Less than two years after Will Ferrell (playing step dad Brad) and Mark Wahlberg (dad Dusty), squared off in a territorial brawl over their kids, the duo is back in Daddy’s Home 2. Only this time, they are buddy-buddy co-dads engaged in an endless game of suburban gymnastics to serve their family.
And then Christmas hits. That means that Dusty’s smooth-moving pops (Mel Gibson) and Brad’s still-doting father (John Lithgow) collide in the suddenly undersized home for a holiday disaster of theater-sized proportions.
The Sean Anders-directed film, which also stars Linda Cardellini and John Cena, will be in theaters Nov. 10. Pack your baggage.
There’s a reason that hunters, bicycle messengers, construction workers, joggers and anyone else with a compelling reason to stand out drape themselves in orange: it works. After all, it is hard to be mistaken for a deer when you are wearing a blaze-orange insulated onsie in a snow-filled forest.
Yet, safety orange is not a widespread part of the everyday American wardrobe, because why should it be? Most Americans are not traipsing through the forest on a deer hunt or delivering pizzas via bicycle on a daily basis.
And yet, 93 people die, on average, every day from gun violence. Seven of them are children or teens. Hundreds more are injured. Every. Single. Day. With 12,000 annual gun murders, America’s gun homicide rate is 25 times greater than the average of other developed nations.
Source: Everytown for Gun Safety
It is an ongoing crisis in plain sight. And it often seems as though it is being widely ignored by lawmakers and others. On June 2, Viacom once again teamed up with Everytown for Gun Safety for Wear Orange, a statement initiative declaring that change is needed. Their weapon was one that cannot be ignored: orange clothing.
Viacom unleashed the power of multiple brands to support the initiative across a variety of on-air and outdoor platforms. The company’s headquarters, a tower heaving from the center of Times Square, served as the epicenter of this support, with the building lit orange along the New York City skyline and this public service announcement – created in conjunction with Everytown and HUGE – playing on the enormous video screens hanging off the building’s eastern facade:
Expect a parade of country music superstars performing and presenting. Expect blow-your-mind onstage collaborations between wildly different musical acts. Expect a down-to-the-wire vote on the video of the year. Expect a tribute to the late Gregg Allman. And expect it all to come together under Nashville star Charles Esten at tonight’s CMT Music Awards.
There’s a lot to process in that quick video, so here’s a bit more of what you need to know about tonight’s show:
You can still vote for video of the year even after the show starts.
Fans have narrowed the finalists for video of the year from an original 14 to these seven nominees: Carrie Underwood, Cole Swindell, Florida Georgia Line, Keith Urban, Luke Bryan, Miranda Lambert and the CMA-produced 50th anniversary video, Artists of Then, Now & Forever. Vote now.
Also help us select a #SOCIALSUPERSTAR presented by Pepsi
You can honor an act who uses social media to connect with fans by tagging your social posts with #CMTawards and with the artist’s tag, #VoteBrett (Brett Eldredge), #VoteJake (Jake Owen), #VoteKeith (Keith Urban), #VoteKelsea (Kelsea Ballerini), #VoteLauren (Lauren Alaina) or #VoteThomas (Thomas Rhett). You can cast up to 50 votes.
Never-before-seen combinations of superstars will hit center stage
The country music crossover is now a thing, and we will bring you one of the coolest tonight, when The Chainsmokers perform alongside Florida Georgia Line. Keith Urban and Carrie Underwood will perform a duet. Jason Derulo and Luke Bryan will reunite. Earth, Wind & Fire will appear alongside Lady Antebellum, while Peter Frampton will team up with Brothers Osborne.
The power of positive thinking has been working out pretty well lately for SpongeBob SquarePants. The eternal optimist will star in his third movie in 2019. Last month, Nickelodeon greenlit a 12th season, which will correspond with the show’s 20-year anniversary when it debuts in 2019. America’s favorite talking sponge continues to be the most popular cartoon on the block, scoring the top ratings slot among core kids demographics.
And now, there’s even more to celebrate:
The play – in which an unnamed savior rises to save Bikini Bottom from volcanic annihilation – moves east after a successful run in Chicago, landing at Broadway’s Palace Theatre, which sits just a couple blocks north of Viacom’s global headquarters in Times Square.
“We could not be more thrilled to bring Nickelodeon’s iconic SpongeBob SquarePants to the theater in an original musical conceived specifically for Broadway,” said Nickelodeon President Cyma Zarghami. “We are also incredibly honored to be in such a gorgeous house as The Palace, where audiences will be immersed in the fun and surprising world of Bikini Bottom.”
And so are the folks who watch Broadway for a living: “While we’ve been so excited about plenty of other great plays for kids, this one surely takes the cake,” writes Time Out New York’s Allie Early.
There’s a lot to be amped up about. The Chicago run was well-reviewed, with high praise for many of the disparate parts that seamlessly merge into a big-time stage production. Let’s take a look at a few highlights.
SpongeBob has built a reputation as an all-ages crowd-pleaser, and the musical continues that tradition.
In his television review for Chicago local station WGN 9, Dean Richards observed, “Instead of kid-like dialogue, the story is multi-layered for kids and adults. It all adds up to one of the most fun, well-produced, and best-acted shows Chicago has seen in a long time.”
And while the plot is relatively simple – a volcano is about to destroy their world, how do we save it? – the production’s subtext is ground in a greater, unnamed sophistication that addresses the issues of the larger troubled world we all actually inhabit.
Writing in the Chicago Sun-Times, Hedy Weiss noted, “Part allegory of the precarious world in which we all now dwell, and part satire on everything from the bureaucratic babble of modern-day politicians to the hunger for moneymaking, the bloated egos of pop music groups, messianic leaders and the eternal lure of stardom, the show is full of wildly energetic performers and playful, imaginative stagecraft that might best be described as one part lavish Dollar Store ingenuity, one part Cirque du Soleil and one part childlike invention.”
Liza (Sutton Foster) has exposed herself as an acting-26-but-actually-40 fraud to best bud Kelsey (Hilary Duff). And she has been exposed to boyfriend Josh (Nico Tortorella), who was going to propose to her anyway, until he caught her making out with her boss (Peter Hermann).
And that is where we were left at the end of season three of Younger, TV Land’s hit original that is so good that it’s already been renewed for two more seasons. So where will Liza go and what will she do (and who will she do it with), now that her original lie has sprawled and spiraled into such a New York-sized mess?
The season four trailer, released late last week by TV Land, gives us plenty of teasers suggesting how things may go for her:
We see New York City shrouded in winter. We see lots of high-fives. We see RuPaul, Steve Buscemi and Wanda Sykes. We see a smoke-exhaling protest against anti-abortion protesters. We see Florida senior citizens bristling with firearms. We see cartoon eyes popping from Abbi and Ilana’s skulls. And we see a whole lot more of both of them in the season four trailer for Comedy Central’sBroad City.
“In short, it is both very perplexing and very amazing,” writes Rachael Vaughan Clemmons at Metro of the new trailer.
Decide for yourself:
Uproxx’s Andrew Roberts sums the trailer up nicely: “The ladies look full of energy, like they’re prepared to take the show to weirder places than they have in the past — or maybe the same amount of weird but just with different scenery.”
While we don’t have much detail about overall plot lines or character development in the coming season, the show’s creators and titular characters have hinted that it will be more current-events focused than previous seasons, particularly in regards to politics. “I think it’s our responsibility to optimize the platform of Broad City to keep pushing things left and keep resisting the current administration as much as we can,” Glazer told The Daily Beast’s Matt Wilstein while in San Francisco for Comedy Central’s Colossal Clusterfest this past weekend.
The trailer previews what will be the first new episodes since last spring, serving the pent-up appetite of the show’s anxious fanbase. “But if we’re sure of one thing, it’s that co-creators Ilana Glazer and Abbi Jacobson must have a good reason for making us wait this long,” writes Glamour’s Krystin Arneson. “And judging by the very first glimpse of the upcoming season … our long wait for more of their characters’ debauchery will be more than worth it.”
The fourth season of Broad City will air Aug. 23 on Comedy Central. The show has already been renewed for a fifth season, though no premiere date has been announced.
Let’s get this teed up sports fans – the Kids’ Choice Sports Awards are charging back to Nickelodeon on Sunday, July 16. We could give you all the details, but why not let returning three-time show host and Seattle Seahawks franchise quarterback Russell Wilson do it?
Let’s see that slime sock reveal one more time in slo-mo:
They’ll have plenty of big names to choose from. Tennis superstar Serena Williams and swimmer Katie Ledecky are up for three nominations, while a diverse slate of big names from Danica Patrick to Stephen Curry to Tom Brady to Cristiano Ronaldo will also compete for awards. Here’s the full list of nominees:
When Nashvillereturns to CMT from its mid-season break tonight, fans can expect more immersion into the fictional and fascinating country music scene of the show’s eponymous city. But the show takes a musically adventurous turn in this preview clip of Daphne (Maisy Stella), who is apparently a huge fan of MTV’s classic show Daria.
Presumably still reeling from the death of her mother, Rayna (Connie Britton), and struggling in school, Daphne stumbles out of the mainstream and befriends exuberant vagabond Liv (Odessa Adlon), who squats in a junk-laden abandoned industrial space alongside a posse of self-described “people that nobody cares about.”
When Liv interrupts a palm reading to calm a crying toddler with You’re Standing on My Neck, the Daria theme song, Daphne joins in amazed recognition.
“You’ve seen Daria?” Liv asks, impressed (the two teenagers were likely infants when the show last ran new episodes, in 2002), before rallying her motley housemates in a change jar-clanging singalong.
They’re crawling out of The Mist: the terror, the monsters, the tragic characters of Stephen King’s imagination. It is the classic tale of small-town Maine meets nightmare dimension adapted from King’s 1980 novella, but painted over the rich canvas of a 10-part Spike miniseries.
When it debuts in June, the series will expand considerably on the setting and characters of King’s original work, allowing a deeper exploration of its themes of good and evil, human nature and morality – all with the author’s blessing. As The Boston Globe’s Isaac Feldberg wrote, “… when an e-mail to King himself, outlining ideas for how to adapt The Mist into a series, was met with emphatic support and one requirement — don’t do anything ordinary — everyone working on the series grew more keen to flesh out the world beyond the novella, bringing in fresh ideas and unfamiliar characters.”
The basic premise follows King’s script: citizens of fictional Bridgeville, Maine find themselves marooned indoors (in this case, a shopping mall and a church), when the mist rolls in. A few outdoor stragglers are rapidly devoured by the fog’s embedded demons.
“Soon it becomes clear that whatever is in the mist is not natural, and if you go out there, you will die,” saidThe Mist creator and showrunner Christian Torpe.
What lies inside may not be much better, as the terrified and panicked hostages begin to turn on one another. The first trailer delivers a horrifying preview of this wrecked world:
With its small-town setting, there is a presumed familiarity between characters even before the fog, and The Mist picks up on and develops these rich relationships – and how they evolve or devolve in the savagery of the mystery fog – as a primary plot catalyst.
“We had a rule in the writers’ room that if you ever needed the mist to move the story forward you were in trouble, because we wanted the story to be propelled by the characters, and their reactions to the mist — not the mist itself,” Torpe told The Boston Globe.
For Eve Copeland, the mist, “… brings some stuff out in Eve that makes her willing to do whatever she needs to do,” said Alyssa Sutherland, whose character’s uneven personal history has made her wildly protective of her daughter, a survivor of sexual assault:
Eve is just one character of many – with 10 episodes, the series leaves ample room for rich development. As the small town cast flows through a vast interconnected matrix of intensifying carnage, how each person reacts reveals an enormous amount about them and about humanity.
“People’s true natures start to come out,” said Darren Pettie, who plays sheriff Connor Heisel on the show. Pettie is one of many cast members who speak to the show’s revealing portrayal of human nature in this Entering The Mist featurette:
The colors ripple like some secret language across the objects’ surface, arrayed in geometric patterns as elegant as a circuit board and as mysterious as ancient hieroglyphics. They sit on a series of banners and bulging sculptures in the south lobby of Viacom’s Times Square headquarters, dancing along the walls, each with a unique pattern of colors and lines.
Sculptures by Marela Zacarias hanging in Viacom’s lobby at 1515 Broadway as part of the latest Art at Viacom installation. Photos by Brooke Alexander/Studio Brooke
The expansive and varied texture of the work reflects the deep cultural influences of their creator, Marela Zacarias, a Mexico, Montana and Brooklyn based artist who was the latest exhibitor for Art at Viacom, an ongoing program that showcases rising artists at our offices around the world.
Huffington Post contributor Isa Freeling wrote this about Zacarias’ exhibit in April: “Her show, Echoing Forms is impressive in its ability to sensually exact beautiful pieces by casting sheets of mesh into sensuous folded blankets, by using plaster and polymers and are so exquisitely executed and rich in texture and strength, it is a pleasure to look at the work.”
The tricycle was an existing work that Marela Zacarias incorporated into her Art at Viacom exhibit in Viacom’s Times Square headquarters lobby. Photo by Brooke Alexander/Studio Brooke
Zacarias partnered with Viacom after high-profile installations at the Brooklyn Museum, Praxis Gallery, Brooklyn’s William Vale, and other places. She is constantly on the move. When I spoke to her over the phone the week after the exhibit opened, she was already down in Mexico City, preparing for a gallery show. Below is a condensed and lightly edited version of our conversation:
Stuart Winchester: How did you decide to use the banners, which are a departure from your typical work?
Marela Zacarias: There were challenges in terms of how much weight I could hang, and the sculptures are 135 pounds, so I couldn’t do my usual work, because there was nowhere to hang it from. And then I thought of the banners. I’ve been doing sculpture for about six years, and I really haven’t gone back to canvas for a while, so it felt really liberating to return, and I don’t know if I would have made that strategic choice if it wasn’t for the lobby’s structural situation. The technical problems led me to real artistic growth.
Hanging the banners at 1515 Broadway for Marela Zacarias’ Art at Viacom installation. Photo by Brooke Alexander/Studio Brooke