News broke on Monday that Universal is developing a biopic about Madonna, and while the superstar herself is none too happy about the news, the question still stands: Who has the chops to play the Queen of Pop?

The movie will focus on Madonna’s efforts in the early 1980s to get her first album released, putting the star in her early-mid-20s. This opens the door for a younger actress to take on the role.

There’s “Fifty Shades” star Dakota Johnson, who proved to be a stand-out in the erotic book adaptations, as well as Margot Robbie, who built hugely on her fanbase by starring as Harley Quinn in “Suicide Squad” and will be playing Tonya Harding in an upcoming biopic.



On the less conventional side, there’s also Lady Gaga. The singer has been branching out into acting, with her roles in “American Horror Story” and the upcoming “A Star Is Born,” and has often been compared to Madonna. Also boasting singing and dancing chops are Julianne Hough and rising Disney star Dove Cameron.

And what about Madonna’s own daughter, Lourdes Leon? While it might seem unlikely, given Madonna’s disapproval of the biopic, there’s certainly a resemblance there, and at 20-years-old, Leon is almost at the right age.

Who do you think should play Madonna? Weigh in below! Disagree with any of our options? Let us know which actress you think should take on the role in the comments section.



The 'Psych' veteran is suiting up for the next season of the legal drama, playing an old friend of Harvey named Alex Williams.

Dule Hill returns to USA Network as "Suits" has enlisted the actor for season 7 of the series. The "Psych" alum, who will be in a season-long arc, will portray a character named Alex Williams. According to The Hollywood Reporter, Alex is "a longtime friend of Harvey's (Gabriel Macht)." Alex is currently "a senior partner at rival law firm Bratton Gould, where he maintains an enviable roster of clients." Hill previously starred as a lead role named Gus on eight-season "Psych". His TV credits also include "The West Wing", "Doubt" and "Ballers". He will next be seen in J.D. Dillard film "Sleight", which is scheduled to bow on Friday, 28 April. Season 7 of the legal drama will pick up with Mike Ross (Patrick J. Adams) finally being recognized as a lawyer and rejoining the Pearson Specter Litt team. Although the team is now back together, everyone is still adjusting to the absence of Jessica Pearson (Gina Torres). "Suits" season 7 premieres on Wednesday, July 12 on USA Network.


Running for 10 episodes in current second season, the hit AMC martial arts drama series starring Daniel Wu has been renewed for 16-episode season 3 by the network.

AMC has renewed its hit martial arts series "Into the Badlands" for a bigger season 3, midway through the series' second season. Running for 10 episodes in current second season and 6 episodes during its first run, the series has been renewed for a 16-episode season 3, set to air in 2018. " 'Into the Badlands' looks like nothing else on television, a literal high-wire act attracting passionate and dedicated fans by the millions," said Charlie Collier, president of AMC, SundanceTV and AMC Studios. He continued, "Thanks to series creators and showrunners Al Gough and Miles Millar, the terrific cast, led by Daniel Wu, the amazing martial arts team guided by the incomparable Master Dee Dee and fight directors Stephen Fung and Andy Cheng, and everyone else involved who brings this thrill ride to the fans." Gough and Millar added, "We are excited and grateful to continue our journey into the Badlands with Charlie, Joel, Susie and all of our friends at AMC. We also want to give a big clipper salute to our Irish and Chinese partners! The thought of doing an expanded 16-episode season is both thrilling and exhausting!!" The sophomore season of the series is currently gaining an average of 3.6 million viewers per episode, making it the 4th most-watched series on cable following "The Walking Dead", "American Horror Story" and "Fear the Walking Dead". It also includes 2.1 million adults from 25-54 demo in Live+3. "Into the Badlands" stars Wu as the postapocalyptic Badlands' greatest warrior. Also featured on the dystopian series are Marton Csokas, Aramis Knight, Oliver Stark, Emily Beecham, Orla Brady, Sarah Bogler, Ally Ioannides and Madeleine Mantock. "Into the Badlands" is created by executive producers/showrunners/writers Gough and Millar. Oscar-nominated producers Stacey Sher and Michael Shamberg also executive produce, alongside David Dobkin, Fung, Michael Taylor and Wu. "Into the Badlands" airs on Sunday nights at 10 P.M. on AMC.


With a possible writers strike starting in a week, tensions are rising markedly in Hollywood due to the massive uncertainty that’s been injected into the entertainment business.

Studios and companies have been holding contingency meetings to plot out the scenarios that incorporate a work stoppage that could come as early as May 2. “The talk of a strike is becoming a dominant topic,” one exec admitted.

Contract negotiations resumed Tuesday following an eight-day break and will continue Wednesday. “I think they will go down to the wire,” one source told Variety.

There were no public comments from either side Tuesday as negotiations started again at the headquarters of the Alliance of Motion Picture and Television Producers with both sides observing a media blackout.

A strike would require all 12,000 WGA members to stop work immediately. It would cause an immediate blackout of late-night television programming, followed by delays in programming for the 2017-2018 season and scripted summer shows currently in production.

The WGA announced Monday that it had obtained a 96% positive vote from members for a strike authorization. A total of 6,310 ballots were cast and 67.5% of eligible WGA members voted. The level of support for the strike authorization was well above the 90% level achieved in 2007. WGA leaders made the case that while they do not wish to go strike, they needed a show of unity in order to negotiate the best deal.

Sources have indicated that when negotiators last met, the two sides had been closing some of the gaps in the area of adjusting compensation terms for writers working on short-order series. WGA has been seeing lost income and long production timetables for many cable and streaming shows, which produce fewer episodes than the traditional 22- or 24-episode seasons for broadcast network shows.

The two sides are facing complex bargaining over the WGA health plan, which has run a deficit during most of the past few years given the spiraling cost of health care. Producers were believed to be offering to increase contributions by $60 million while the WGA was asking for around $80 million to $85 million.


Disney is not abandoning local content production in India, despite a decision last year to close its Bollywood film making side. The country is often overshadowed by the growth of China, but prospects for India are very bright, says Andy Bird, chairman of Walt Disney International.



Bird said that his decision to close down Disney’s Indian film production operations last year has been misunderstood by the industry. The decision was taken in November last year, at a time when the company’s in-house developed “Dangal” was breaking box office records.

“It was misinterpreted that we were giving up on local production,” said Bird. He said that the company has a slate of 12 products in development.

Bird explained that the changing possibilities offered by expanding bandwidth and mobile access mean that Disney is more able to experiment with new business models. “In India we’ve had content which debuted on Facebook, then went to YouTube and then to traditional TV in third place,” said Bird.

“The economics of the Indian cinema industry are just not catching up,” said Bird. The theatrical film business in India has experienced sharply rising production costs, at the same time as admissions have reached a plateau and, under the influence of multiplex building, rising ticket prices.

Another factor behind the decision was the growing popularity of Hollywood movies in India. That opens more business opportunities for the multinational. Bird said that Disney has up to 24 businesses able to use the corporation’s intellectual property.

Bird said that Asia continues to represent some of the fastest growth rates in the world for Disney, while also being at the cutting edge of the analog to digital transformation. “(In two to three years) we expect to be a digitally focused, mobile first, multi-faceted company,” said Bird.


“Alien” fans have watched a long line of endoparasitoid extraterrestrials bloodily burst forth from the host bodies of unfortunate astronauts since the first entry in the franchise debuted in 1979.

Now, for the first time fans will be able to experience it from the creature’s perspective in “Alien: Covenant In Utero,” a two-minute 360-degree video debuting April 26 exclusively on Oculus Rift and Samsung Gear VR.

“For me, it was about giving the audience an element of wish fulfillment,” said David Karlak, director of “In Utero,” at a press unveiling of the project hosted by Twentieth Century Fox Home Entertainment in Los Angeles on Tuesday. Previously, “we’ve always been on the receiving end of [the] violence.”



Although “In Utero” is designed to promote Fox’s upcoming sequel “Alien: Covenant,” it was not a postproduction afterthought dreamed up by the marketing department. Inspired by a scene in the film, it was made using CGI assets from the production created by Technicolor-owned VFX house MPC and produced in partnership with RSA Films, the production shingle of Ridley Scott, director of the original “Alien,” the 2012 prequel “Prometheus” and “Alien: Covenant.”

Fox first dipped its toe into virtual reality with “Wild – The Experience,” a 360-degree short that served as a promotion for the 2015 film “Wild,” starring Reese Witherspoon. Last fall, it followed with a full-fledged interactive VR experience inspired by Scott’s film “The Martian,” retailing for $9.99, which puts users in the spacesuit of astronaut Mark Watney.

Karlak was signed to direct “In Utero” after his sci-fi short about a robot insurgency, “Rise,” was screened for Scott.

“When we showed ‘Rise’ to Ridley, his immediate reaction was, ‘Who is this guy, why are we not making his films? Let’s get him to work with us,'” said Jen Dennis, who heads RSA Films’ recently-launched VR division.

Semiconductor manufacturer AMD, which makes processors that power home computers and gaming consoles including PlayStation 4 and XBox One, was brought in to ensure that “In Utero” can be viewed glitch-free on a variety of devices when it goes into wide release across mobile and tethered VR platforms on May 10, the same day “Alien: Convenant” hits theaters.

AMD is also teaming with computer maker Alienware and Oculus Rift to bring “In Utero” to customers at 15 Regal Cinemas locations.

According to Roy Taylor, AMD’s corporate VP of alliances, the goal is to help spur the adoption of VR, as well as promote the film. With “Alien,” “interest in the movies is so great that people will try VR that perhaps wouldn’t have tried it if they thought it was just for games,” he said.

“In Utero” is the first project from FoxNext, a division launched in January to serve as an umbrella for all of Fox Entertainment Group’s video game, location-based entertainment, and virtual and augmented reality efforts, drawing on a broad range of new and existing Fox film and TV properties.

Initial projects include interactive VR experiences inspired by the “Planet of the Apes” and “Alien” franchises, the latter of which is scheduled to be released in 2018. Going forward, FoxNext plans to produce 2-4 fully-immersive VR products each year.


SPOILER ALERT: Do not read ahead if you have not watched the Season 2 finale of “Outsiders,” titled “Unbroken Chain.”

“Outsiders” aired what could be its series finale this week, with the WGN America drama closing out with a high-pressure moment like the one we saw at the close of Season 1.

As the episode begins, a storm is brewing on Shay Mountain. G’Win is visited by the ghost of Lady Ray, while Big Foster and Little Foster make plans to blow up the military equipment the mining company wants deployed with the dynamite they stole in last week’s episode.

“G’Winveer and Big Foster are definitely at odds by the end of the season,” Gillian Alexy told Variety. “We’ve seen that her stance on protecting the mountain is more peace and love while his is the war mentality. There’s probably been a few things that have happened throughout the season that have made her question Big Foster, so by the end there is a battle for which way is the right way to lead the clan.”



The next morning, Hasil returns to the mountain and speaks with G’Win. He says he has returned to help the family, but he must go back to Sally Ann and their unborn child when his duty is done. Hasil previously tried to bring Sally Ann to live with him on the mountain, but G’Win told him it could not be. According to Alexy, it’s not likely that stance will have changed.

“There’s not a lot of time for Hasil to even broach the subject of bringing Sally Ann up, or if she would even want to at this point,” Alexy said. “I think the situation the clan finds themselves in at this point, which is so messy and complicated with the world down below, that I think G’win probably thinks bringing more attention and more of the outside world up the mountain is not the right thing. But then again, G’win might be more sympathetic to Sally Ann because she’s carrying a child and G’win is in the same predicament.”


‘Outsiders’ Canceled After Two Seasons on WGN America


Hasil goes to speak with Big Foster and his men, asking them about the dynamite they stole. They take him into their confidence and send him on a scouting mission to the alleged location of the military equipment at an old mine. Hasil is able to see that the machines are very real and could level the entire mountain.

Down in town, Wade continues his investigation into Haylie Grimes’ death. He knows that Matt Meyers is behind it, but he lacks any definitive evidence. Wade follows Meyers to a meeting with Gordon. Wade begins digging into Gordon’s past and discovers he is a wanted eco-terrorist. He confronts Meyers with this information, but Meyers says that Gordon is helping the federal authorities in an operation to catch the Farrells in the act of using the dynamite. Wade tracks down Gordon, who tells him that he has misled One Planet and the feds by telling him the Farrells are targeting the One Planet offices in town. He then tells Wade that he has all the information stolen off of Grimes’ computer, which he will share.

G’Win calls a circle and pushes to banish Big Foster, but Foster speaks his piece and tells everyone that the mining company is planning to bring their machines up the moment to kill them all. While G’Win enjoys some support, a number of key members of the clan side with Foster and want him to lead a raid on the coal company like he planned. The elders of the clan decide to let Foster lead his raid, but if any more Farrell blood is shed, he will be banished.

Big Foster sets out with Hasil, Little Foster, and Phil’up in tow among others. They make it within the perimeter fence at the old mine, but the guards inside quickly spot them and begin firing at them with assault rifles before they can plant any bombs. Multiple members of the Farrells’ raiding party are killed, with Hasil taking a shot through the stomach. Wade arrives just as the Farrells are retreating. He offers to take Hasil to a nurse, while Big Foster, Little Foster, and Phil’up escape.

The three remaining Farrells still have some dynamite and decide to blow up a dam near the mine instead. Big Foster agrees to light the fuse, saying if anyone else is to die it must be him. He is able to make it to a safe distance, but the dam doesn’t give. Just then, Elon’s ghost appears atop the dam and all three men see him. As Elon backs away from the edge, the dam begins to collapse and sends a massive torrent down toward the old mining site, flooding it and destroying all the war machines.

The next morning, Wade is dealing with aftermath of the dam explosion. Meyers shows Wade a map recovered from Little Foster’s prison escape that has Wade’s fingerprints on it, telling Wade his career is over. At Wade’s house, Hasil is not doing well. The nurse Wade called tells Ledda that he needs to be taken to a hospital or he will die. Outside town, Gordon is sitting in a bar, dropping a flash drive with all of his One Planet information into an envelope addressed to Wade.

Big Foster returns triumphant to the clan, saying the raid was a success. But G’Win disagrees, given that more Farrells have died. Big Foster lays claim to the oak, and fighting ensues among the family. In the midst of it all, G’Win says that she will pass the oak to the father of her child: Little Foster. As the fighting continues, G’Win goes into labor. Little Foster picks up the oak and says it has been a curse on the entire family and promptly snaps it over his knee. So why would G’Win give up her power after fighting so hard to get it?



“I think she knows that her child is coming soon. She’s going to busy with that,” Alexy said. “The responsibility of leading the clan is challenging enough without having to fight someone like Big Foster. I think that Little Foster is in a way is someone she thinks has very similar ideas as her as to how to lead the clan, but is also someone that is close to her so she can still be involved. And she has seen how the relationship between Little and Big has evolved, and she’s seen that he’s finally able to stand up to his father now. Perhaps this was something she was waiting for him to do all along.”

And while Season 3 is by no means a guarantee, Alexy has some storylines she would like to see explored if the show is picked up by another network or streaming service. “There’s so much more to explore with these characters in this world,” she said. “The potential is just endless. I’d like to see G’win have her ideology tested. What is something that would push her to her edge? I of course would like to see the relationship with Little develop a bit more and see where that takes us, and the very weird relationship with Big. I’d love to see how that goes as well. And I’d like to see her down in the town, and just see how that would change her world.”


Jeff Goldblum is coming back to the world of dinosaurs and will appear in Universal-Amblin Entertainment’s next “Jurassic World” film.

J.A. Bayona is directing the next installment. Chris Pratt and Bryce Dallas Howard are returning for the sequel to the 2015 blockbuster “Jurassic World.” The sequel also stars Justice Smith, James Cromwell, and Toby Jones.

Goldblum co-starred in 1993’s “Jurassic Park” and in 1997’s “The Lost World: Jurassic Park,” but was absent from “Jurassic World.” He played the quick-witted mathematician Ian Malcolm, who managed to survive in both films.

At one point in “Jurassic Park,” he’s told by Richard Attenborough’s John Hammond, “All major theme parks have delays. When they opened Disneyland in 1956, nothing worked!” Goldblum responded, “Yeah, but, John, if the Pirates of the Caribbean breaks down, the pirates don’t eat the tourists.”



Colin Trevorrow, who directed “Jurassic World,” wrote the script for the sequel with Derek Connolly. Executive producers are Steven Spielberg and Trevorrow. Producers are Frank Marshall and Pat Crowley, along with Bayona’s producing partner Belén Atienza.

“Jurassic World” grossed $1.67 billion worldwide, the fourth-highest-grossing movie in history. The untitled sequel opens June 22, 2018. Vice president of production Sara Scott is overseeing production on behalf of the studio.

Goldblum will be seen next in Disney-Marvel’s “Thor: Ragnarok.” He starred in “Independence Day: Resurgence” and “The Grand Budapest Hotel.” He is represented by ICM, Industry Entertainment, and Hansen, Jacobson.


“The Trip to Spain” is the third entry in the cult series of culinary road comedies featuring Steve Coogan and Rob Brydon as thinly fictionalized versions of their scalding, misanthropically funny, showbiz-fixated London-comedian-actor selves. The first thing to say about the film is that it’s utterly of a piece with “The Trip” (2010) and “The Trip to Italy” (2014); if you’re a fan of the first two movies, it’s hard to imagine that you won’t like this one. (Each is a boiled-down version of a six-episode TV series made for the BBC, all of them directed by Michael Winterbottom.) This time, Coogan and Brydon spend five days driving up the misty green Spanish coastline, staying in rustic designer hotels and sampling New Traditional restaurants — which Brydon has arranged to review for The New York Times — against a backdrop of absurdly tranquil and picturesque towns and villages.



The leisurely lunches, all shot with documentary food-porn fetishism as the dishes are seared and steamed in high-end kitchens (scallops with caviar! shrimp cooked in sauces of tangy herbal divinity!), form a succulent backdrop. But the main stage, as always, is Coogan, his natty parrot-lipped handsomeness now looking a bit weathered, and Brydon, the shovel-faced Welsh cutup, as they try to outdo each other with their scandalously on-target impersonations of famous actors. They also take the holy piss out of each other.

The two razz and tweak and needle, cutting each other’s egos down to size with the surgical precision of professional rivals who have been frenemies for long enough to keep a record of every weak point and career setback. (At every meal, the secret sauce is schadenfreude.) As surely as Coogan draws pointed reference to “Philomena,” the Oscar-nominated middlebrow heart-tugger he costarred in with Judi Dench and also co-wrote, and how it changed the course of his career, Brydon must, of course, point out that the number of times Coogan calls attention to that movie reveals just how desperate he is.

The impersonations, it has to be said, don’t generate as many comic highs as before. The sequence in “The Trip” where Coogan and Brydon did their dueling Michael Caines was the single funniest movie moment in decades, and in “The Trip to Italy,” Brydon turned his hilariously authentic Pacino — the Loud Voice Al version, all angry grimace and hoarse bluntness — into an emasculated daddy’s expression of his inner apeman. Most of the vintage Coogan/Brydon impressions pop up here (Caine and Pacino, Sean Connery, Woody Allen), but it’s inevitable that they’re starting to feel like golden oldies. The comic shock and awe is gone, and there’s just a token of novel high points.

Mick Jagger comes in for some ribbing, which sounds like a less-than-cutting-edge target, except that Coogan deconstructs Jagger with such uproarious pouty effrontery that you could watch him do it all day. There’s also a surreal sequence in which the two impersonate the late David Bowie, in his mellifluous deep vibrato, singing about whether he should follow Brydon on Twitter, as well as a luscious bit in which they debate the legacy of the Spanish Moors in the voice of…Roger Moore. It’s brilliantly daft. The two really do need to find some more up-to-date targets (as when, during the last film, they skewered Tom Hardy and Christian Bale in “The Dark Knight Rises”), but “The Trip to Spain” sustains the idea of impersonation as a kind of comic life force: I channel a legendary voice, therefore I am.

Coogan and Brydon are now in their early fifties (both were born in 1965), and the banter in “The Trip to Spain” is haunted by the triple whammy of aging, failure, and mortality. Coogan, who satirizes his beady-eyed narcissism by serving it up to the nth degree, knows that he has edged out of leading-man age and status, becoming more of a writer, but the way the film tells it, even his “Philomena” heat has dissipated; his agent is dropping him, and his ambitious new script is about to get a “polish” from some younger hack. The Coogan we see is still playing the role of the witty sexy actor-stud genius, but life is closing in on him.

Brydon, meanwhile, now has two kids and a cozy settled life that he admits is boring. As characters, these two have become the yin and yang of middle-class masculinity in the 21st century. “The Trip to Spain,” which includes much banter about Cervantes, plays with the notion of Coogan as Don Quixote, tilting at windmills of selfish pleasure, and Brydon as Sancho Panza, the domesticated lump who accepts his lot. The two drive along singing “The Windmills of Your Mind,” a song the movie treats, rather touchingly, as a wistful expression of the illusory nature of growing older.

The “Trip” films have become the ultimate hang-out movies, and the longevity of the series is now part of what its fans relish. That “The Trip to Spain” is unabashedly more of the same is good news…but not entirely good news. The movie, like its predecessors, was largely improvised by Coogan and Brydon, and whatever flaws are baked into this method of working now seem intrinsic to the films’ loose, flaky, made-up-on-the-spot charm. Yet the series has never been more haunted by something deeper and darker than comedy. That’s all right — a series should deepen. But because “The Trip to Spain” is in greater touch with the pitfalls of existence, the scrappiness of how the film was thrown together is now a little frustrating.



It all culminates on a note that feels bizarre: Coogan, alone on a Mediterrean highway, confronted by the arrival of what looks like a caravan of Islamic terrorists. By his own description, they’re the modern Moors. The freeze-frame at the end is a classic case of “Sorry, but we didn’t know how to end this.” Well, sorry, but that isn’t good enough. At this point, I almost wish that Coogan, Brydon, and Winterbottom would take all that tossed-off noodling and massage into more of a real script. They might find that they get to have their gourmet improv comedy and eat it too.


Disney’s “Pirates of the Caribbean: Dead Men Tell No Tales” will hold its world premiere at the Shanghai Disney Resort in China on May 11.

Johnny Depp, Orlando Bloom, Geoffrey Rush, Javier Bardem, Brenton Thwaites, directors Joachim Rønning and Espen Sandberg, and producer Jerry Bruckheimer plan to attend. Disney noted the event will mark the first time a Hollywood movie has premiered in Mainland China.

The red carpet will take place in Disneytown at Shanghai Disney Resort, with the screening in Walt Disney Grand Theatre at Disneytown. Shanghai Disneyland includes the pirate-themed Treasure Cove, inspired by the Pirates of the Caribbean franchise.




Javier Bardem Vows to ‘Eliminate’ Jack Sparrow in New ‘Pirates of the Caribbean 5’ Trailer


Having cleared Chinese censorship, “Pirates of the Caribbean: Dead Men Tell No Tales” will be released wide on May 26 in the country, day-and-date with its release in the U.S.

Disney showed the film on March 29 to exhibitors at CinemaCon in Las Vegas, where it was met with a favorable response. Depp returns as the wisecracking Captain Jack Sparrow, with Rush as Barbossa and Bardem as Captain Salazar. Thwaites and Kaya Scodelario play the new characters, while Bloom returns as Will Turner.

Several exhibitors said they were particularly impressed by the depiction of the undead pirate hunters led by Bardem and Depp’s offbeat portrayal, noting that he again was channeling Keith Richards of the Rolling Stones.

The film is the fifth in the franchise and the first since 2011’s “On Stranger Tides.” See the Chinese poster for “Dead Men Tell No Tales” below.


The action thriller centers on an aging assassin who has to fight against his clone, who is 25 years younger and in his prime.

Will Smith is in negotiations to star in Skydance's long-in-development project titled "Gemini Man". According to The Hollywood Reporter, Ang Lee is also in negotiations to direct the action thriller, with Jerry Bruckheimer producing. "Gemini Man" centers on an aging assassin who has to fight against his clone, who is 25 years younger and in his prime. Back in 1997, the project was first set up at Disney as a pitch by Darren Lemke, while Don Murphy was set to produce the movie and Tony Scott was attached to direct. The original concept was to have an actor such as Harrison Ford to play the older assassin and someone like Chris O'Donnell to play the younger one. The concept was later revised, with the idea of one actor playing both parts. However, the project was considered impossible to be filmed due to the lack of technology. Skydance picked up the project in 2016, believing that technology nowadays has caught up to have someone like Smith playing two people with different ages who fight against each other. Smith's deal, though, hasn't been done yet. Smith is currently in talks to play Genie in Disney's "Aladdin" live-action project. He was portraying Deadshot in "Suicide Squad" and was last seen in drama "Collateral Beauty". Smith will reprise his role as Detective Mike Lowrey in "Bad Boys for Life" and will star in Netflix's fantasy flick "Bright".


Disney also announces the official release date for the upcoming Jon Favreau-directed remake of the Simba saga.

The upcoming new take on "The Lion King" has added two members to its ensemble. The Wrap learns that Seth Rogen and Billy Eichner are in talks to play the beloved warthog Pumbaa and his street meerkat pal Timon in the live-action movie. Pumbaa and Timon are famous for their phrase "hakuna matata" in the original adaptation. It was a Swahili phrase that translates to "no worries." The characters were originated by Nathan Lane and got their own animated TV series on Disney. The remake is scheduled by the Mouse House to make its out across the United States on July 19, 2019. Donald Glover is tapped for the lead role of Simba and James Earl Jones will play his father Musafa. Jon Favreau is attached to sit behind the lens.


Disney books 2019 release dates for the 'Episode IX' and 'Frozen' sequel and pushes back the next Indy movie a year from its original date.

Only a few days after 20th Century Fox maps out its potential blockbusters, Disney follows suit. The Mouse House books release dates for a batch of its major movies like "Star Wars Episode IX", the fifth installment of "Indiana Jones" and "Frozen 2". "Episode IX" is scheduled to come out Stateside on the Memorial Day weekend of May 24, 2019. Colin Trevorrow ("Jurassic World") is tapped as a director. Carrie Fisher was originally expected to appear in the film, but her role was pulled due to her passing last year. The "Indiana Jones V" is set for July 10, 2020. It's pushed back a year after previously scheduled for a July 2019 release. The original actor Harrison Ford and director Steven Spielberg are attached to return for the new adventure of the famous swashbuckling archaeologist. Meanwhile, the "Frozen" sequel is going to make its way out across the country on November 27, 2019. The slot is still quite empty, but "Justice League 2" has staked its claim on the first day of the month. On top of that, Disney sets "Ralph Breaks the Internet" for November 21, 2018.


In today’s roundup, Mark Consuelos has been cast as Veronica Lodge’s father in Season 2 of “Riverdale,” while Samantha Bee’s “Not the White House Correspondents Dinner” will stream on Twitter.


Mark Consuelos may be joining the the CW’s “Riverdale” cast for the show’s second season as Hiram Lodge, according to TV Line. Lodge, Veronica Lodge’s heretofore-unseen father, has been stuck in jail throughout the first season due to an embezzlement charge. Per the show’s official description, Lodge is described as a “a ruthless, handsome, charismatic businessman who is coming back to Riverdale after weathering a financial scandal that almost destroyed him. He is there to reconnect with his wife Hermione and, especially, his daughter Veronica, who is the apple of his eye.” Consuelos’ appearance in the show, however, is dependent on whether or not Fox’s baseball drama “Pitch,” on which Consuelos co-stars, is renewed for a second season, since those obligations would supersede any to “Riverdale.”




Full Frontal With Samantha BeeNot the White House Correspondents Dinner” will stream in full on Twitter following the special’s premiere on TBS. Hosted by Bee, the special will be filmed at DAR Constitution Hall in Washington, D.C. on Saturday, April 29, and air the same evening on TBS at 10 p.m. ET/PT. Twitter will then stream the uncensored version of the event at 11 p.m. ET. The stream is accessible via or the @FullFrontalSamB handle. Twitter will also serve as hub for exclusive content such as an hour-long red carpet special beginning at 9 p.m. ET.  TBS’ proceeds from “Not the White House Correspondents Dinner” will go to the Committee to Protect Journalists. In addition, the network announced that Elvis Costello & the Imposters will play the event’s after-party.

For the first time, CBS‘ “Undercover Boss” will feature two celebrity “bosses” going undercover to look for undiscovered talent in their own field. Grammy Award-winning country artist Darius Rucker will travel to Austin, Texas’ famous Sixth Street to search for talented street performers, run an open mic night, and work as a roadie. Chef and restaurateur Marcus Samuelsson will scour public cooking classes, soup kitchens, culinary institutes, and high-end food trucks for the next best cooking talent. Rucker’s episode will premiere May 12 at 8/7c and Samuelsson’s episode May 19 at 8/7c.


The final season of AMC’s Revolutionary War spy drama “Turn: Washington’s Spies” premieres June 17th at 9 p.m. ET with a two-hour premiere. The ten-episode final season opens with traitor Benedict Arnold (Owain Yeoman) taking his revenge on George Washington (Ian Kahn) by rounding up suspected rebel spies to impress his new British commanders. Meanwhile, Abe Woodhull (Jamie Bell) and the other members of the Culper Ring escape Arnold’s clutches and unintended consequences compel Abe to seek revenge.


Genius Brands International has licensed the rights to its CGI-animated kids series “Rainbow Rangers” to Nickelodeon. Currently in development, the mission-based action-adventure series is expected to premiere on Nickelodeon’s preschool channel, Nick, Jr. The Rainbow Rangers – seven girls, each a different color of the rainbow, each with her own personality and powers – band together to save the day whenever there’s trouble for the people, animals or natural wonders of the Earth. Each storyline is designed to show viewers the importance of working together and that actions both big and small can make the world a better place. Rob Minkoff, Shane Morris, Tim Mansfield, and Elise Allen are all credited as creators, with Genius Brands CEO Andy Heyward as executive producer and Ruben Aquino on design.


Meghan Lyvers has been named senior vice president of co-productions and development for CBS Studios International. In her new position, Lyvers will relocate to the Company’s EMEA headquarters in Amsterdam, and report to Armando Nuñez, president and CEO of CBS Studios International and David Stapf, president of CBS Television Studios. Previously a senior programming executive, Lyvers will acquire new formats, identify co-production opportunities, and look to develop original series with CBS’ broadcast and streaming partners around the world in her new position.


Emilio Azcárraga Jean, chairman, president, and CEO of Grupo Televisa will be honored with 2017’s International Emmy Directorate Award on Nov. 20 in New York City. Jean has helmed Grupo Televisa since 1997 and has lead Mexico’s largest broadcaster and pay television provider through diversification and expansion.

The first-ever NBA Awards on TNT will be hosted by Drake at Basketball City at Pier 36 in New York City. The awards show is designed to honor all of the NBA’s top performers in one night. It will air Monday, June 26 at 9 p.m. ET. Award categories will include fan-voted categories, with finalists announced April 27 during TNT’s “Inside the NBA.” Created by Turner Sports and the NBA, the award show is produced by dick clark productions.





The murder at the beginning of “The Sinner” happens so suddenly that it at first seems like a dream. That’s partly because the first few minutes of the pilot before the murder are spent watching Cora (Jessica Biel), a suicidal young mother, move in and out of a dream state fueled by memories and visions and maybe prayer, too. At first, these visions are a little too gauzy for comfort — the wisps of Cora’s consciousness have a hackneyed, Lifetime quality that has more to do with a certain kind of television camerawork than it does with how mentally ill people really experience their disease.



But once Cora, motivated by unclear forces, pounces on a fellow beachgoer with a paring knife and stabs him to death — in sight of her husband, son, and dozens of others lounging on the lakeshore — “The Sinner” snaps into focus, leaving behind most of the gauziness for a whodunit where the mystery isn’t who, or how, but why. Cora stabs to kill — getting her victim, a 20-something young man making out with his girlfriend, right in the jugular. It’s so unexpected, and there’s so much blood, that the events have a surreality to them — a confusion heightened by how out of character it is for the shy, retiring woman, who minutes earlier had tried to drown herself unobtrusively in the calm waters of Lake Minnewaska. Her husband, Mason (Christopher Abbott), has to tackle her and bring her to the ground, squeezing the wrist holding the knife until she lets go of it. She is covered in blood.

There is clearly more to this story, and “The Sinner” hints at a bit of it in the premiere episode. Cora has flashbacks to her childhood, including telling her father she doesn’t want her mother to come home from the hospital, and being introduced to her baby sister — a sickly, almost blue infant. But the task of unraveling it will likely take all eight episodes, and it’s not wholly clear why Cora might not just tell someone what happened to her, or why she is so distraught in the hours leading up to the stabbing. The way “The Sinner” presents it, Cora herself doesn’t know why she stabbed the man — which is both intriguing and a little frustrating, considering we just watched her do it. Her story, when she has one, is that she stabbed the man because he wouldn’t turn down his music.

So far, the performances outstrip the material; Biel is committed, Bill Pullman is comfortably playing to type, and Abbott is an injection of complicated realism in a show that could otherwise veer into sensationalism. Though Biel’s Cora is presented as the emotional heart of the show, it’s Pullman, as Detective Harry Ambrose, who ends up picking up the story while Cora awaits the justice system’s determination of her fate. Harry is in love with his dominatrix and reliably unreliable, but if the old saws of small-town mysteries are to be followed, he is a very good detective. He is the first character to suspect that Cora’s bent to murder might have mitigating factors. It’s hard to tell, in a story about an open-and-shut case, why a detective would be looking for a way to prove Cora did it, but didn’t really mean to. But “The Sinner” is a little less interested in plausibility than it is in the story potential of a madwoman with a dark past. There is merit to “The Sinner,” but it remains to be seen if the story will find a way to transcend its hokier elements to tell a larger story about mental illness or post-traumatic survival. Hopefully at some point the show will also explain who the titular sinner is supposed to be.