Television

FCC faces scrutiny as Disney claims licence renewal order is tied to political motives against ABC’s coverage.

Disney has filed a lawsuit against the Federal Communications Commission (FCC) amid efforts to stop an early licence review for eight ABC-owned and -operated stations around the United States.

In the lawsuit filed in a federal court in Washington, DC, the media giant alleged the early renewal is an effort by the administration of US President Donald Trump to intimidate the company after infuriating the president.

In April, the FCC ordered the network’s stations, which include its affiliates in New York and Los Angeles, to file their licence renewals ahead of schedule despite the fact that for six of its stations, the current term isn’t even halfway finished. The station with the closest deadline is WTVD in Durham, North Carolina, but that is not until December 2028. The network says the move is part of a political “retaliatory campaign”.

“Again and again, the Administration has attacked ABC’s speech – the stories its journalists report and the viewpoints its network programs air. Over time, those attacks have escalated into express demands that ABC be stripped of its broadcast licenses because of its speech,” the 46-page complaint said.

The suit presented a wave of Truth Social posts that the president posted in 2025 threatening the network, among them one saying that the network “should lose their Licences for their unfair coverage of Republicans and/or Conservatives”.

The FCC said the April licence renewal call was a result of diversity, equity and inclusion practices at ABC’s parent company, Disney, and an investigation into the ABC network’s talk show programme The View.

In March, FCC Chairman Brendan Carr threatened broadcasters, saying stations airing “fake news” could lose their licences amid Trump’s frustration with coverage of the US-Israel war on Iran.

Not long after, Trump demanded that ABC fire late-night host Jimmy Kimmel over comments he made before the White House correspondents dinner shooting in which he called first lady Melania Trump an “expectant widow”. Trump responded to them after the shooting, characterising them “a call to violence”.

Free speech advocates have praised ABC for the lawsuit.

“It’s about time for someone to take Brendan Carr and his FCC to court over their endless campaign of intimidation and retaliation against journalism that displeases Carr’s thin-skinned boss,” Seth Stern, director of advocacy at the Freedom of the Press Foundation, told Al Jazeera.

“No matter what pretexts he asserts, Carr’s modus operandi is clear: to serve as Trump’s censorship tsar and abuse his office to repeatedly and exclusively target Trump’s perceived adversaries in the media, whether through sham proceedings or threatening letters and X posts.”

The network called for a “speedy hearing” in the complaint as well as a temporary restraining order.

News of the lawsuit sent Disney’s stock surging in morning trading by 1.1 percent.

Paramount CEO David Ellison may pull his operations out of California if the state does not end its attempt to block the company’s merger with Warner Bros Discovery and agree to settlement talks as soon as October.

The rumours were first reported by the publication Variety on Tuesday. They signal Ellison may be willing to leverage economic pressure on California’s ailing film industry in order to push through the merger.

Al Jazeera was not able to independently confirm the validity of the report.

In July, California Attorney General Rob Bonta announced that he was leading a coalition of 12 state attorneys general in an antitrust lawsuit to block the consolidation.

Should Paramount and Warner Bros Discovery combine, Bonta warned that the resulting company would control 27 percent of theatrically released films in the United States and a third of the country’s basic-cable output.

“Consolidation here not only leads to higher prices,” Bonta said. “It also leads to fewer opportunities for important stories to come to life, and fewer ways for audiences to encounter stories, ideas, and perspectives beyond their own experiences.”

But Variety reported that Ellison told Paramount’s senior executives that he would begin the process of moving the company out of California on October 1 if Bonta does not agree to settlement talks.

There could be downstream effects as well. The report also alleged that Ellison would pull Warner Bros Discovery out of California, too, if the $110bn merger goes through.

Variety indicated that Paramount is considering relocating to the US states of Tennessee, Texas or Georgia — none of which are involved in the ongoing antitrust lawsuit.

A growing enterprise

The dispute over Warner Bros Discovery’s fate stretches back to late 2025, when the company’s sale was first announced.

Critics quickly observed that the sale had the potential to shift the balance of power in Hollywood, with Warner Bros Discovery wielding influential properties including the news channel CNN, the production company New Line Cinema and the television-streaming service HBO.

The streaming giant Netflix initially emerged as a frontrunner to take over Warner Bros Discovery, but by February, Paramount succeeded in inking an agreement.

It was the second major merger Paramount had lined up in less than a year. In 2025, it had also succeeded in consolidating with the media production company Skydance, in a deal that generated scrutiny about the editorial independence of its subsidiaries.

Paramount’s decisions that year to cancel The Late Show with Stephen Colbert and enter into a $16m settlement with US President Donald Trump were widely perceived as efforts to curry government favour for the merger.

Paramount is considered a titan in US filmmaking and media production, as one of the oldest studios in the country. Its portfolio includes CBS News and Paramount Pictures.

A pair of lawsuits

The impending merger with Warner Bros Discovery has led to a fresh round of scrutiny for Ellison and the Paramount leadership.

Last week, Ellison addressed some of those concerns in an opinion column in The New York Times.

In it, he questioned whether the states’ antitrust lawsuit was “really about market share”, speculating that it was instead about control over major news outlets like CNN. He also sought to portray himself as politically independent.

“I have regularly voted for candidates of both parties; I hold some views that would be called conservative and others that would be called liberal, just like most Americans,” Ellison wrote.

“When it comes to our news operations, I do not aspire to lead these companies to bend their newsrooms to my views.”

But the states have argued that combining Warner Bros Discovery and Paramount would create a monopoly, stifling competition.

If the merger succeeds, the states say that only four distributors would control 86 percent of the country’s films.

The merger could also mean job losses. As of the end of 2025, the headcount at Paramount stood at 17,600, while Warner Bros Discovery had 35,500 employees.

A day after the 12 states filed their lawsuit, the Writers Guild of America (WGA) followed suit.

In its July 14 complaint, the guild argued that the merger would mean fewer jobs and more pressure on writers to accept less favourable working terms, owing to reduced competition in the media market.

“Writers will be paid less and have fewer employment opportunities,” the WGA complaint said.

In Los Angeles County alone, the merger could result in a loss of nearly 2,500 jobs, according to an analysis by the Los Angeles County Department of Economic Opportunity, published in June.

As many as 6,000 employees around the world could also see their positions cut.

By comparison, when the Paramount and Skydance merger was completed in 2025, the company laid off roughly 2,000 people.

Costly standoff

On July 24, Paramount Skydance agreed to pause the merger until a ruling in the states’ case is ultimately made or until June 1, 2027 — a move the WGA celebrated.

“It remains our view that this merger is unlawful, and we will continue the fight to block it,” WGA said at the time.

The WGA did not respond to Al Jazeera’s request for comment.

Slowing the merger could be costly for Paramount Skydance. Under the terms of the merger, the company would have to pay a so-called ticking fee of $7m per day, or $650m per quarter, if the deal does not close by September 30.

But the standoff with Ellison could also be costly for California, which is experiencing a downturn in the number of productions filmed in the state. New York, another state involved in the lawsuit, could see a backlash, as it houses studios for CBS News and Paramount’s executive offices.

Representatives for the state of California and Paramount Skydance did not respond to Al Jazeera’s request for comment.

Paramount Skydance’s stock is trending upward on the heels of Tuesday’s report. The stock was up 0.4 percent in midday trading, while Warner Bros Discovery was up 1.1 percent.

Critics say the 39 percent cap was a safeguard against excessive concentration of media ownership in the US.

The United States Federal Communications Commission has voted to rescind the rule that bars local broadcast station owners from reaching more than 39 percent of the total number of US TV households in a move that could help spark industry consolidation.

The FCC on Thursday voted 2-1 to lift the cap in favour of a new case-by-case approach. The commission’s sole Democrat, Anna Gomez, said the proposal was illegal and argued only the US Congress can lift the cap. Many critics argue the move will lead to excessive market power among station owners.

Under the rules, stations with weaker over-the-air signals can be partially counted against a company’s ownership cap. The FCC has limited ownership of local broadcast stations since 1941 and most recently raised the cap to 39 percent in 2004.

FCC Chairman Brendan Carr said the move is about helping local broadcasters survive and pointed to the sharp decline in local newspapers.

“We should stop hamstringing this one segment of the broader market with outdated restrictions,” Carr said.

“The FCC kept a rule on the books in the name of localism that contributed to the gutting of local newspapers … I don’t want local broadcast TV to go the way of local newspapers.”

The FCC said the new rule would consider applications on television company mergers that would go above 39 percent on an individual basis to determine if they are in the public interest. The agency said it would “remove artificial restrictions on opportunities for broadcast television to attract capital and generate revenue”.

Gomez said the decision is “an invitation to bring in a lot of transactions”.

‘More control’

Lifting the cap hands “more control of the public airwaves to a small number of companies whose coverage pleases this administration … It is putting its thumb on the scale in favour of content that this administration likes,” she added.

Carr has said the change would allow local television owners to increase investment in local programming and give them more leverage against national networks.

In March, the FCC approved the $3.54bn sale of ‌local television station owner Tegna to Nexstar despite objections from Democratic-led states.

The acquisition, if not reversed by courts, will expand Nexstar’s presence to cover 80 percent of US TV households. The FCC has said it was waiving the 39 percent rule in approving the deal.

Senate Commerce Committee Chair Ted Cruz, a Republican, said last month that he is sceptical the FCC can hike the 39 percent cap without an act of Congress.

Clayton Weimers, executive director at Reporters Without Borders North America, said in a statement that with this latest move, the FCC has “abandoned” one of the last significant safeguards against excessive concentration of media ownership in the US, which ensured that “no single company or individual should be allowed to dominate what millions of Americans see, hear, and understand about the world”.

“Today’s vote eliminates that safeguard and only benefits a handful of already powerful media conglomerates. This is not deregulation in the public interest. It is consolidation in the interest of the powerful,” Weimers said.

He said that the action exceeds the FCC’s legal authority and that Reporters Without Borders was evaluating every available legal avenue to challenge this decision.

Clive Masters has officially arrived in Walford, and while he gets to know Linda Carter, let’s take a look at the actor’s family life off-screen

EastEnders newcomer Jason Durr has a famous wife who television and gardening fans will know.

During Wednesday’s (July 22) episode of the BBC soap, Jason officially arrived in Walford as Clive Masters, a local Councilor and potential love interest of Linda Carter (Kellie Bright).

As the local community centre is at risk of closing down and being redeveloped, Ian Beale (Adam Woodyatt) put Linda in touch with Clive, who might be able to help with their fight to save the venue.

During their first meeting, it was clear that there was romantic chemistry between Linda and Clive as they opened up about their former partners, and they were set to grow closer in forthcoming episodes.

Will the pair take a chance on a little romance? The former Queen Vic landlady is yet to find love following the presumed death of her beloved husband Mick, played by Danny Dyer, who disappeared at sea on Christmas Day 2022.

Speaking about joining the cast of the BBC soap, Jason, 58, said: “Few shows command their place in the national conversation quite like EastEnders, so I’m delighted to be joining the cast as Clive Masters. Working with the wonderful Kellie Bright has been an absolute joy and pleasure from day one.”

He added: “All the cast, crew and production staff have been incredibly generous, welcoming and good humoured. I’m excited for audiences to meet Clive and see what’s in store.”

Who is Jason Durr married to?

Former Heartbeat star Jason has been married to TV presenter Kate since 2004, after they met while in Majorca, Spain. Kate, a former actor and model, is a garden designer and has even won a Royal Horticultural Society gold medal for her expertise.

In 1984, Kate enjoyed a brief stint in the children’s drama Grange Hill and starred in the television series Perfect World and Sam’s Game, both of which aired in 2001.

She has had success presenting, hosting Dream Ticket, Night Fever, and An Audience with Lennox Lewis, and is best known for her Guinness World Records presenting work.

The couple lives together in Wiltshire, and Kate often shares pictures on her Instagram of her stunning garden and many gorgeous outdoor designs.

Jason and Kate have three children together, two daughters and a son, and they usually keep their family out of the spotlight.

On Wednesday afternoon (July 22), Jason appeared on This Morning to talk about his latest acting role on EastEnders and paid a sweet tribute to his “lovely” wife.

Speaking to ITV daytime hosts Dermot O’Leary and Alison Hammond about learning his scripts, he said: “You’ve got to be absolutely pinpoint perfect with your dialogue, and it’s just a joy to be working with other regulars, who get it.”

Jason added, “Keep reading it. It’s one of those things, repetition, parrot fashion, you know, that kind of thing. The kids help me, my lovely wife helps me.”

Before marrying Kate, Jason was married to an Australian named Jeanine between 1995 and 2000. She was a singer-songwriter, and the pair were together for five years before splitting.

EastEnders airs Monday to Thursday on BBC One and iPlayer

Television City, one of the most famous studios in the entertainment industry where generations of TV shows have been created, is expected to hit the market again as its owner grapples with debt.

It’s the latest sign of distress in Hollywood as the film and TV industry struggles from a sharp falloff in production activity across Southern California.

Television City’s owner, Hackman Capital Partners, is already in the process of selling the historic Radford Studio Center, which gave L.A.’s Studio City neighborhood its name. Hackman defaulted on a $1.1-billion mortgage in January and investment bank Goldman Sachs took over the property, which is now escrow for a sale to Netflix.

The sprawling Television City property is one of the most desirable locations in Los Angeles, sharing fences with the Original Farmers Market and the luxury Grove outdoor shopping center, each of which attracts millions of visitors every year.

If the studio at Beverly Boulevard and Fairfax Avenue where “American Idol,” “All in the Family” and scores of other shows were filmed becomes available as expected, the owners of the Grove and the Farmers Market would be among the likely contenders for the property for potential expansion of their businesses, said sources familiar with the matter who were not authorized to comment.

Grove owner Rick Caruso was among the bidders for Television City, formerly known as CBS Television City, last time it was on the market and could emerge as a possible bidder.

The highest bid when broadcaster CBS sold the studio in 2019 came from Hackman Capital Partners, an international movie studio operator and commercial property landlord that paid $750 million for the 25-acre site that is near Hollywood, Beverly Hills and and the Sunset Strip.

Hackman Capital’s plan to recoup its investment included continuing to operate Television City as a studio for rent while adding new revenue-generating features.

Last year the city approved Hackman Capital’s $1-billion plan to add 980,000 square feet of offices, sound stages, production facilities and retail space.

The original studio designed by famed Los Angeles architect William Pereira erected in 1952 has city landmark protections, but newer structures on the property do not and there are acres of surface parking that could be converted to other uses.

Both Caruso and Farmers Market owners A.F. Gilmore have sued to limit the planned expansion of the studio, calling it a “massively scaled” development that “would overwhelm, disrupt, and forever transform the community.”

The debate over the development has played out amid a serious downturn in the region’s entertainment industry, with studios shifting film and television production to Georgia, New Mexico and other out-of-state locations.

L.A.’s entertainment industry also suffered a series of blows including the COVID-19 shutdown, strikes by writers and directors in 2023 and cutbacks at studios that reduced demand for sound stages.

A group of Hackman Capital’s lenders led by Deutsche Bank filed a notice of default last month, saying they’re owed more than $357 million. Hackman Capital is still trying to renegotiate its debt.

“The studio market is evolving, and the financing environment for studio assets remains complex,” Chief Executive Michael Hackman said in a statement. “We are engaged in active discussions with our lending partners and are carefully evaluating all of the alternatives.”

A person familiar with the process but not authorized to speak about it publicly said Hackman Capital will be hard-pressed to pay its debt in light of challenges facing the industry. The notice of default is “the baby step to put Television City in play” for new buyers, the source said, “and it is in play.”

Already in play is Manhattan Beach Studios, another Hackman Capital property encumbered by a $240-million loan from Deutsche Bank that the lender is in the process of selling. A buyer could foreclose on the property and potentially change its use to advanced manufacturing such as aerospace or defense, which is in high demand in Southern California.

Brokerage Cushman & Wakefield, which is managing the sale, emphasized in marketing materials that the 22-acre site has “significant available power capacity” and “offers flexible uses” on “some of the most irreplaceable underlying land in the South Bay.”

Whether you covet a golden statuette of your own or just want to see your favorite show sweep its categories, it’s time to start gearing up for the 2026 Emmy Awards.

The best way to stay in the know is to follow nominations as they’re revealed in real time Wednesday. It may have been a somewhat underwhelming year for television, but there are still a number of standout series to root for and races with the potential to surprise us.

Will Jean Smart win her fifth straight Emmy for “Hacks”? Will “Widow’s Bay” shoot to the top of the nominations list despite its late-season arrival? And which streamer will dominate the ceremony?

Read our predictions here, and find everything you need to know about this year’s nominations below.

When will Emmy nominations be announced?

Nominations for the 78th Emmys will be announced live Wednesday starting at 8:30 a.m. Pacific./11:30 a.m. Eastern. Emmy winners Liza Colón-Zayas (“The Bear”) and Jeff Hiller (“Somebody Somewhere”) will do the honors, along with Television Academy Chair Cris Abrego.

How can I watch?

You can livestream the announcement on the Television Academy’s website or Youtube channel. If social media is more your speed, you can also stream it on Facebook, TikTok or Instagram.

Who are the predicted nominees?

“Pluribus” and “The Pitt” are expected to lead in overall nominations, with the latter poised to shine in the acting categories.

Other top drama series likely to score a nomination include “Task,” “Paradise,” “Slow Horses” and “The Diplomat.”

In the comedy field, “Hacks” is once again considered the frontrunner on the heels of its fifth and final season. “Shrinking,” “Abbott Elementary,” “The Bear” and “Margo’s Got Money Troubles” are also strong contenders.

Among limited series, nominations are probable for “Beef,” “Half Man,” “DTF St. Louis” and “Love Story: John F. Kennedy Jr. and Carolyn Bessette.”

This year’s awards will honor programming that aired between June 2025 and May 2026, meaning summer releases are not eligible. Neither are foreign productions, which means the Canadian hockey romance “Heated Rivalry” is off the table.

When is the actual awards show?

The 78th Primetime Emmy Awards will take place Sept. 14 at the Peacock Theater in downtown Los Angeles. It will air live on NBC and stream on Peacock.

No host has been named yet. In January, the Television Academy announced that this year’s ceremony will include the first new major prize in almost 20 years: the Legacy Award, which will be “presented to television programs that have made a ‘profound and lasting impact’ on audiences and remain relevant to society, culture and the industry.”

The Creative Arts Emmy Awards, honoring artistic and technical achievements,  will be held Sept. 5 and 6.

Comedy director James Burrows, the 11-time Emmy-winning director who co-created “Cheers” and helped turn such long-running sitcoms as “Taxi,” “Friends,” “Will & Grace” and “The Big Bang Theory” into fan favorites, has died, his family confirmed to People. He was 85.

“We celebrate the extraordinary life and enduring legacy of James ‘Jimmy’ Burrows, who passed away peacefully today surrounded by his loving family,” his family said in a statement to People. “For more than five decades, Burrows was one of the most influential and beloved directors in television history. As a legendary director, mentor, and creative force, he helped shape generations of comedy and brought immeasurable joy to audiences around the world.”

A master of the multi-camera sitcom, Burrows started his career shooting episodes of “The Mary Tyler Moore Show” in 1974 and “The Bob Newhart Show” in 1975. He soon joined the quality-oriented production company, MTM, which counted James L. Brooks, Steven Bochco and Gary David Goldberg among its alumni.

“They were smart enough to know that it’s better to have a director who can talk to actors rather than a director who can move cameras. You can’t really learn how to make something funny, but you can learn to move the cameras,” Burrows said in a 1995 interview with The Times.

Burrows was born in Los Angeles and later moved to New York with his family where he attended the High School of Music & Art. He graduated from Oberlin College and completed a graduate program at the Yale School of Drama. He worked years as a stage manager with his father, a playwright and director, assisting on shows such as “Breakfast at Tiffany’s” starring Moore and Richard Chamberlain.

He solidified his name in television with “Cheers,” co-creating the lively Boston travern “where everybody knows your name” with Glen and Les Charles. Over its 11 seasons on the air, Burrows directed 237 of its 275 episodes, emerging as a behind-the-scenes comedy legend.

“You bring ‘em in, you sit ‘em down and they talk. That’s all ‘Cheers’ was,” Burrows told The Times. “The word is more important than the goofiness. It was all about the words — which is how I was trained, how my father was trained, how anybody who reads books is trained. It’s the word.”

His father, Abe Burrows, was a Pulitzer Prize-winning playwright, screenwriter and director who performed in radio comedies and co-wrote the books for the Broadway musicals “Guys and Dolls” and “How to Succeed in Business Without Really Trying.” The younger Burrows said that growing up on radio comedies helped him hone his ear for humor.

“I know what’s funny, and I probably know the best way to deliver the joke. Whether it’s walking out of a room, facing that way, facing this way,” Burrows said in a 2010 interview with The Times. “I just have a sense of that.”

Another skill he learned from his dad? was working on his feet.

“He’d run the scenes over and over. He created this wonderful camaraderie, which I always try to do. I love to do ensemble shows because that’s where you get the camaraderie.”

Burrows, often considered a fatherly manager, tried to bridge the gap between actors and writers and notably took the cast of “Friends” on a trip to Las Vegas before directing 15 episodes of the blockbuster comedy. He also threw a party for the “Mike & Molly” cast to build rapport because he believed when everyone liked each other, it showed onscreen.

Actors would know when a joke landed when they would hear Burrows giggle as the scene unfolded.

“I’m the guy that wants you to walk the comic plank for me,” he said. “Take it as far out as you want to take it and I’ll bring it back. Sometimes I’ll take it further. But trust me.”

With his slate of hits — he’s credited for directing several shows in NBC’s primetime “Must See TV” lineup of the 1990s — Burrows amassed sizable wealth and, from an early age, was in constant demand by those seeking his magic touch for their show. However, he also saw his fair share of flops: Henry Winkler’s “Monty, “Cafe Americain” with Valerie Bertinelli and a slew of promising pilots that never got off the ground. He also felt that ABC’s “The Associates” and “The Class” on CBS were canceled too soon.

From 1998 to 2006, Burrows helmed every episode of “Will & Grace,” the Emmy-nominated sitcom about a woman and her gay best friend that aired on NBC for eight seasons during its original run. To Burrows, it was the funniest show he ever worked on. He was also behind the camera for the comedy’s 2017 revival, which brought the envelope-pushing antics of Will, Grace, Jack and Karen back for three more seasons.

“It was a fairytale literally and figuratively,” he said in a 2016 Hypable interview. “It was not of the real world in a strange kind of way. These were exaggerated characters. Although they were grounded with Will and Grace, there was this exaggeration that made the stuff you could do and get away with on that show so extraordinary.”

He won his 11th Emmy Award serving as an executive producer on 2019’s all-star re-staging of “Live in front of a Studio Audience: ‘All in the Family’ and ‘Good Times.’” A year earlier, he was nominated for directing the “‘All in the Family’ and ‘The Jeffersons’” TV special.

James Burrows behind the scenes.

(Chris Pizzello / Invision / Associated Press)

Throughout his career Burrows had a penchant for directing pilots because it meant “you’re better than an episodic director” and could create something new in the writer-driven medium of television. He was also drawn to “more uptown, the more urbane, the more sophisticated” comedies. He tried doing cinema once — 1981’s “Partners” with Ryan O’Neal and John Hurt — and said the result confirmed his belief that he was built for television.

“I’m not a cinematic guy. I’m a theater guy. For what I do, I need a live audience,” he said in a 2016 interview with the Television Academy.

Among his favorite TV moments were the pilots for “Frasier” and “Third Rock From the Sun,” the long-awaited kiss between Sam (Ted Danson) and Diane (Shelley Long) and Woody’s (Woody Harrelson) wedding on “Cheers,” Rev. Jim (Christopher Lloyd) taking his driving test in “Taxi,” Ross (David Schwimmer) being attacked by a cat in “Friends” and Will, Grace, Jack and Karen getting in the shower together on “Will & Grace.”

Late into his career, Burrows continued to work in the multi-camera sitcom format, which is shot in a studio, usually before a live audience. In 2013, he was honored by the Television Academy, and, in 2016, he celebrated directing his 1,000th episode of television programming, crossing the milestone with an episode of “Crowded.” NBC marked the milestone with “Must See TV: An All-Star Tribute” special. According to critics, the show — billed by several outlets as the elusive “Friends” reunion and came off as a living eulogy to Burrows — fell short and did not do the legendary director justice.

In all, Burrows was nominated for 45 Emmy Awards and 17 Directors Guild of America Awards.

Bill Cody, the Grand Ole Opry and longtime WSM Radio host who woke up listeners with his velvet voice and country music lore, has died. He was 67.

The Tennessee radio station confirmed Cody’s death on social media on Tuesday, writing, “It is with heavy hearts that we share the passing of our dear friend and beloved WSM voice, Bill Cody.

“A singular presence on WSM-AM Nashville for more than three decades, Bill welcomed listeners each morning on Coffee, Country & Cody with a broad smile, a conversational ease, and an unerring ability to make both artists and audiences feel at home. He joined WSM in 1994 and had Charlie Daniels as his first in-studio guest. He built more than a morning show; he created a gathering place rooted in his deep love for country music and the people behind it.”

In late May, Cody’s daughter Hannah Davis shared that the radio host had been admitted to the intensive care unit with heart and kidney failure. “After weeks of being on a roller coaster of emotions, tests, dialysis, medications, steps forwards and steps backwards, it was determined earlier this week that his only option for survival would be a double transplant, heart and kidney,” she wrote on Facebook. “We need a miracle and we know God is able.”

On Tuesday, she wrote that Cody had died peacefully surrounded by family and “was welcomed into heaven as thunder bellowed outside, and we laughed because we knew it was a band of angels rejoicing.”

With nearly 50 years on the airwaves across syndicated radio, television and film, Cody was honored with a star on the Music City Walk of Fame in the fall of 2024. His credits included the film “American Saturday Night: Live From the Grand Ole Opry,” the television show “Tennessee’s Wild Side” on PBS, “Ray Stevens’ Nashville” on RFD-TV, and GAC TV’s “Master Series.”

In 2008, the beloved Nashville host was inducted into the Country Radio Hall of Fame, and across his career, he earned multiple nominations from the Country Music Assn., the Academy of Country Music and Billboard for his contributions to broadcasting.

Born Trent Clutts on Dec. 16, 1958, in Huntsville, Ala., Cody was inspired to pursue a career in broadcasting during visits to a Kentucky radio station with his dad. His father was a Southern Baptist minister, and his Sunday morning sermons were broadcast on the radio in the afternoons. Cody couldn’t get enough of the goings-on at the station when the two would stop by to drop off cassettes.

In 1971, when the radio host was 17, he was hired as a night deejay at WVLK in Lexington, Ky., but the program director didn’t think “Trent Clutts” had the right ring for radio. Cody named himself after “Buffalo Bill,” one of the most famous showmen of the American Old West, and used the moniker for the rest of his career.

As a teenager, Cody noticed a girl named Rebecca during study hall and, according to Davis, winked at her from across the room. The wink sealed the deal and the two spent more than 50 years as a couple, welcomed three children — Luke, Hannah, and Levi, who died in 2025 — and eventually grandchildren, who called him PoPo. The family lived in Cross Plains, Tenn.

“Like so many of us at the Opry, Bill Cody lived out his dreams on the Opry stage. More times than I could count he and I would look at each other as if to say, ‘Can you believe we get to do this?’” Dan Rogers, executive producer at the Grand Ole Opry, wrote on social media.

“Even better, he made Opry audiences tuned in from around the world feel like they were here too, themselves a part of country music’s most famous show. Then, he’d get up early the next morning and — with that signature smile in his voice — tell everybody about it on his show.

“He was the best of friends to country music and to everyone who was a part of it. We’re sure going to miss him.”

Memorizing your lines seems like such a foundational part of an actor’s job that there wouldn’t be much to say about it. Yet when a group of performers recently got onto the topic during The Envelope’s Emmy Limited Series / TV Movie Roundtable, it turned out everyone had their own way of doing it. And all were eager for tips and tricks, whether it be an app, a line-drilling coach (“Can I have that number?”), writing down the first letter of each word or even writing a monologue backward.

“We have to share tools, guys,” said Camila Morrone, who plays a bride-to-be who learns her fiancé’s family dark secrets in the horror thriller “Something Very Bad Is Going to Happen.” “It’s funny that we all have such different methods.”

Joining Morrone were Jamie Bell, who stars in “Half Man,” about the extremely dysfunctional, toxic relationship between two stepbrothers; Linda Cardellini, who appears in “DTF St. Louis” as a dissatisfied woman caught in a dangerous love triangle; Michael Peña, who plays a detective assigned to the case of a missing child while his own boundaries are tested in “All Her Fault”; Andrew Rannells, who is a man coming to terms with his own life while helping to plan a funeral in “Miss You, Love You”; and Constance Zimmer, who channels the mother of Carolyn Bessette Kennedy in “Love Story: John F. Kennedy Jr. and Carolyn Bessette.” Read on for more excerpts from our conversation.

The Envelope’s 2026 Emmy Limited Series / TV Movie Roundtable: Constance Zimmer, left, Michael Peña, Linda Cardellini, Andrew Rannells, Camila Morrone and Jamie Bell.

How do you watch TV? A home theater screening room or a tablet on the go?

Morrone: When I see people on a plane watching on their phone, I’m like, “Do you know how many people worked on that?”

Zimmer: I can barely watch one on an iPad because I still feel guilty about not getting the full effect.

Cardellini: I can’t watch on my phone or an iPad. It starts to hurt my eyes. And I like to binge. I don’t like one at a time. I like to save it up, and I like a binge. I don’t have the patience.

Morrone: Oh, I love one at a time. I want to wait till Sunday night, order my favorite food, maybe have a friend come over … Guess our theories of what’s going to happen. I did that with “White Lotus” this year, and I was looking forward to every Sunday at 7 p.m.

Bell: I catch usually about 10 minutes of whatever my wife has fallen asleep to. And then I’ll get into that, and then I’ll watch a lot more episodes while she’s asleep. And then she’ll wake up, and we’ll be completely out of sync in terms of what we’re watching.

Jamie, “Half-Man” is such an emotionally intense show, and it seems like that would be a really hard head space to exist in. Are there things that you do for yourself to maintain your own sanity?

Bell: Me and Richard [Gadd], who wrote the show, are big soccer fans. So I brought a soccer ball to set a lot, and just whatever space we’re in, we just kick a ball to each other every now and then. So, a lot of that wasn’t even us really speaking to each other, but just passing a ball backwards and forwards, which was quite a nice way of just taking our minds off of whatever scene we were doing and still enjoy the space with each other and do something that was physical that didn’t really require us jumping [around] too much.

Camila, “Something Very Bad Is Going to Happen” is also a very intense show. It’s not so much a scream queen kind of horror; it’s this foreboding horror. Was that a difficult space for you to exist in?

Morrone: I think there’s an underappreciation for horror performances. I think some of the most incredible performances, especially by women, have been done in the horror genre. And I think it’s a really specific thing to do because if you’re playing only one level of horror throughout an eight-episode series, I think it’s incredibly boring. And I think I had this notion of like, “God, I don’t want to do these jump scares,” and kind of the cliches of what we imagine horror is like. But horror can be really deep and really internal, and I think there’s a lot of ways in which horror and fear manifest. And I think it was interesting to try and find levels to it and to have the audience come with you, but not dramatize or exaggerate an emotion.

Michael, in “All Her Fault” you are playing someone who could be a much more conventional detective character, but reveals more layers. Was there a moment in your career when you realized, whether it was going for certain roles or not going for certain roles, where you wanted to break out of feeling like a sidekick character or more stereotyped characters? Was there a moment where you made an effort to start going for a different kind of role?

Peña: Back when I started acting, the breakdowns for actors, it was like “Caucasian only,” “Caucasian only,” “Caucasian only,” and we weren’t allowed to audition for those. And it was only until the 14th part that it said, “Open to other ethnicities.” So there’s like a thousand of us going for the 14th place. Ten years of that, you kind of think, “I guess I’m meant to be a supporting character.” But then my mom, right before she died, what she said is, “If you’re going to do that, just make it real. What’s the best you can do with that part?” I said, “Make it a three-dimensional character.” She’s like, “Just do that.” And she’s like, “Nobody remembers your bank account.” And I was like, “Oh, these are two good pieces of advice, Moms,” and so that’s what I did. And with “Crash,” he was a gangster and I was like, “Screw it. I’m just going to do the work and try it out, and all the stuff that I was learning in acting class, I’m going to apply it to this particular role.” And I was happy with the work, so then I kept doing that.

For the rest of you, was there a moment where you had to make a decision about the kind of career that you wanted for yourself and the kind of roles you were going to go up for?

Zimmer: Sorry. It just makes me laugh because we have no control, as actors, over where they believe that we belong. I wish that we could say, “I’d like to try this now,” but it’s basically where they believe they would like us. And then you get put into an area, or a path, or a box, and you can’t get out until somebody else decides, “Hold on. We’re going to give you that shot to try this, even though it’s not necessarily what you normally do or are known for.” Then it takes that for everybody to go, “Oh, you can do this, too?” And it’s like, “Yeah, that’s my job.” My job is to do a lot of things, not just one role, or one type of role.

Rannells: You’d like to think that you’re more in control of those decisions, but sometimes things just happen.

Constance, as Ann Messina, Carolyn Bessette’s mother in “Love Story,” you have this speech that you give at their wedding dinner. It’s such an incredible scene, and I’m wondering, what was it like for you when you first read that in the script?

Zimmer: That monologue was actually my audition.

Peña: Oh, I love when that happens like that.

Zimmer: So I knew it very well, getting on the set with it. I think that I only saw two scripts out of nine episodes, and they were just the ones I was in. And I remember my team saying, “This might be it. We don’t know if there’s anything else that you’re going to do on the show.” And I said, “If this is the only thing I do, it’ll be worth it,” because it was so layered and it was so well-written by Connor Hines and Juli Weiner, I was kind of like, “This is all that matters anyway.” So, to be able to feel like I could pour the entire character into one moment in time, it allowed me to try and give her as much as possible because I was like, “This might be it.” So when I read it, I was like, “Oh, OK. That’s like those five-page monologues that you don’t get very often to do for one character in one episode.”

Linda, your character on “DTF St. Louis” has this habit of saying, “No way, José,” and it’s oddly catchy. And she also is always asking people to speak up. Is it difficult to take what seems, on the page, maybe like tics or weird habits and make them feel natural?

Cardellini: That was the great challenge of it, and it’s the beauty of [Steven Conrad’s] writing. Like we repeat “Jamba Juice,” or “Quality Inn,” or “Garden Suites,” all these little phrases, or “Snag it.” It’s so fun to find a way to make that seem like it is natural to you. I remember I had a long monologue audition, and in there I talk about, “No way, José.” I wasn’t sure what the tone was — it’s such a specific tone when you watch the show, and it’s very Steve Conrad. And I didn’t know what it was before I met him and before you could see the show in action. So getting through that and chewing through that in my audition, doing these versions of “No way, José” that I thought felt really, really natural to me, I was like, “This is how I would say it. This is how I’m going to do it. If my sense of humor matches his sense of humor, if our tones match, then I’ll get this role. And if they don’t, then somebody else will do it beautifully in that other way, whatever that is.” Luckily that was like a marriage of tone and thought, and then those things start to come naturally. And then you want to say them more often than they’re written. There’s not a lot of improv in the show, but we would all just joke around and say it to each other.

Andrew, so much of “Miss You, Love You” is just you and Allison Janney together —

Rannells: Just sitting in a house. Just talking.

What was the rehearsal process like? How did the two of you prepare for these very long dialogue scenes?

Rannells: We rehearsed it like a play, which was really fun, and I’ve never really … I mean, we did that, I guess, with “Boys in the Band” a little bit. We had done it on Broadway and then we all kind of still knew it from when we actually filmed it. But Allison and I rehearsed it like a play, and we would just run lines like little theater nerds. It was exciting because I’ve never — to get on set and to be able to say, like, “We can do the first 25 pages just because we’ve already memorized it.” And we did for Danny Moder, the [director of photography]; we did our little play for the crew one day. Which was really fun because you don’t normally get to work like that. It’s like in little segments. And [writer-director] Jim Rash just let us run it in a way that felt really satisfying to get to do. Because sometimes when you just do little pieces of things you’re like, “I can’t quite get the arc of this, and I don’t really know.” You’re doing inserts, and you’re like, “This doesn’t feel like acting.”

Zimmer: And you’re doing it out of order, so you’re like, “Wait, I’m playing the end before I’ve even played the beginning, but I don’t even know what my beginning is.”

Cardellini: It becomes detective work.

Rannells: Shout-out to Allison Janney. It turns out she’s good at acting.

Linda, what was it like working with an intimacy coordinator in shooting what certainly look like they could have been very awkward scenes in “DTF”?

Cardellini: I like an intimacy coordinator. I think it’s wonderful. I think they’re there if you would like to use them. Everybody I’ve ever worked with in that capacity has been so helpful and considerate, and I think it’s just a nice resource to have. And we had a great one on “DTF.” … One of the first scenes I ever shot was me where I have to, we call it “weight placement,” on Jason’s face. And we were scheduled to shoot that much later, but it came up the —

Rannells: That was your first day?

Cardellini: That was our first scene together, really placing your weight on somebody in a way where you just don’t want to hurt somebody’s face. I mean, you don’t want to suffocate somebody. There’s a lot of things that could happen. But it was handled so beautifully. And Jason, of course, is so wonderful, and we had such a great time doing the scenes because we just would laugh — they’re funny. The scenes, more than even being sexual, are so awkward and bizarre and filled with these strange little kinks that it becomes funny, in a way, although you treat it with dead seriousness. But Steve Conrad had a beautiful economy about what he was shooting, and he would storyboard. It was never just like, “Oh, be intimate and go for it, and we’ll see what we use.” It was, “This is the part of your body we’re going to use right here. This will be the shot. It’s this frame. We’re not going to do any more than that.” So you never felt like you were in the Wild West doing this passionate thing that felt uncomfortable. … Because, of course, going into something like that, reading the script, you’re thinking, “It’s a little nerve-racking. How am I going to do these things?” It was much easier than I could have ever imagined.

Constance, your character in “Love Story,” she embodies the other side of the glamour and the fame and the story that we all think we know. And in a lot of ways I can’t help but connect it to your character from “UnReal” in that it creates this really interesting perspective on fame. These roles, do they make you think about that, as well? Do you start to consider your own relationship to fame and your character’s relationship to fame?

Zimmer: Ann, [and] working on “Love Story” in general, really brought the price of fame to the forefront and how it can tear people apart and down and away from who they were before they became famous. And I think, in this particular story, Carolyn never set out to be famous. That was like the last thing she wanted. The scenes with me and Sarah Pidgeon, who plays Carolyn Bessette, were very much about, “How do I remind you that everything is going to change, and you are going to change?” So it made the mama bear really show up. And sadly, it’s hard to do the research about all of that and see how much media was to blame. I hate to say it, and it’s tough, especially for a woman: They really tore her apart. It definitely makes you look at things and go, “Wow, it’s so interesting what we all give up.” This is our craft. We do this as actors, yet when we step outside of our craft and our roles, we are judged on such a harsh level. We’re here for the work and to make and show these characters so that maybe you can see a little bit of yourself, or maybe it can help you with grief, or laughter, or whatever. But then, outside of our work, we are judged almost worse about how we’re aging, how we’re not aging, what we look like, what we don’t look like. It’s the hardest part, I think, of what we do.

Would the rest of you agree with that, that in some ways, it’s not the work that you’re doing, but it’s this other job that exists outside of your work, the fame aspect of it? Does that become a bigger challenge than you expect?

Rannells: So much of the promotion of things that you work on now hinges on your participation in like, “Post this picture” or “Do this video” or “Do this thing.” And that’s stuff that you just don’t think about when you say, “I want to be an actor.” You don’t think about, “Do I have to do a collab with the network?” I don’t want to do that. That’s not part of my job, but it is part of your job. That is part of it now. So that’s a tricky aspect of it that I didn’t expect.

Morrone: The other side of that coin is that there’s independent films that I’ve done, that nobody would have ever seen had I not been the poster child on social media, being like, “I love this film. Please, watch this film. This is how to watch this film.” So, then again, it can also be a really beneficial platform. And it’s such a complicated relationship because, I mean, I grew up with social media. I don’t ever remember not having a form of social media. And I wish I could be like the cool actors who aren’t on it. They’re much more mysterious.

Peña: Jamie’s not on it.

Bell: I mean, it’s not a conscious choice. I’m just not on it.

Jamie, both you and Linda have been acting since you were quite young and, in some ways, have grown up on camera. How do you know what of yourself to hold onto, what you allow the public to see? Is that something you , at some point in your career, had to make a decision about how much of yourself you were going to give away?

Bell: I’m quite a boring person. I’m a dad. When I’m not working, I’m just dad and school running and that kind of thing. And also, I enjoy working. So most of my time is spent either trying to get the next job, or thinking about the next job, or just really working hard on that because I enjoy that. So I really don’t think about any of that other stuff. And I’ve been quite fortunate in that no one is particularly interested in banging down that door anyway …which I’m quite relieved about, honestly, because I feel like I get to work in a space where I’m just coming and playing the part, and I’m going home. That’s all I’ve ever done is since I was like 12 or 13 years old, and I still enjoy that. I still enjoy that thrill of going to work and playing the character. And I have incredibly high expectations of myself and all those things. I self-flagellate a lot on the way home, like, “Why didn’t you do it like that?” I stress myself out about that kind of stuff, but I still go back the next day going like, “God, maybe I’ll get it today.” And that excitement still exists. And I think mostly that’s because I don’t have this other side of stuff that is distracting me from anything.

Cardellini: When I first started, I wondered if I would ever make a living at it. And to be able to have had it as my job and to have a job that I love and, like you said, show up and just be excited to do the work and be excited to be around other people who do the similar work or behind the camera… It’s such a beautiful community that I feel very grateful that I’ve been able to grow up doing what I love. I mean, I wouldn’t have guessed that it could have lasted this long. And people always said, like, “Oh, when you get to a certain age, it gets terrible for women.” And I still feel like I’m still learning and growing and doing new things, stuff I’ve never done before. So I just try to turn down my worry and just be so grateful in the moment, which is not always easy for me because I can live with a lot of anxiety. But thinking about it and listening to everybody here right now, I just am very grateful to have a seat at the table, literally and figuratively.

I’d imagine for all of you that you’re probably never quite sure what roles you do that are going to be the ones that hit in a certain way. Do you ever know what movies are going to land with audiences?

Peña: I think I’ve done OK in that department where if I read something and it really moves me, I just want to be a part of it. I mean, they had their own success, in a way. “Eastbound & Down” was so funny. When I read the character, I was like, “Oh, this is a really cool character.” And now the meme… There’s a fart meme. Man, I swear to God, we shot that 15 years ago, and literally I do a fart noise, and I say, “How long have you been with her?” It sucks now because I’m like, “That’s all they know me for. Not ‘Crash,’ not ‘World Trade Center,’ not all the movies that were nominated, this and that.” It’s the fart noise.

Rannells: Is that going to be your In Memoriam thing?

Peña: Can you imagine? Let’s watch a clip here of Michael —

As we talk about these past projects you’ve been a part of, it just leads to the question of how the business of being an actor, the nature of this as a job, has changed for you over the years.

Rannells: When I started, and I started in the ensemble of “Hairspray” on Broadway, I never expected that I would ever get a job on television. That just seemed very far away. So the fact that I get to do it and that I have a tiny bit of control over what I get to do is a real gift because it was very unexpected. My first TV job, I was a headless stripper on “Sex and the City.”

Morrone: What episode?

Rannells: It wasn’t a Halloween episode. They just didn’t shoot my face. But I remember filming it and being like, “I can’t imagine this will ever happen again, that I’ll be on a set, or doing a TV show,” So it’s still sort of a surprise anytime I get a job that I’m like, “Someone’s going to pay me to do that, to make faces.”

It seems like everyone in Hollywood right now is talking about artificial intelligence. For all of you, is that something that you are thinking about for yourself? Have you experimented with it at all?

Morrone: I really want to believe that people will always choose us and real emotion, and that the audience is really smart and they want to see real humans and real life experiences and raw emotion. And I pray that that’s the case. I have a lot of hope in humanity, in that case.

I don’t know what it means for us in the near future. I know that we have to protect ourselves. I actually was working with Patricia Arquette, she directed me in a film called “Gonzo Girl.” And she is so hyper-aware of all of this and looking into all her contracts. So was Jamie Lee Curtis. I got the opportunity to talk to her about AI. And they were so knowledgeable and like, “Go back and look at everything that you’ve done the last 10 years, and review everything, and make sure that they can’t use your likeness in the future.” I mean, it’s something that we really do have to be aware of.

Peña: I don’t think that it’s going to be a threat because it’s working off of a database and whatever has been uploaded onto that particular AI. So, just for s— and giggles, I was like, let me see if it can write some jokes. So, I’m like, “What would Peña say in this one?” I was like, “Lame.” All the jokes sucked, and they were recycled jokes. And I was like, “OK, cool. That gives me hope.”

Zimmer: Was there a fart joke in there, though?