies you can’t miss, plus exclusive interviews with the talent behind your favorite titles, in your inbox every Friday
You may occasionally receive promotional content from the Los Angeles Times.
ICYMI
Must-read stories you might have missed
Actor George Wendt, best known for his role as Norm in NBC’s long-running sitcom “Cheers,” holds a glass of beer in a barroom in Los Angeles on June 13, 1983.
Recommendations from the film and TV experts at The Times
Professional big-wave surfer Garrett McNamara in HBO’s “100 Foot Wave.”
(HBO)
“100 Foot Wave” (Max)
The continuing story of big-wave surfer Garrett McNamara, his family and friends becomes a trilogy with the third season of Chris Smith’s great HBO docuseries, crazy to contemplate yet beautiful to behold. Garrett, a maverick who put the Portuguese town of Nazaré on the map for its massive waves, set a record there, surfing a 78-footer — imagine an eight-story office building coming up behind you. But with the spot well-established and many records having been matched, the series has become less about competition than community and compulsion. (A middle-aged adolescent with a seemingly high tolerance for pain, Garrett, despite age and injury, cannot stop surfing.) Back again, with a cast of top big-wave surfers, are charismatic Nicole McNamara, Garrett’s level-headed wife and manager and mother to their three, one might say, “other children,” and her brother C.J. Macias, suffering from surfing PTSD after breaking his arm at Nazaré. The climax of the season is a surfing safari to Cortes Bank, 100 miles off the coast of Southern California, where an undersea island creates huge waves with no land in sight. — Robert Lloyd
A still showing Tylenol pills from the Netflix documentary “Cold Case: The Tylenol Murders.”
(Netflix)
“Cold Case: The Tylenol Murders” (Netflix)
If you’re not ready to switch to Advil, stop reading here. Netflix’s three-part, true-crime docuseries deftly chronicles one of the largest criminal investigations in U.S. history involving the 1982 murder of seven victims in Chicago who died after ingesting Extra Strength Tylenol tablets laced with cyanide. No one was ever charged with their murders.
Directed by Yotam Guendelman and Ari Pines (“Conversations with a Killer: The Ted Bundy Tapes”), the series includes interviews with family of the victims, investigators, police and prosecutors who were directly involved in the case. Together their accounts recall the bizarre and terrifying nature of the crimes, the national panic caused by the tainted pills and the stunning lack of scrutiny on the medication’s manufacturers, Johnson & Johnson.
Private citizen James W. Lewis eventually emerged as one of two main suspects in the case, and he served 12 years in prison for sending an extortion note to Johnson & Johnson demanding $1 million to “stop the killing.” But authorities couldn’t pin the murders on Lewis. The documentary features an exclusive interview with Lewis before his death in July 2023 in which he proclaims his innocence yet appears to still revel in the media attention. The series also calls into question the culpability of Johnson & Johnson and the possibility that the poisoned capsules may have come straight from the factory before landing on drugstore shelves, where they were purchased by the unwitting victims. The murders ultimately led to an overhaul on the safety packaging we see on today’s over-the-counter medication.
Also worth your time is “This is the Zodiac Speaking,” Netflix’s riveting 2024 docuseries chronicling a family of siblings who were intimately involved with the top suspect in the still unsolved Zodiac killings of the 1960s and ‘70s. Sleep tight. — Lorraine Ali
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Mayci Neeley and Taylor Frankie Paul in “The Secret Lives of Mormon Wives.”
(Fred Hayes / Disney)
“The Secret Lives of Mormon Wives” feels like the new wave of soapy reality TV in the way it builds off social media personas to create ridiculously addictive drama. The Hulu reality series follows the lives of a group “momfluencers” who push against traditional Mormon norms — they’re the breadwinners, some are divorced, many drink, and at least one faced the dilemma of promoting a sex toy brand. Taylor Frankie Paul, the founding member of #MomTok, stopped by Guest Spot to discuss what makes great reality TV versus social media content and the scripted show that reminds her of her life. — Yvonne Villarreal
The women spend a lot of the season saying #MomTok has veered away from what it was initially conceived to be about — women supporting women. How do you think the reality show — this additional layer of sharing your personal life with an audience — has both helped its evolution and threatened its survival?
I think it’s threatened the survival because when you share, you get vulnerable and, unfortunately, when doing so it could eventually be used against you. With that being said, it helps the evolution by doing the same thing — being vulnerable can bring people closer together as well.
What have you learned makes great reality TV and how is that different from what makes great social media content?
What makes great reality TV is sharing as much as you can — both pretty and ugly — so they [followers] can see [the] bigger picture. What makes great social media content is leaving some mystery. It’s ironic that it’s opposite!
Viewers had a strong reaction to how your family engaged with you about your relationship with Dakota, particularly at the family BBQ. What struck you in watching it back?
Watching the scene at my family BBQ made us all cry because my family loves me dearly and the approach was maybe not the best (including myself), but everyone’s emotions were heightened. A lot was happening and all I remember is feeling overwhelming pain. But I do know my family has my best interest [in mind] even if that moment doesn’t show that. I know and that’s all that matters. I don’t like seeing the backlash because they are my village and I love them so much.
I notice that I come off intimidating or harsh, however I’m very soft and forgiving. I typically need to feel safe to show more of that. I feel like I’m always on defense, and I need to give people the benefit of the doubt — not everyone is going to cause pain; in other words, [I need to] open my heart more.
What have you watched recently that you’re recommending to everyone you know?
My current go-to watch is “Tell Me Lies” [Hulu]. I’m not a reality TV girl, ironically. I’m obsessed with this show. It’s so toxic and so good. It’s a lot like my life, so it’s entertaining to watch someone else’s life.
If you want to understand what’s going on in the streaming business, go find Elmo and Cookie Monster.
Netflix’s recent deal to stream the upcoming season of “Sesame Street” is, on its own, a major step in the entertainment giant’s effort to become a go-to destination for preschooler programming. At the same time, it’s a useful way to understand one of the media industry’s other big stories of the last week — Warner Bros. Discovery’s re-rebranding of its streaming service back to HBO Max.
First, the deal itself.
Los Gatos, Calif.-based Netflix will begin streaming the beloved children’s show’s upcoming 56th season, along with 90 hours of older episodes, later this year. New “Sesame Street” episodes will continue to air in the U.S. on PBS’ stations and digital platforms, the nonprofit Sesame Workshop’s longtime TV partner (which could use a win amid Congress’ efforts to defund public broadcasting). Episodes will premiere the same day on PBS and Netflix.
The new season will be released in three batches, and will include some format changes and the return of popular segments such as “Elmo’s World” and “Cookie Monster’s Foodie Truck.” Episodes will now be built around one 11-minute story, reflecting the shorter attention spans of younger viewers. The partnership includes a new animated segment, “Tales from 123.” Additionally, Netflix will be able to develop “Sesame Street” video games.
Netflix is welcoming “Sesame Street” to its block after HBO parent company Warner Bros. Discovery opted not to re-up its deal for new episodes, citing a shift in corporate priorities during a period of harsh cost-cutting.
HBO — and by extension, the streaming service known until recently as Max — had been the home of “Sesame Street” for years. The company then called Time Warner inked its deal with Sesame Workshop a decade ago, before AT&T or David Zaslav and his Discovery empire entered the picture.
Having Big Bird appear on the exclusive and adult-skewing “Game of Thrones” network never made much sense, but the deal was a lifeline for Sesame Workshop and kept the show alive, though it raised concerns among parent groups.
After AT&T took over, WarnerMedia launched HBO Max, a much reviled rebranding that was meant to make room for more populist content, including “Friends” and “The Big Bang Theory.” It also allowed for more kids’ programming, such as shows from Cartoon Network and Hanna-Barbera, along with “Sesame Street.”
Then came Zaslav, who stripped HBO from the streamer’s name entirely, leaving it as just Max. Part of the justification of the change was that the name HBO, while well known and respected among fancy people in New York and L.A., was a turnoff for Middle America and those who might otherwise sign up to binge-watch “Dr. Pimple Popper” and Guy Fieri.
The executives were also convinced that the HBO brand, known for “The Sopranos” and “Sex and the City,” was a deterrent for parents.
This was the era when streaming services were trying to be everything to everyone, and were losing billions of dollars trying to catch up to Netflix. Few companies other than Walt Disney Co. and HBO had distinct brands that made sense to people outside corporate conference rooms.
The decision to excise the HBO moniker was widely derided at the time as flawed managerial thinking.
Larry Vincent, a professor at USC Marshall School of Business and former UTA chief branding officer, called it a “classic case of right question, wrong answer” that will go down alongside New Coke in the annals of marketing blunders.
The name HBO has historically stood for quality, to the point that when people try to describe Apple TV+’s boutique streaming strategy, they compare it to early HBO. Last week, in an effective mea culpa during the media business’ big upfront week of presentations for advertisers, the company said the service would be called HBO Max again.
“It just violated everything we know about how you build a premium brand,” Vincent said of the earlier rebrand. “HBO has been at this for 50 years. It connotes a certain level of quality…. What we see now is that this is a reset to going back to the default position, because they realized this was silly.”
The backpedaling move drew howls from social media, journalists and rivals. Even Max’s own X account joined in on the fun. Warner Bros. Discovery executives were bracing for whatever John Oliver would say Sunday night during his show, and the comedian — never shy about bashing his own bosses — did not disappoint.
The decision was an admission of a couple things: First, that trying to be an “everything store” for entertainment was foolhardy when Netflix and Amazon both serve that exact purpose; and second, that it was a mistake to shy away from the brand that makes the streaming offering special.
Casey Bloys, chairman of HBO and Max content, said in a statement that returning to the old name “clearly states our implicit promise to deliver content that is recognized as unique and, to steal a line we always said at HBO, worth paying for.”
As my colleague Stephen Battaglio recently pointed out, when media companies put out new streaming services these days, there’s a tendency to avoid the now-cliche plus sign and stick with the brand name consumers already understand.
For example, Disney’s new $30 a month ESPN flagship service is simply called ESPN (ESPN+ is already taken by a more limited service).
Under Bloys, HBO has continued its tradition of highly regarded original series, with recent examples including the latest seasons of “The White Lotus,” “The Last of Us” and “The Righteous Gemstones.”
The brand confusion is still real, though. I’ve spoken with agents and read publications that should know better that mistakenly think “Hacks” and “The Pitt” are HBO shows, when they’re actually Max originals. That may not be important to consumers, but within the industry and for artists, it matters.
As for preschool-focused programming such as “Sesame Street,” that’s no longer a priority for Warner Bros. Discovery’s streaming strategy. The company has said it now wants to focus on “stories for adults and families.”
People who want shows for their toddlers can find them almost anywhere, including for free on YouTube. Disney+, of course, has troves of kids content, including Australia’s acclaimed and much-watched “Bluey.”
And, increasingly, kids are tuning into Netflix, which is now the land of “Ms. Rachel,” “CoComelon” and “Blippi,” all of which rose to popularity on YouTube. Kids and family programming now accounts for 15% of the platform’s viewership, according to the company. Netflix also has “Peppa Pig” and “Hot Wheels Let’s Race.”
Suffice to say, if you want or need to turn your little ones into couch zombies for a while, Netflix has an increasingly crowded ZIP Code of shows for you.
Newsletter
You’re reading the Wide Shot
Ryan Faughnder delivers the latest news, analysis and insights on everything from streaming wars to production — and what it all means for the future.
You may occasionally receive promotional content from the Los Angeles Times.
Stuff we wrote
Numbers of the week
Cable’s consolidation continues with Friday’s announcement that Charter and Cox will merge in a $34.5-billion deal, uniting Southern California’s two major cable TV and internet providers.
The Charter-Cox combination would have 38 million customer homes in the nation, a larger footprint than longtime cable leader Comcast.
Of the many interesting aspects of the deal, this one is particularly relevant to Los Angeles residents — if approved by Charter shareholders and regulators, the merger would end one of the longest TV sports blackouts, my colleague Meg James reports.
Cox customers in Rancho Palos Verdes, Rolling Hills Estates and Orange County would finally have the Dodgers’ TV channel available in their lineups. For more than a decade, Cox has refused to carry SportsNet LA because of its high cost.
New Line Cinema’s horror franchise revival “Final Destination: Bloodlines” won the weekend box office with $51 million in the U.S. and Canada (more than $100 million globally), exceeding pre-release analyst estimates.
The horror genre’s power to draw moviegoers is undeniable. The marketing was clever (complete with morbid 3D billboards), and this series has built-in nostalgic value. The new grisly supernatural teen movie comes 14 years after the previous one, “Final Destination 5.” The audience response has been generally positive.
With a reported production budget of $50 million, this was a no-brainer, and another win for Warner Bros. chiefs Michael De Luca and Pam Abdy coming after “Minecraft” and “Sinners.” All eyes are now on James Gunn’s “Superman,” coming in July.
Finally …
Listen: “Chaise Longue” rock band Wet Leg has new music on the way. Here’s a preview.
The film has an impressive 86% on Rotten Tomatoes and has been described as “impeccably cast and smartly written”.
The horror movie has been branded a ‘masterpiece’
A chilling horror movie that’s been dubbed a ’10/10′ must-watch by fans is now streaming at no charge. The film has garnered accolades for featuring the ‘best plot twist ever’ – and it’s hitting BBCiPlayer for free this weekend.
Bodies, Bodies, Bodies boasts an impressive 86% on Rotten Tomatoes and has earned glowing reviews for being “impeccably cast and smartly written”, as well as “an uncommonly well-done whodunit”.
The plot centres around: “When a group of rich 20-somethings plan a hurricane party at a remote family mansion, a party game goes awry in this fresh and funny look at backstabbing, fake friends, and one party gone very, very wrong.”
With a young and talented cast, the film features stars like Amandla Stenberg from The Hate U Give, Rachel Sennott from Shiva Baby, and the comedian Pete Davidson.
Bodies Bodies Bodies has a star-studded cast
Horror enthusiasts believe this film is grossly underrated, with many voices on Rotten Tomatoes comments section singing its praises, reports Surrey Live.
One fan remarked: “What initially seemed like a typical teen horror flick turns out to be a fun and surprisingly well-crafted film.”
Another added their voice stating: “Bodies Bodies Bodies is a sharp, satirical take on Gen Z culture wrapped in a murder mystery.
“The dialogue is witty and self-aware, capturing the internet-fueled language of the TikTok generation. It’s not your typical slasher flick; it’s more of a psychological whodunit with a cheeky twist.”
Several viewers found themselves entirely gripped by the “insane” twist of the tale, with one confessing: “Best plot twist ever. Be prepared to be amazed.”
One viewer enthused: “A well done fun guilty pleasure murder mystery film with sure some cheesy lines but some good acting and scenes that hooks you in with twists and a wow of an ending.”
Another fan raved: “Another A24 masterpiece, insane plot twist, hilarious, it just has it all.”
Bodies, Bodies, Bodies packs a killer twist
However, some viewers were left unimpressed, with one dismissing it as “pure dribble” and another criticising: “Highly annoying, unlikeable characters. I regret watching this.”
In contrast, professional critics were largely full of praise, with The Times’ Edward Porter noting: “In general the film crackles with life. It has a caustic script, a stormy atmosphere and a talented cast.”
The Independent’s Clarisse Loughrey observed: “It’s peak nihilistic entertainment, watching these souls try, in vain, to keep their fragile reputations intact while they’re drenched head to toe in blood.”
Empire Magazine’s Ella Kemp concluded: “Tense when it needs to be and awfully good fun throughout. Stupidity reigns supreme for these rich kids, but the filmmakers are smart enough to make Bodies Bodies Bodies stick the landing.”
The Financial Times’ Danny Leigh also commented: “The title could hint at either sex or death, and both end up with roles to play in a movie carefully stuffed with rising stars du jour.”
Bodies Bodies Bodies is streaming tonight at 11.30pm on BBC One and will be available on BBC iPlayer after broadcast.
The TV industry and buyers of commercial time were able to breathe a little easier going to their annual week of presentations known as the upfronts.
Not long before the curtain went up Monday at Radio City Music Hall for NBCUniversal’s event, President Trump announced he would hold off on tariffs on China, easing some of the economic uncertainty going into the selling season for television networks.
But the messaging from media executives throughout the week acknowledged that advertisers will be under pressure to get more from their marketing dollars. Between performances by Lizzo, Lady Gaga and the Dallas Cowboys Cheerleaders, ad buyers heard about the new artificial intelligence-powered tools for targeting specific audiences.
While traditional TV still commands the bulk of U.S. advertising spending, advertisers’ increasing comfort with streaming was apparent.
Seven years ago, YouTube executives had to reassure sponsors that the company would work harder to keep their ads from running in user-created videos that pushed conspiracy theories or hate speech.
But at the Google-owned platform‘s gathering at Lincoln Center on Wednesday, the audience saw a glowing testimonial video from Marc Pritchard, chief branding officer for Procter & Gamble, a company known for being meticulous about its marketing and media decisions.
Netflix and Amazon marched into the week buoyed by the growing number of streaming subscribers who see ads. Netflix said its service carrying commercials now reaches 90 million subscribers worldwide while Amazon’s Prime Video is now at 130 million in the U.S.
The week of parties and parade of celebrities offered a glimpse into the current state of the TV business. Here’s what stood out:
Live sports rule, especially the NFL
Walt Disney Co.’s TV lineup is packed with big-name talent. But the company kicked off its upfront with an opening number by an unlikely singing duo — former NFL quarterbacks Eli and Peyton Manning.
The audience at North Javits in Manhattan saw two more NFL stars, Kansas City Chiefs quarterback Patrick Mahomes and Philadelphia Eagles running back Saquon Barkley, before a single actor appeared on stage. It was a sign of the NFL’s vital importance to the company and the TV business writ large.
Disney — where not too long ago Chief Executive Bob Iger mused about spinning off ESPN — wasn’t alone in touting its commitment to the league.
NFL Commissioner Roger Goodell did a walk-on at the YouTube presentation to announce the platform’s first exclusive livestream of a league game, the Los Angeles Chargers season opener against the Chiefs in Brazil on Sept. 5.
Roger Goodell speaks onstage during Netflix’s Upfront 2025 on Wednesday in New York.
(Roy Rochlin / Getty Images for Netflix)
On the Netflix stage, Goodell was joined by Cowboys owner Jerry Jones to plug a documentary series on the franchise and announce this year’s two Christmas games that will be carried on the platform.
Jason and Travis Kelce promoted their Wondery podcast at Amazon’s show. Former tight end Rob Gronkowski showed up at two upfront presentations, one for Fox where he is part of the network’s NFL coverage and later at YouTube because, well, why not?
NFL games accounted for 95 out of the top 100 most-watched TV programs last year and is now setting records on streaming. Netflix had its most watched Christmas Day in history when 65 million U.S. viewers streamed some portion of its NFL double header. (Goodell wore a Santa Claus suit for his announcement of this year’s Netflix games).
For TV industry veterans, the emphasis on live sports was surprising. “Traditionally entertainment was the driver of the upfront,” Ben Silverman, co-CEO of production company Propagate, told CNBC.
Or as ABC late night host Jimmy Kimmel put it during his annual Disney upfront roast: “This is all sports. What happened? We used to be so gay.”
But as the audience continues to be atomized by the growing number of streaming options, sports are more valuable than ever for advertisers who want to reach a mass audience.
Executives at Netflix, long on the leading edge of providing niche offerings to fit every consumer’s taste, now extol the virtues of the mass audience viewing experience now that it carries NFL games.
Live sports have become a lifeline to traditional TV, as most young viewers have turned to streaming for scripted series and movies. The trend was reflected in NBCUniversal’s presentation, which emphasized the arrival of the NBA on the network that will cost $2.5 billion a year.
“Tonight” host Jimmy Fallon may have summed it up best when he said, “Good morning, I’m glad to be at the NBA upfront — I mean NBC upfront.”
Planning for life after cable
Warner Bros. Discovery stunned the crowd at the Theater at Madison Square Garden with the announcement that its streaming service Max will once again be called HBO Max. The company stripped HBO from the name in 2023, believing the HBO brand name was too exclusive for the service’s ambitions to broaden its audience.
Dropping the prestigious HBO logo from the name of the service was a dubious decision from the start. But restoring it was a recognition of an undeniable fact: the future belongs to streaming, so why relegate a familiar and respected brand name to the waning cable box?
CNN and ESPN announced that their direct-to-consumer streaming services rolling out later this year will use the network names that have been familiar to cable viewers for more than four decades. The monikers will not carry a plus sign or any other designation that suggest the product differs from what’s on TV, and that’s by design.
Younger viewers may be forgoing cable subscriptions, but they know the CNN and ESPN brand names through their digital content. For those viewers, streaming isn’t an add-on, it is the way they watch TV
Movies are open for ad business, too
Not so long ago, seeing a movie star on stage at a network upfront presentation was a big deal.
But streaming has blurred the line by offering both series and original movies, and media companies are using that to their advantage when pitching to advertisers. The trend has given the platforms a bit more sizzle in their pitches.
Charlize Theron speaks onstage during Netflix’s upfront presentation Wednesday in New York.
(Jamie McCarthy / Getty Images for Netflix)
Arnold Schwarzenegger riffed at length about his upcoming Christmas film for Amazon, “The Man With the Bag.” The moment got added mileage when the former California governor’s “True Lies” co-star Jamie Lee Curtis joined him on stage.
Charlize Theron took the stage at the Perelman Performing Arts Center to plug her upcoming Netflix feature “Apex.”
NBCUniversal teased the sequel to “Wicked,” which will eventually run on its Peacock streaming service.
Warner Bros. Discovery touted its sponsor partnerships for the theatrical blockbuster “A Minecraft Movie” and brought out James Gunn and Peter Safran, keepers of DC Studios, to say there will be opportunities for the upcoming Superman movie and other projects.
For the first time, sports fans will be able to subscribe to ESPN without signing up for satellite or cable TV. It will cost $29.99 a month.
The Walt Disney Co. unit announced Tuesday that the new direct-to-consumer streaming service will go by the legacy name ESPN, a sign that the sports media behemoth sees streaming as the future. The launch date will be in early fall.
The standalone service will provide live feeds of all ESPN channels including ESPN2, ESPNU, SECN, ACCN, ESPNEWS and ESPN Deportes. Users will also be able to stream ESPN productions airing on the ABC broadcast network, which include the NBA Finals and “Monday Night Football.”
The service will also be available in a streaming bundle, where consumers can get ESPN, Disney + and Hulu for $35.99. The bundle plan will be available at a discounted $29.99 for the first year.
“It’s going to redefine our business,” ESPN Chairman Jimmy Pitaro said at a press briefing held at Disney’s New York headquarters in lower Manhattan.
The unveiling of the new product is a significant moment for the company. The current streaming service ESPN+ offers the channels, but only to users who have pay TV.
As younger consumers have moved to streaming, they have left behind the cable universe their parents lived with. The new ESPN streaming product is aimed at attracting sports fans who are not buying pay TV.
“Our priority is looking at the 60 million households on the sidelines,” Pitaro said.
Pitaro said the brand name has meaning to younger consumers who spend time with it on social media and digital platforms even if they don’t watch on cable.
ESPN has long received the biggest cut of cable bills and as a result felt the most pain as consumers were giving up their pay-TV subscriptions. The network has managed to offset that revenue loss with increases in ad revenue and cost-cutting.
Under Pitaro’s watch, ESPN has locked up a number of major sports rights deals in recent years that he believes will strengthen the streaming offering. Last year, the company finalized a new 11-year deal to keep the NBA.
