TV

Walt Disney Co. on Wednesday said it finalized its deal to acquire a majority stake in FuboTV and swiftly combined its Hulu + Live TV business with the sports-focused operation.

The union creates the nation’s sixth largest pay-TV service with nearly 6 million domestic subscribers.

Financial terms were not disclosed.

Similar to competitors DirecTV, YouTube TV and Charter Spectrum, both Hulu + Live TV and Fubo distribute traditional channels including broadcasters ABC, CBS and cable channels Fox News, Bravo and ESPN.

The combined company will be overseen by a nine-member board led by Brad Bird, former chairman of Walt Disney International. The firm will continue to offer Fubo and Hulu + Live TV as separate services available through their respective apps.

Disney’s investment plans were announced in January, after the much smaller Fubo sued Disney and two other media companies over their plans to launch a high-profile streaming joint venture, Venu Sports. Fubo argued the collaboration of Disney, Fox Corp. and Warner Bros. Discovery was “a sports cartel,” one that would crush its business.

A judge agreed based on anti-trust concerns, blocking further development of Venu.

Disney’s deal to acquire 70% of New York-based Fubo ended that litigation.

The combined business will be led by Fubo Chief Executive David Gandler, who co-founded the service, and Fubo’s management team.

“Since Fubo’s founding a decade ago, our vision has always been to build a consumer-first streaming platform defined by innovation and value,” Gandler said in a statement. “Together with Disney, we’re creating a more flexible streaming ecosystem that gives consumers greater choice, while driving profitability and sustainable growth.”

His firm will have access to a $145 million term loan that Disney agreed to provide. Fubo’s ad sales team will join Disney’s sales organization.

The company’s stock will continue to be publicly traded under the FUBO ticker. Existing Fubo shareholders represent about 30% of the company. Shares were up slightly to $3.95 in mid-day trading.

Netflix on Tuesday said its third-quarter revenue jumped 17% to $11.5 billion, powered by the hit animated film “KPop Demon Hunters.”

The Los Gatos-based streamer reported a net income of $2.5 billion during the third quarter, up 8% from the same period a year ago but well below the $3 billion analysts had projected, according to FactSet.

Revenue was in line with analyst estimates and was boosted by increased subscriptions, pricing adjustments and more ad revenue.

The company said it incurred a $619-million expense related to a dispute with Brazilian tax authorities.

“Absent this expense, we would have exceeded our Q3’25 operating margin forecast,” Netflix said in a letter to shareholders on Tuesday. “We don’t expect this matter to have a material impact on future results.”

Netflix shares, which closed Tuesday at $1,241.35, fell 5% in after-hours trading.

As it continues to dominate the streaming market with more than 301 million subscribers, Netflix has been investing in a diverse slate of content, including new movies rolling out in the fourth quarter such as Guillermo del Toro’s “Frankenstein,” as well as the final season of sci-fi hit “Stranger Things” and family-friendly games for the TV such as Boggle.

“KPop Demon Hunters” has garnered more than 325 million views in its first 91 days on the service. The movie, about a trio of powerful singers who hunt demons, was released in June.

It bested 2021 action film “Red Notice,” which had been previously its most watched film in its first 91 days on Netflix with 230.9 million views.

On Tuesday, Netflix also announced a licensing deal with toymakers Hasbro Inc. and Mattel Inc. to make toys including dolls, action figures, youth electronics and other items related to “KPop Demon Hunters.”

Popular TV shows launched in the third quarter include the second season of the Addams family spinoff series “Wednesday” and the second season of drama “My Life With the Walter Boys.”

“When you have a hit the size of ‘KPop Demon Hunters,’ it stirs the imagination of where you can take this,” said Ted Sarandos, co-chief executive of Netflix, in an earnings presentation.

He said the film benefited from Netflix’s platform, allowing superfans to repeat view it and make it appealing for audiences to watch in theaters as well. “We believe this film, ‘KPop Demon Hunters,’ actually worked because it was released on Netflix first,” Sarandos added.

The company said in the fourth quarter it expects revenue to grow another 17% due to growth in subscriptions, pricing and ad revenue.

For the full year, Netflix is forecasting revenue of $45.1 billion, up 16%, and said it is on track to more than double it ad revenue in 2025.

Like other entertainment companies, Netflix has been taking steps to diversify its business in a challenging landscape, as production costs for TV and movies increases and studios consolidate.

“With entertainment industry employment becoming more precarious, Netflix is slyly pivoting its content strategy to rely more on live sports, YouTubers, creators and podcasters,” said Ross Benes, a senior analyst with research firm Emarketer in a statement.

But some investors still remain skeptical about the future of subscription streaming services, as the technology behind video generation tools powered by AI get more sophisticated, making it easier to replicate visual effects and customize content to viewers.

“Netflix’s core lay-back easy-to-watch scripted content is potentially most at risk by the emergence of generative AI compared to peers,” said John Conca, analyst with investment research firm Third Bridge. “Netflix will need to channel its earlier days and find a way to remain nimble, even though it’s now the 800-pound gorilla in this space to deal with this threat.”

On Tuesday, Netflix said it is using generative AI to improve the quality of its recommendations and content discovery on its platform. Creators on Netflix are also using AI tools for their projects, including filmmakers for comedy “Happy Gilmore 2” using generative AI and volumetric capture technology to de-age characters.

Taylor Swift has a lot to be happy about — including a ring she says she could watch “like it’s a TV.”

The “Bejeweled” pop star hit “The Graham Norton Show” Friday to promote her new album, “The Life of a Showgirl,” and the host swiftly congratulated her on the “new bit of finger jewelry.”

“He really crushed it when it came to surprising me,” Swift said of fiancé Travis Kelce’s marriage proposal. “He went all out. 10 out of 10.”

The “Norton Show” appearance marks the first time the Grammy-winning singer-songwriter has addressed this new chapter of her love story with the Kansas City Chiefs tight end on TV. In August, the high-profile couple announced they were engaged with a joint Instagram post that looked straight out of an enchanted garden.

According to Swift, the viral photos were not staged. While the couple were recording an episode of Kelce’s podcast, “New Heights,” the three-time Super Bowl champion was having his backyard transformed for the romantic occasion. (Kelce’s father, Ed, let it slip shortly after the announcement that the proposal had happened at Travis’ home in Lee’s Summit, Mo.) Among the added greenery were a few strategically placed hedges where Swift’s tour photographer could capture the proposal unnoticed.

“It’s really fun that we actually have the exact moment” when he proposed, Swift said.

Television is not the only place where Swift has been unable to stop gushing about her fiancé.

Fans have been meticulously dissecting the lyrics on all of the tracks on Swift’s latest album and there are plenty of nods to Kelce. The most explicit, according to Swifties and Swiftologists, is “Wood,” which is being described as her horniest and most openly sexual song to date.

Times pop music critic Mikael Wood describes the song as “a kind of kiddie-disco number that … exults in the erotic thrill of a guy brandishing ‘new heights of manhood,’” pointing out the reference to Kelce’s podcast. Among the other lyrics that are causing a frenzy among fans include references to a “Redwood tree,” how “his love was thе key that opened [her] thighs” and “a hard rock [being] on the way.”

Clearly, Swift is just as giddy about her upcoming nuptials as Kelce.

Actor Floyd Levine, whose career spanned numerous decades and a variety of projects ranging from films “The Hangover” and “Norbit” to TV shows “Melrose Place” and “Murder, She Wrote,” has died. He was 93.

Levine died Sunday, surrounded by family and “probably wishing someone would bring him a martini,” his daughter-in-law Tracy Robbins announced Tuesday on Instagram. Robbins, who is married to Levine’s son, former Paramount executive Brian Robbins, said Levine was “the best father-in-law, grandpa, and all around jokester.”

Levine began his screen career in the early 1970s and appeared in almost 100 productions. His notable credits also include films “Dog Day Afternoon,” “Bloodbrothers,” “Super Fly” and TV series “Kojak,” “Starsky & Hutch,” “Baywatch” and “Days of Our Lives.” He often played minor characters, including police officers, detectives, tailors, doctors and a crime boss.

A former taxi cab driver from New York City, Levine also collaborated with his son on Eddie Murphy starrers “Norbit,” “Meet Dave” and “A Thousand Words.” Robbins was inspired by his father to pursue an entertainment career and was also an actor, director and longtime producer before he became an industry executive. The father-son duo also both appeared in “Archie Bunker’s Place” and “Head of the Class.” They also worked together on “Good Burger,” “Kenan & Kel” and “Coach Carter.”

“Brian is basically his twin, and we will see Floyd’s grin every time we look at him,” Tracy Robbins added in her Instagram post.

“You all have made my life sugar, and I love you all so much,” he tells loved ones in a video shared by Robbins. “If I could do it, I’d hug you and kiss you all. God bless you all and keep punching.”

Levine was laid to rest on Wednesday. In addition to Brian and Tracy Robbins, survivors also include daughter Sheryl, son Marc and several grandchildren, according to the Hollywood Reporter. His wife, Rochelle, died in May 2022 at age 85.

“I would like to think there’s a casting call in heaven, and you showed up early, script in hand,” Tracy Robbins added in her post. “I will miss him dearly, but i know he’s making the angels laugh already and back together with his beautiful wife Rochelle.”

With the 1980s came an influx of Western women ascending in white-collar professions — and their increase in power demanded some formidable work wear to match.

As ruthless as she is seductive, Spanish businesswoman Marioneta Negocios (voiced by Pepa Pallarés) is among them. We meet her when she lands in Quito, Ecuador, to wreak havoc in Gonzalo Cordova’s stop-motion animated show, “Women Wearing Shoulder Pads,” Adult Swim’s first-ever Spanish-language program, which premiered Sunday.

In the South American country, cuys (guinea pigs) are part of the local diet, but the conniving Marioneta wishes to change the local mindset so that the creatures are seen as pets. Her plan angers Doña Quispe (Laura Torres), who makes a living selling cuys to be eaten, leading to a melodramatic feud.

True to her name, Marioneta is a puppet whose look is immediately recognizable as that of Carmen Maura’s character Pepa in Pedro Almodóvar’s 1988 “Women on the Verge of a Nervous Breakdown.” The show is profoundly indebted to Almodóvar’s universe.

Cordova, 39, lived in Ecuador and Panama until he was 6 years old, when his family moved to South Florida. He discovered American culture through copious hours of TV, with “The Simpsons” and comedian Conan O’Brien becoming key influences on his sensibilities.

“It’s just such a joy to have this TV show that mixes together all these childhood memories of Ecuador, but also TV and movies, smashing them together into one thing,” he says during a recent video interview from his home in Pasadena.

“Women Wearing Shoulder Pads” from creator Gonzalo Cordova.

(Warner Bros)

The genesis of “Women Wearing Shoulder Pads” occurred at the height of the COVID-19 pandemic. Cordova had been working on a Mexican American project, but he ached to create a story that specifically reflected his Ecuadorean background.

Having worked as a story editor and producer on the animated series “Tuca & Bertie,” Cordova had a relationship with Adult Swim, Cartoon Network’s programming block aimed at mature audiences. He pitched them his idiosyncratic idea inspired by Almodóvar’s ‘80s films, Ecuadorean culture and his love of the Bob Baker Marionette Theater, an L.A. institution.

At first, Cordova did not tell Adult Swim that he intended for the show to be in Spanish. He tried to ease them into the idea. “I did not mention that in the pitch,” he admits. “They showed some interest and when I was writing the script, I started telling them, ‘This really should be in Spanish.’ But I always knew that was the correct way to do it.”

Executives were surprisingly receptive and allowed him to move forward with the pilot, with the caveat that they could change course. “I’m not going to lie and say that it was just smooth sailing,” Cordova explains. “But Adult Swim really listened to me and was very supportive. It has taken a big risk.”

The funniest version of this TV show had to exist in Spanish, he thought. His conviction derived from his experience writing jokes and testing them in front of an audience.

“I did stand-up comedy for eight years in New York, and if you don’t believe in the thing you’re doing and don’t fully commit, it’s not going to work,” he says. “The audience feels it. And to me, doing it in Spanish was just part of the commitment to the bit that I’m doing.”

The HBO Max show “Los Espookys,” which set the precedent that a U.S. production could premiere in Spanish, deeply emboldened Cordova in his creative impulse. “That show gave me a little bit more of chutzpah in asking for this,” he adds.

For Cordova, “Los Espookys,” created by Julio Torres, Ana Fabrega and Fred Armisen, conveyed “a Latin American sensibility and sense of humor,” which he describes as “a little offbeat and a little quirky.” That tone is also what he sought for his show.

First, Cordova wrote “Women Wearing Shoulder Pads” in English over two months with an all-Latino writers’ room, where each person had different levels of Spanish proficiency. Writing in English, their dominant tongue, allowed them to “shoot from the hip,” as he puts it. “The show really relies on absurdism, which heavily relies on instinct,” he explains.

To ensure that the jokes were not getting lost in translation, Cordova worked closely with Mexico-based Mireya Mendoza, the translator and voice director on the show. Once they had made way in the Spanish translation, the production brought on Ecuadorean consultant Pancho Viñachi to help make the dialogue and world in general feel more authentic.

“Pancho started giving us these very specific, not only slang, but also Quechua words and things that would make it feel very specifically Ecuadorean,” Cordova says. “I took that very seriously too. We spent maybe as long translating it as we did initially writing it.”

That “Women Wearing Shoulder Pads” is decidedly a queer show with no speaking male characters came from Cordova’s desire to further exaggerate the fact that in melodramas or classic “women’s pictures” the male parts are secondary to their female counterparts.

“Once you go, ‘No male characters,’ your show’s going to be queer,” he says smiling. “You wrote yourself into a corner because you can’t do a parody of these kinds of work without sex in it and without romance or passion. I was like, ‘The next step is to also make this very queer.’”

As for the decision to use stop-motion, Cordova credits Adult Swim for steering him in that direction. “Initially, when I pitched the show I wanted to do an Almodóvar film with marionettes and Adult Swim very wisely said, ‘This is going to create more complications for you,’” he recalls. “They suggested stop-motion and connected me to Cinema Fantasma.”

Based in Mexico City, Cinema Fantasma is a studio that specializes in stop-motion animation founded by Arturo and Roy Ambriz. The filmmaker brothers are also behind Mexico’s first-ever stop-motion animated feature, “I Am Frankelda.”

Cordova visited the studios throughout the production, gaining a deeper appreciation for the painstaking technique in which every element has to be physically crafted.

For Cordova, creating “Women Wearing Shoulder Pads” entailed mining his memories of Ecuador in the late ‘80s, including growing up hearing over-the-top, partially fictionalized family stories. Those recollections also helped shape the look of the puppets.

“We used a lot of film references. That’s why some of the characters just looked like they come straight out of a Pedro Almodóvar’s film,” he says. “But I also sent Cinema Fantasma a large Google Drive folder with tons of family photos. And we started finding like, ‘Doña Quispe is going to look like this relative mixed with this drawing from ‘Love and Rockets.’”

In this scene, Marioneta leads a “guinea pig rights group.”

(Warner Bros.)

The prominence of cuys in the show also stemmed from remembering how seeing them at restaurants or in cages would shock him when he returned to Ecuador as a teen after living in the U.S. for many years. Now he looks at the practice with a more mature perspective.

“I understand that this is a food and it’s no different than being served duck in a restaurant,” he says. “The show tries to make that point, but also preserves my childhood perspective on it through other characters.”

The line between the creative and the personal blurred even further because many of the costumes were based on designs that Cordova’s mother created when she was studying fashion in Panama and thought would never see the light of day.

Though she was delighted by this homage, her thoughts on the show surprised him. “My mom’s reaction has been interesting because she was like, ‘This is just a good drama.’ The comedy elements are not on the forefront for her,” Cordova says with a laugh. “For her it’s like, ‘I want to know what happens next,’ which I didn’t really expect.”

By putting Ecuador in the forefront of his mind and of this hilarious work of collage, Cordova made a singular tribute to his loved ones.

“There are so many weird little moments in the show when my family was watching and they were like, ‘Oh, that’s your tía’s name, that’s your sister’s nickname.’” Cordova recalls fondly. “It’s almost like how in superhero movies they’ll put Easter eggs, these are Easter eggs for my family only.”

But there’s another opinion Cordova is eager to hear, that of Almodóvar himself. His hope is that, if the Spanish master somehow comes across the show, he feels his admiration.

“I hope that if he does watch it, that he knows it is just very lovingly inspired by his work and that it’s not a theft,” Cordova says. “I make it very obvious who I’m taking from. I may have borrowed from him quite a bit, so I hope he sees that it’s done out of a deep respect.”

Pamela Warner, the mother of late “Cosby Show” star Malcolm-Jamal Warner, looked beyond loss and offered some comfort to his fans as she broke her silence about his sudden death in July.

The elder Warner created an Instagram page dedicated to her son’s legacy and on Friday released a contemplative and lengthy statement saying the actor-musician “was at peace and more importantly, he did not suffer.” Warner, who was best known for his portrayal of clean-cut Theodore Huxtable, drowned while swimming in the Caribbean off Costa Rica. He was 54.

Pamela Warner reflected on her son’s accomplishments in TV, music and his personal life, honoring her son as a “kind, loving man with a huge heart for humanity” and an “exceptional” family man. In addition to his mother, the actor is survived by his wife and daughter.

“Malcolm left an indelible mark on the world and on countless hearts,” she wrote. “All who met him, however briefly, were better for the encounter.”

While she mourned the loss of her “teacher, coach, confidant, business partner, and best friend,” Pamela Warner also reflected on giving birth to him more than 50 years ago. She said she felt “blessed that he chose me to be his mother, to come into the world through the waters of my womb.” She went on to offer a full-circle perspective on her son’s death.

“Malcolm was birthed through water and he transitioned through water,” she wrote. “He departed as he arrived, through water. This was his time. His mission on earth had been completed.”

The Emmy-nominated actor was on vacation with his family at the time of his death. He was swimming when a current pulled him deeper into the ocean. The Red Cross in Costa Rica said its first responders also tended to another man caught in the same current that claimed Warner’s life. The patient, whose identity was not disclosed, survived. First responders found Warner without vital signs, and he was taken to the morgue.

Pamela Warner’s statement joins the collection of tributes honoring her son’s life. Malcolm-Jamal Warner’s co-stars including Bill Cosby, Geoffrey Owens and Raven-Symoné and, more recently, Keshia Knight Pulliam have mourned his death.

“A week ago I lost my big brother but I gained an angel,” Pulliam said of her TV brother on social media.

Malcolm-Jamal Warner was a multi-faceted entertainer who in addition to acting also pursued a Grammy-winning music career. After his time on “The Cosby Show” he also directed episodes for several other TV shows. Warner’s mother’s statement acknowledged his reach, encouraging his fans and loved ones to “Hold close to whatever part of Malcolm’s life that touched yours.”

Her statement concluded: “In keeping it near, you keep his spirit alive — nourishing you with the peace, love, joy and light that embodied Malcolm-Jamal Warner.”

Alfie Wise, who often appeared in films and TV shows with his friend Burt Reynolds, has died. He reportedly died July 22 of natural causes at the Thomas H. Corey VA Medical Center in West Palm Beach, Fla., his longtime fiancée Stephanie Bliss told the Hollywood Reporter. He was 82.

Wise and Reynolds shared the screen in film and TV, including some of Reynolds’ greatest hits: the 1974 film “The Longest Yard,” the 1977 film “Smokey and the Bandit,” and the 1981 film “The Cannonball Run.” Wise also appeared with his friend in the CBS sitcom “Evening Shade” and ABC’s crime series “B.L Stryker.”

“His films were like an ongoing block party,” Wise told the New York Daily News after the death of Reynolds in 2018.

“You always knew you were going to have a great time with a Burt Reynolds movie,” he added.

Off screen, Wise worked as Reynolds’ assistant.

Wise graduated in 1964 from Penn State and joined the U.S. Navy, where he would produce and host shows. He later worked as an NBC page in Los Angeles. He made his acting debut in the 1972 TV movie “Call Her Mom.”

His filmography included “Midway” (1976), “Swashbuckler” (1976), and “Hot Stuff” (1979). Wise also appeared on the short-lived children’s show “Uncle Croc’s Block” with Lou Ferrigno and Charles Nelson Reilly in the titular role and the ABC series “The Fall Guy” with Lee Majors.

Wise’s last credit was 15 episodes of the CBBC show “S Club 7 in Miami.”
After retiring from acting in 2000, he worked as a real estate agent in Juniper, Fla.

The cause of death for Hulk Hogan, pro wrestling icon and reality TV star, has been unveiled a week after he died at age 71.

A medical document reviewed on Thursday by The Times reveals that Hogan (born Terry Bollea) died of acute myocardial infarction, a heart attack, in other words. This reaffirms details that Florida police shared in an announcement of Hogan’s death last week. In a statement on Facebook, the Clearwater Police Department said that on the morning of July 24, it responded to a call for cardiac arrest, adding that first responders took Hogan to a nearby hospital where he was pronounced dead.

At the time, a representative for the wrestler also confirmed his death to The Times: “We are heartbroken. He was such a great human being and friend.”

The medical report, which confirmed his death was natural, also revealed that Hogan had a history of atrial fibrillation (AFib) and lived with “leukemia CLL.” The Mayo Clinic describes CLL (chronic lymphocytic leukemia) as “a type of cancer of the blood and bone marrow.” Hogan was also approved for cremation, according to the document.

Hogan gained popularity as a pro wrestler in the 1980s but expanded his legacy with endeavors in film, TV and politics. He famously broke into the national spotlight in 1983 when he signed with the WWE, formerly the World Wrestling Federation. He was known for his blond hair, dark spray tan, red and yellow ensembles and his infectious energy in the ring. He also pursued acting, with credits including “The A-Team,” “Love Boat,” “Suddenly Susan,” “Walker, Texas Ranger” and the animated “Hulk Hogan’s Rock ‘n’ Wrestling” that featured him and other WWF stars in live-action segments. His TV career also notably includes the family reality TV series “Hogan Knows Best,” which included children Brooke and Nick.

He became vocal in politics later in life. Hogan became a vocal supporter of President Trump, channeling his wrestling persona at the 2024 Republican National Convention.

“We lost a great friend today, the ‘Hulkster,’” President Trump wrote last week on Truth Social. “Hulk Hogan was MAGA all the way — Strong, tough, smart, but with the biggest heart. He gave an absolutely electric speech at the Republican National Convention, that was one of the highlights of the entire week. He entertained fans from all over the World, and the cultural impact he had was massive. To his wife, Sky, and family, we give our warmest best wishes and love. Hulk Hogan will be greatly missed!”

Also paying tribute were WWE, Vice President JD Vance, and fellow former star wrestler Jake “The Snake” Roberts. Children Nick and Brooke each paid tribute to their famous father. Last week, Nick Hogan penned an emotional Instagram tribute to his “best friend” and “best dad in the world.”

Brooke broke her silence on her father’s death earlier this week on Instagram, reflecting on their bond, which she says “has never broken, not even in his final moments.”

“I know he’s at peace now, out of pain, and in a place as beautiful as he imagined. He used to speak about this moment with such wonder and hope,” she wrote. “Like meeting God was the greatest championship he’d ever have.”

Theater and television actor Tom Troupe has died at 97.

Troupe died Sunday morning of natural causes in his home in Beverly Hills, according to his publicist, Harlan Boll.

Known for his extensive career in theater and TV, Troupe made his Broadway debut in 1957 playing Peter van Daan in “The Diary of Anne Frank.” A year later, he moved to Los Angeles and appeared in more than 75 TV series over the course of his career, including “Mission: Impossible,” “Star Trek,” “Planet of the Apes,” “CHiPs,” “Quincy M.E.” and “Who’s the Boss.”

However, he continued to act in stage productions, appearing in “The Lion in Winter,” “Fathers Day” and “The Gin Game,” all three of which also co-starred his wife, actor Carole Cook. He also starred in a single-character play he co-wrote called “The Diary of a Madman.”

Troupe also had roles in several films, including 1991’s “My Own Private Idaho,” starring Keanu Reeves and River Phoenix; 1970’s “Kelly’s Heroes,” which starred Clint Eastwood and Don Rickles; and 1959’s “The Big Fisherman.”

He and Cook were awarded the L.A. Ovation Award for Career Achievement in 2002 because of their extensive stage work over the years in Los Angeles.

Born in Kansas City, Mo., on July 15, 1928, Troupe got his start acting in local theater productions before he moved to New York City in 1948.

He won a scholarship to train with stage actor and theater instructor Uta Hagen at the Herbert Berghof Studio in Manhattan before he went to fight in the Korean War, where he was awarded a Bronze Star. After the war, he returned to New York to act on the stage.

Troupe married Cook in 1964. The actor, who was known for her roles in “Sixteen Candles” and Lucille Ball’s “The Lucy Show,” died in 2023 at the age of 98.

Troupe is survived by his son, Christopher, daughter-in-law Becky Coulter, granddaughter Ashley Troupe and several nieces and nephews.

July signals summer fun, Independence Day and … Emmy nominations.

Nominations for TV’s biggest awards show will be announced Tuesday. This year’s field of small-screen offerings includes returning favorites like HBO’s “The White Lotus” and breakout hits such as Apple TV+’s “The Studio.”

Here is everything you need to know about this year’s Emmy nominations.

When will Emmy nominations be announced?

The 77th Emmy Awards nominations will be revealed Tuesday beginning at 8:30 a.m. PT/11:30 a.m. ET. The nominees will be announced by Television Academy Chair Cris Abrego alongside “What We Do in the Shadows” star Harvey Guillén and “Running Point’s” Brenda Song.

How can I watch?

You can livestream the announcement on the TV Academy’s website or YouTube channel.

Who are the predicted nominees?

“Hacks” and “The Studio” are expected to lead the comedy pack. Other contenders include “The Bear,” “Only Murders in the Building,” “Abbott Elementary,” “Shrinking,” “What We Do in the Shadows” and “Nobody Wants This.”

Drama series nominees could include “Severance,” “The Pitt,” “The White Lotus” and “The Last of Us.” “Slow Horses,” “Andor,” “The Diplomat” and “Squid Game” are also in the running.

The limited series front-runners, meanwhile, include “Adolescence,” “The Penguin,” “Dying for Sex,” “Monsters: The Lyle and Erik Menendez Story” and “Disclaimer.”

After nominations are announced, final-round voting will commence Aug. 18 and conclude Aug. 27.

When are the 2025 Emmy Awards?

The 77th Emmy Awards will take place Sept. 14 at 5 p.m. PT/8 p.m. ET at downtown’s Peacock Theater in L.A. Live. The ceremony, hosted for the first time by Nate Bargatze, will air live on CBS and stream on Paramount+ the next day.

Jesse Collins Entertainment is producing the Emmy Awards for the third consecutive year.

The Creative Arts Emmys will be held Sept. 6 and 7.

When it became clear that the couple beneath the bedclothes were indeed having sexual intercourse, the West Hollywood crowd that had come to watch cheered loudly and with the exultant delight that one imagines might erupt from courtiers overseeing a royal post-nuptial bedding. Or, in a more contemporary context, from soccer fans after a final-minute, high-left-corner soccer goal.

But no. This was a “Love Island USA” watch party presented by Reality Bar at Roosterfish Tuesday night, one of hundreds of similar gatherings at bars all over the country. After living in the shadow of its wildly popular U.K. progenitor, “Love Island USA” became a hit last year with a genuinely love-filled Season 6. This year, the series has seen more scandal than romance — two contestants have been removed following outcry over their past use of racial slurs in social media posts.

But if the proliferation of watch parties is any indication, those scandals have only increased audience interest.

“I never really understood sports bars before,” my 25-year-old daughter told me. “Now I do.”

For a watch-party neophyte, it was more than a little strange to see tables full of people set aside their watermelon margaritas and mozzarella sticks to applaud the sexual consummation of strangers. But under those sheets cavorted current fan-favorite Amaya “Papaya” Espinal with her current partner Bryan Arenales, which explains the crowd’s voyeuristic joy. On “Love Island,” the couple perceived as the strongest wins the $100,000 prize (and, presumably, romantic bliss).

So the approving roar was, in part, driven by relief and hope for a team Amaya Papaya win.

Amaya “Papaya” Espinal and Bryan Arenales in Tuesday’s episode of “Love Island USA.”

(Peacock)

It was also the sound of the latest attempt to revive the smoldering embers of the electronic hearth and save linear television.

You don’t have to love “Love Island,” with its appalling candy-colored villa in Fiji, unapologetic emphasis on “hotness” and endless dramatic pauses to appreciate the fact that in the increasingly fractured and isolated viewership experience of modern television, it is drawing people together, physically, and in real time.

The platform may be NBCUniversal‘s streaming service Peacock, but “Love Island” is returning TV to its roots.

Frankly, that’s much more startling than the sight and sound of people devouring the messy drama of competitive intercourse along with their happy-hour priced drinks and bites.

Twenty years ago, reality television was viewed by many as a threat to traditional TV. Yes, there had always been daytime game shows, but after “American Idol” and “Survivor” became prime-time hits and the Kardashians began their empire building, the reality craze spread like kudzu through broadcast and cable. Cheap to make, reality series didn’t need huge audiences to be successful. Network executives couldn’t green-light them fast enough, and for a few years, it seemed that scripted programming would become the exception, found mostly on subscription-based platforms like HBO and Showtime.

That isn’t what happened, of course. Beginning with AMC, a wide variety of cable networks began producing original scripted series, followed closely by Netflix, Prime Video and other streamers. Reality TV remained popular, but there was a new cultural phenomenon in town — the prestige dramas and comedies of what some called the new Golden Age of television. For a few glorious years, highly produced scripted series were watched, and then discussed, together and in real time. A thousand recap blogs bloomed, and whether it was “Breaking Bad” or “Downton Abbey,” all anyone talked about was television.

Alas, as is so often the case, bust followed boom. The proliferation of platforms and shows splintered the audience and ad revenues. Streaming, with its binge model and personal-device availability, made viewing increasingly less about a family or group of friends gathering around a flat-screen and more about everyone balancing their laptop on their stomachs or hunching over their phones. Since no one knew who was watching what and when, watercooler chat and even many recap blogs spluttered out.

But reality TV, quietly chugging along as the number of scripted series swelled to unsustainable proportions, has always been a spectator’s sport. Sure you can binge past seasons of “The Great British Baking Show,” but when it comes to “The Bachelor,” “Love Is Blind” or “The Traitors,” it’s much more rewarding to watch and to comment in real time.

While the rise in interest in “Love Island USA” has been attributed to the Season 6 casting that led to several genuine couples, the show has also upped its social media presence and emphasized the fact that episodes air little more than a day after they are shot, making it as close to a live viewing experience as an edited series can get.

So it’s not surprising that the crowd watching at Roosterfish would act as if they were part of a live audience — groaning when one of the men suggests that his partner is “worthy,” or shouting out opinions to Huda Mustafa when she asks if she or her partner is to blame for that day’s miscommunication (according to the women at the next table, it is definitely her).

Chris Seeley and Huda Mustafa in “Love Island USA.”

(Ben Symons / Peacock)

Here is where I confess that, after watching several seasons, including 6 and 7, for the purposes of this column, I am not a fan of “Love Island USA,” and considering my aged demographic, I cannot imagine the good folks at ITV America or Peacock care at all.

I find all the blindfolded kissing troubling, the close-ups of those waiting to be voted safe or dumped gratuitously painful and the endless shots of contestant-grooming tedious. (Except when the guys are ironing — that’s my favorite part.) As a mother, I worry that between the “islanders’” sleep deprivation, complete lack of privacy and requisite emotional manipulation, whatever partnerships emerge are likely to be trauma-bonds, which is just not healthy. Mostly though, I think it’s boring — for every three minutes of “action,” the audience is expected to endure 30 minutes of analysis, mostly by people who overuse the words “queen” and “bro.” Also, I think the villa is hideous and the most fake moments are when everyone has to pretend it’s not.

But…

I did have a lot of fun at the watch party. The audience reaction, whether it was cheering or a collective cringe, amplified the drama while also making it right-sized — the show is ridiculous; that’s precisely why so many people love it.

As any theatergoer or stage actor will tell you — often ad nauseam — the audience is always part of the performance; the story is not just occurring in front of you, it’s all around you. The laughter and groans, the suspenseful silence of those watching play as big a part as whatever is happening on stage.

The same is true for television, and we are in grave danger of forgetting this. More than any other art form, television was created to be communal — to allow a large group of people to share something simultaneously.

Very few of us would give up our modern ability to watch what we want whenever we feel like it, but wholly surrendering the joys of old-fashioned, vying-for-the-best-seat, “what-did-he-say?” television is too high a price to pay for the ability to binge. The power of an audience is not limited to voting people out of the villa or determining a series’ success — it’s an energy source in itself.

Gathering with friends and family, or a group of strangers, to regularly enjoy a certain show together doesn’t just lift the spirit, it makes the show more than just something to watch.

If “Love Island USA” manages to remind us of that in a meaningful way, well, I may never like it much, but I will be a fan for life.

File this as prett-ay, prett-ay, prett-ay good news: Larry David is returning to TV with a new six-episode sketch comedy about American history, produced the Obamas’ by Higher Ground.

He will be writing the HBO series alongside Jeff Schaffer, who was a showrunner, executive producer and director on “Curb Your Enthusiasm.” David will star in the series, which will feature some actors from “Curb” as well as noteworthy guest stars.

Schaffer and David will both executive produce, with Schaffer taking the lead on directing. Barack and Michelle Obama will be executive producing the limited series for their banner Higher Ground Productions alongside Vinnie Malhotra and Ethan Lewis.

HBO’s official logline reads, “President and Mrs. Obama wanted to honor America’s 250th anniversary and celebrate the unique history of our nation on this special occasion.

…But then Larry David called.”

“Once ‘Curb’ ended, I celebrated with a three-day foam party,” David said in a press release. “After a violent allergic reaction to the suds, I yearned to return to my simple life as a beekeeper, harvesting organic honey from the wildflowers in my meadow. Alas, one day my bees mysteriously vanished. And so, it is with a heavy heart that I return to television, hoping to ease the loss of my beloved hive.”

Obama added, “I’ve sat across the table from some of the world’s most difficult leaders and wrestled with some of our most intractable problems. Nothing has prepared me for working with Larry David.”

The beloved and critically acclaimed “Curb Your Enthusiasm” aired for a total of 12 seasons from 2000 to 2024.

“The characters Larry is playing didn’t change history. In fact, they were largely ignored by history. And that’s a good thing,” Schaffer said.

David and Schaffer have also worked together on “Seinfeld” and the TV movie “Clear History,” which starred David. Schaffer is also known for his work as the co-creator of “The League” and “Dave” at FX. And David is no stranger to sketch TV comedy — he was a writer and performer on ABC’s early ‘80s late-night series “Fridays.”

BEVERLY HILLS — Julian McMahon, an Australia-born actor who performed in two “Fantastic Four” films and appeared in TV shows such as “Charmed,” “Nip/Tuck” and “Profiler,” has died, his wife said in a statement.

McMahon died peacefully this week after a battle with cancer, Kelly McMahon said in a statement provided to the Associated Press by his Beverly Hills-based publicist. He was 56, according to the New York Times.

“Julian loved life,” the statement said. “He loved his family. He loved his friends. He loved his work, and he loved his fans. His deepest wish was to bring joy into as many lives as possible.”

McMahon played Dr. Doom in the films “Fantastic Four” in 2005 and “Fantastic Four: Rise of the Silver Surfer,” which came out two years later.

Additionally, he had roles in the TV shows “Home and Away,” “FBI: Most Wanted” and “Another World,” according to IMDB.

Actor Alyssa Milano, who appeared with McMahon on “Charmed,” mourned his death on social media, saying “Julian was more than my TV husband.”

“Julian McMahon was magic,” Milano said. “That smile. That laugh. That talent. That presence. He walked into a room and lit it up — not just with charisma, but with kindness. With mischief. With soulful understanding.”

Every year, Emmy prognosticators weigh the chances of TV’s newcomers. But what about newcomers that are also old-timers?

Whether you prefer to call them remakes, revivals or reboots, reimaginations of beloved movies and TV shows are all the rage: Think of CBS’ “Matlock,” which swapped in Academy Award winner Kathy Bates for Andy Griffith as a charming lawyer who gets things done in the legal system; Peacock’s “Bel-Air,” which turned a multicam sitcom into a drama; or HBO’s “Perry Mason,” which was less about the courtroom than Mason as private investigator.

When it comes to awards season, though, reboots aren’t such a hot commodity. Max’s “Gossip Girl,” Paramount+’s “Frasier” and ABC’s “The Wonder Years” came and went with no wins, and continuations like NBC’s “Law & Order” and “Will & Grace,” Fox’s “The X-Files” and CBS’ “Murphy Brown” have generally not received the same love from voters as their original runs.

Not all reboots fizzle at the Emmys, though. Here are six examples of rethinks that not only brought back beloved series from the graveyard but made them award-worthy all over again.

‘Shōgun’ (2024-present)

Emmy wins: 18

Anna Sawai in “Shōgun.”

(Kurt Iswarienko / FX)

With 26 nominations and an astounding 18 wins, the premiere season of “Shōgun” is the first Japanese-language series to take home an Emmy for drama series. In addition to the top prize, the adaptation of James Clavell’s 1975 historical novel won awards for stars Hiroyuki Sanada (lead actor, drama) and Anna Sawai (lead actress, drama) plus a raft of below-the-line Emmys. The original miniseries’ take on Clavell’s story of colonialism and war in medieval Japan didn’t do so badly, either — in 1980 it scored 14 nominations and won three Primetime Emmys, including one for limited series.

‘Queer Eye’ (2018-present)

Emmy wins: 11

“Queer Eye” cast members Antoni Porowski, left, Tan France, Jeremiah Brent, Jonathan Van Ness and Karamo Brown.

(Netflix)

The fixer-upper series featuring five gay men zhuzhing up the lives of more staid straights was a phenomenon when it originally aired between 2003 and 2007 but was comparatively overlooked by the Emmys, picking up a win for reality program in 2004 plus three other nominations. Meanwhile, Netflix’s reboot — featuring makeovers of more than just straight guys, and a less snarky sensibility — has earned 11 Emmys to date, including six wins for structured reality program (2018, 2019-23).

‘Westworld’ (2016-22)

Emmy wins: 9

Thandiwe Newton and Aaron Paul in Season 4 of “Westworld.”

(John Johnson / HBO)

“Westworld” stands out on this list because it reimagines a feature film, not an earlier TV series — in this case, the 1973 movie written and directed by Michael Crichton and starring Yul Brynner. The film scored no top-line awards or nominations, but the HBO reboot, which premiered in 2016, landed 54 Emmy nominations and nine wins across its four-season run, including a 2018 trophy for Thandiwe Newton (lead actress, drama) for her performance as the series’ cunning madam, Maeve Millay.

‘One Day at a Time’ (2017-20)

Emmy wins: 3

Justina Machado, left, and Isabella Gomez in “One Day at a Time.”

(Ali Goldstein / Netflix)

The story of a single mom raising her growing daughters earned three nominations during its original run from 1975 to 1984, including one in 1982 for star Bonnie Franklin (lead actress, comedy); director Alan Rafkin and supporting actor Pat Harrington won. The Netflix reboot, which recast the Romanos as the Cuban American Alvarez family and shifted the action from Indianapolis to L.A., was nominated for each of its four seasons and won two, as well as a special Television Academy Honor.

‘Battlestar Galactica’ (2004-09)

Emmy wins: 3

Michael Hogan as Col. Saul Tigh, left, Edward James Olmos as Adm. William Adama, Mary McDonnell as Laura Roslin and Jamie Bamber as Lee “Apollo” Adama in the TV movie “Battlestar Galactica: Razor,” part of the popular Sci-Fi Channel franchise.

(Carole Segal / Sci-Fi Channel)

In the decades between the original 1978-79 “Battlestar” and the full-throttle reboot, science-fiction storytelling on the small screen advanced at lightspeed, which may have helped the latter last far longer than the original. The story of human refugees fleeing space colonies destroyed by Cylon robots (who were now on their tail) earned the original series three nominations and two Emmy wins in below-the line categories. The reboot ended up with three Emmy wins of its own from 19 nominations, though all the wins were for special effects and sound editing. (A 2003 backdoor pilot became a three-hour miniseries and also earned three Emmy nominations.)

‘The Conners’ (2018-25)

Emmy wins: 1

Maya Lynne Robinson, left, Jayden Rey, Michael Fishman, John Goodman, Laurie Metcalf, Sara Gilbert, Emma Kenney, Ames McNamara and Lecy Goranson in “The Conners.”

(Robert Trachtenberg / ABC)

Let’s call this one an unplanned reboot. After ABC canceled its 2018 “Roseanne” revival due to star Roseanne Barr’s public flameout, the quick-thinking network teed up “The Conners,” which follows the titular family after its matriarch’s untimely death. Falling somewhere between a traditional revival and a full-on reboot, “The Conners” hasn’t matched the original “Roseanne’s” Emmy haul, which included 25 nominations and four wins (three for Laurie Metcalf and one for Barr). But the series, which recently concluded its own seven-season run, has performed solidly with voters, earning six nominations and one win in 2021 for editing in a comedy series.

These long-running shows will no longer air only on TV stations.

What are “Jeopardy!” and “Wheel of Fortune”?

Beginning this fall, the two shows will expand beyond their broadcast runs to streaming services Peacock and Hulu in the U.S., Sony Pictures Television announced Tuesday.

Fans still will be able to continue their routines by watching new episodes of the programs on their local stations.

But the new licensing agreements with Peacock, owned by NBCUniversal, and Hulu, owned by the Walt Disney Co., mark the first time current-season episodes also will be available on national streaming platforms the day after they debut on broadcast TV.

The move is a recognition by Sony that broadcast TV audiences are aging, and the studio must expand its reach to stay relevant with younger viewers. Until now, the game shows provided a bulwark for TV station operators struggling to hold onto viewers amid the flight to streaming. Stations were able to exclusively offer two of the most popular shows on television at a predictable time, drawing viewers to their evening lineups.

Now that exclusivity is gone.

The deals also will give Peacock and Hulu access to older episodes of the programs, enabling their viewers to binge on the brainteasers.

“We are thrilled to bring America’s favorite game shows to an even wider audience on Hulu, Hulu on Disney+, and Peacock,” Keith Le Goy, chairman of Sony Pictures Television, said in a statement.

Sony owns the shows and produces them on its Culver City lot.

The shift comes as Sony continues to battle CBS over distribution rights to the two shows. In April, a Los Angeles judge ruled that Sony was no longer obligated to provide episodes to CBS, which has delivered batches of episodes to television stations around the country for decades.

After that ruling, the Paramount Global-owned network appealed. A three-judge appellate panel paused the order and last week, the judges ruled that CBS could continue to distribute the shows during the appeals process.

CBS maintains Sony lacks the legal right to unilaterally sever ties.

The dispute burst into view when Sony terminated its distribution deal with CBS last August. It later filed a breach-of-contract lawsuit that claimed CBS entered into unauthorized licensing deals for the shows and then paid itself a commission. Sony also maintained that rounds of budget cuts within CBS had hobbled the network’s efforts to support the shows.

In February, Sony attempted to cut CBS out of the picture, escalating the dispute.

CBS was not involved in the streaming pacts announced Tuesday.

Hulu and Peacock will begin streaming the shows in September with the launch of the 42nd season of “Jeopardy” and the 43rd season of “Wheel of Fortune.”