Pat Carroll, Emmy-Winning Actress and Voice of Ursula in ‘The Little Mermaid,’ Dies at 95 - Hollywood Reporter

Pat Carroll, the gregarious Emmy-winning comedienne who was a television mainstay for decades before segueing to a voiceover career that included portraying the villainous sea witch Ursula in The Little Mermaid, has died. She was 95.

Carroll died Saturday of pneumonia at her home in Cape Cod, Massachusetts, her daughter Kerry Karsian told The Hollywood Reporter.

Carroll’s perky personality, screwball wit and impeccable timing made her a great second banana, and Red Buttons, Jimmy Durante, Mickey Rooney, Steve Allen and Charley Weaver were among those who called upon her to make their programs funnier. Her antics on Caesar’s Hour earned her an Emmy in 1957, and she was nominated for her work on the classic variety show the following year.

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In a 2013 interview with Kliph Nesteroff, Carroll compared Howard Morris, Carl Reiner and Sid Caesar on Caesar’s Hour to the Chicago Cubs’ legendary double-play combination of Tinkers to Evers to Chance.

“I learned so much about comedy from watching those three work together. It was unfailing,” Carroll said. “They worked together for so long that they had that innate sense of each other’s timing. It was impossible for them to fumble. We did two shows every Saturday night because one was for the West Coast and one was for the East Coast. If they totally abhorred a sketch they did, those three would sit in Sid’s dressing room with the writers and write a brand new sketch. Yes, amazing.”

For the next two decades, the bubbly blonde always seemed to pop up on TV.

Carroll played Bunny Halper, the high-spirited wife of nightclub owner Charley Halper (Sid Melton), on three seasons of The Danny Thomas Show in the early ‘60s; was Hope Stinson, who shared ownership of a newspaper with Ted Knight’s character, on the last season (1986-87) of Too Close for Comfort; and appeared opposite Suzanne Somers on the 1987-89 series She’s the Sheriff.

Carroll stood out as a cranky patient who shared a hospital room with Mary Richards (the latter was there to have her tonsils taken out) on The Mary Tyler Moore Show in 1971, and she portrayed Lily Feeney, the mother of Cindy Williams’ character, on a 1976 installment of Laverne & Shirley.

Her TV credits also included Cinderella, Please Don’t Eat the Daisies, Love, American Style, My Three Sons, Police Woman, Busting Loose, The Love Boat, Trapper John, M.D., Evening Shade, Designing Women and ER.

Carroll also was a game show favorite. To Tell the Truth, The Match Game, I’ve Got a Secret, Password All-Stars, You Don’t Say and The $10,000 Pyramid — you name it, she played it.

And she played Doris Day’s matchmaking sister in With Six You Get Eggroll (1968).

Carroll’s throaty laugh and spirited intonations made her a natural for animation work.

She first slipped into the recording booth in 1966 for the animated series The Super 6. But it was during the ‘80s that her voiceover career skyrocketed; she could be heard on the cartoons Yogi’s Treasure Hunt, Galaxy High School, Foofur, Pound Puppies and Superman.

Undoubtedly, her most memorable character was Ursula for the 1989 Disney feature The Little Mermaid. It would prove to be one of her favorite roles. “It was a lifelong ambition of mine to do a Disney film,” she told author Allan Neuwirth in Makin‘ Toons: Inside the Most Popular Animated TV Shows and Movies. “So, I was theirs hook, line and sinker.”

Carroll’s enthusiasm made the octopus-like character uniquely her own and Ursula would become one of Disney’s most memorable villains. However, she landed the part only after an arduous search by the studio.

Little Mermaid producer and lyricist Howard Ashman was a big fan of TV’s Dynasty and envisioned Ursula as a Joan Collins-type. And who better to play her than Collins herself? Alas, her agent quickly nixed the idea.

Writer-directors Ron Clements and John Musker saw Ursula more like a bellowing aquatic version of Bea Arthur, but her agent took offense when the script likened the actress to a witch — and passed. Roseanne, Heart’s Nancy Wilson and Nancy Marchand of The Sopranos fame then reportedly read for the role, but none was quite right.

Charlotte Rae and Elaine Stritch auditioned, but Rae didn’t have the vocal range for Ursula’s signature tune, “Poor Unfortunate Souls,” and Stritch couldn’t deliver the song the way Ashman wanted.

Carroll, though, immediately understood Ashman’s approach. The key was a recording that he had made of him singing the song. Once Carroll heard and saw that, the rest was easy.

“He gave me that performance! Come on, I’m honest enough to say that,” she said in Makin‘ Toons. “I got the whole attitude from him … his shoulders would twitch in a certain way, and his eyes would go a certain way … I got more about that character from Howard singing that song than from anything else.”

Carroll won the part and went on to voice the character in several video games and a 1993 Little Mermaid CBS series. (She also provided the voice for Morgana in the 2000 direct-to-video release The Little Mermaid 2: Return to the Sea.)

Patricia Ann Carroll was born on May 5, 1927, in Shreveport, Louisiana. When she was 5, she and her family moved to Los Angeles. At age 20, she served as a Civilian Actress Technician for the army, writing, producing and directing all-soldier productions. She graduated from Catholic University in Washington, D.C. in 1949.

Carroll’s first professional appearance had come in 1947 alongside Gloria Swanson in a regional stock production of A Goose for a Gander. This led to more stock company roles, and she also sharpened her comic chops by performing in nightclubs and resorts.

Carroll’s off-Broadway debut came in 1950 in Come What May. Shortly after, she began landing television work on Goodyear Television Playhouse, The Red Buttons Show and The Saturday Night Revue.

Carroll first starred on Broadway in 1955 in the musical revue Catch a Star! written by Danny and Neil Simon. The performance earned her a Tony nomination. Decades later, Carroll received rave reviews for her off-Broadway, one-woman show Gertrude Stein Gertrude Stein Gertrude Stein: A One-Character Play.

In his 1979 review for The New York Times, Walter Kerr wrote: “Miss Carroll, working from a text prepared by Marty Martin, gives us the bizarre, close-cropped, richly robed woman who could be — and once was — mistaken for a bishop with a zest that is awesome … I don’t know precisely how Miss Carroll is able to do it, but she manages — without any effort at all — to make us share Gertrude Stein’s attitude toward herself.”

The actress received a Drama Desk Award for her portrayal of the author; she beat out fellow nominees Moore, Susan Sarandon, Phyllis Frelich and Blythe Danner for the honor.

Carroll was married to Lee Karsian from 1955 until their divorce in 1976, and they had three children: Tara, an actress; daughter Kerry, a casting director; and son Sean (he died on the same date as his mom 13 years ago).

Survivors also include a granddaughter, Evan.

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Pat Carroll, Emmy-Winning Actress and Voice of Ursula in ‘The Little Mermaid,’ Dies at 95 - Hollywood Reporter

Pat Carroll, the gregarious Emmy-winning comedienne who was a television mainstay for decades before segueing to a voiceover career that included portraying the villainous sea witch Ursula in The Little Mermaid, has died. She was 95.

Carroll died Saturday of pneumonia at her home in Cape Cod, Massachusetts, her daughter Kerry Karsian told The Hollywood Reporter.

Carroll’s perky personality, screwball wit and impeccable timing made her a great second banana, and Red Buttons, Jimmy Durante, Mickey Rooney, Steve Allen and Charley Weaver were among those who called upon her to make their programs funnier. Her antics on Caesar’s Hour earned her an Emmy in 1957, and she was nominated for her work on the classic variety show the following year.

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In a 2013 interview with Kliph Nesteroff, Carroll compared Howard Morris, Carl Reiner and Sid Caesar on Caesar’s Hour to the Chicago Cubs’ legendary double-play combination of Tinkers to Evers to Chance.

“I learned so much about comedy from watching those three work together. It was unfailing,” Carroll said. “They worked together for so long that they had that innate sense of each other’s timing. It was impossible for them to fumble. We did two shows every Saturday night because one was for the West Coast and one was for the East Coast. If they totally abhorred a sketch they did, those three would sit in Sid’s dressing room with the writers and write a brand new sketch. Yes, amazing.”

For the next two decades, the bubbly blonde always seemed to pop up on TV.

Carroll played Bunny Halper, the high-spirited wife of nightclub owner Charley Halper (Sid Melton), on three seasons of The Danny Thomas Show in the early ‘60s; was Hope Stinson, who shared ownership of a newspaper with Ted Knight’s character, on the last season (1986-87) of Too Close for Comfort; and appeared opposite Suzanne Somers on the 1987-89 series She’s the Sheriff.

Carroll stood out as a cranky patient who shared a hospital room with Mary Richards (the latter was there to have her tonsils taken out) on The Mary Tyler Moore Show in 1971, and she portrayed Lily Feeney, the mother of Cindy Williams’ character, on a 1976 installment of Laverne & Shirley.

Her TV credits also included Cinderella, Please Don’t Eat the Daisies, Love, American Style, My Three Sons, Police Woman, Busting Loose, The Love Boat, Trapper John, M.D., Evening Shade, Designing Women and ER.

Carroll also was a game show favorite. To Tell the Truth, The Match Game, I’ve Got a Secret, Password All-Stars, You Don’t Say and The $10,000 Pyramid — you name it, she played it.

And she played Doris Day’s matchmaking sister in With Six You Get Eggroll (1968).

Carroll’s throaty laugh and spirited intonations made her a natural for animation work.

She first slipped into the recording booth in 1966 for the animated series The Super 6. But it was during the ‘80s that her voiceover career skyrocketed; she could be heard on the cartoons Yogi’s Treasure Hunt, Galaxy High School, Foofur, Pound Puppies and Superman.

Undoubtedly, her most memorable character was Ursula for the 1989 Disney feature The Little Mermaid. It would prove to be one of her favorite roles. “It was a lifelong ambition of mine to do a Disney film,” she told author Allan Neuwirth in Makin‘ Toons: Inside the Most Popular Animated TV Shows and Movies. “So, I was theirs hook, line and sinker.”

Carroll’s enthusiasm made the octopus-like character uniquely her own and Ursula would become one of Disney’s most memorable villains. However, she landed the part only after an arduous search by the studio.

Little Mermaid producer and lyricist Howard Ashman was a big fan of TV’s Dynasty and envisioned Ursula as a Joan Collins-type. And who better to play her than Collins herself? Alas, her agent quickly nixed the idea.

Writer-directors Ron Clements and John Musker saw Ursula more like a bellowing aquatic version of Bea Arthur, but her agent took offense when the script likened the actress to a witch — and passed. Roseanne, Heart’s Nancy Wilson and Nancy Marchand of The Sopranos fame then reportedly read for the role, but none was quite right.

Charlotte Rae and Elaine Stritch auditioned, but Rae didn’t have the vocal range for Ursula’s signature tune, “Poor Unfortunate Souls,” and Stritch couldn’t deliver the song the way Ashman wanted.

Carroll, though, immediately understood Ashman’s approach. The key was a recording that he had made of him singing the song. Once Carroll heard and saw that, the rest was easy.

“He gave me that performance! Come on, I’m honest enough to say that,” she said in Makin‘ Toons. “I got the whole attitude from him … his shoulders would twitch in a certain way, and his eyes would go a certain way … I got more about that character from Howard singing that song than from anything else.”

Carroll won the part and went on to voice the character in several video games and a 1993 Little Mermaid CBS series. (She also provided the voice for Morgana in the 2000 direct-to-video release The Little Mermaid 2: Return to the Sea.)

Patricia Ann Carroll was born on May 5, 1927, in Shreveport, Louisiana. When she was 5, she and her family moved to Los Angeles. At age 20, she served as a Civilian Actress Technician for the army, writing, producing and directing all-soldier productions. She graduated from Catholic University in Washington, D.C. in 1949.

Carroll’s first professional appearance had come in 1947 alongside Gloria Swanson in a regional stock production of A Goose for a Gander. This led to more stock company roles, and she also sharpened her comic chops by performing in nightclubs and resorts.

Carroll’s off-Broadway debut came in 1950 in Come What May. Shortly after, she began landing television work on Goodyear Television Playhouse, The Red Buttons Show and The Saturday Night Revue.

Carroll first starred on Broadway in 1955 in the musical revue Catch a Star! written by Danny and Neil Simon. The performance earned her a Tony nomination. Decades later, Carroll received rave reviews for her off-Broadway, one-woman show Gertrude Stein Gertrude Stein Gertrude Stein: A One-Character Play.

In his 1979 review for The New York Times, Walter Kerr wrote: “Miss Carroll, working from a text prepared by Marty Martin, gives us the bizarre, close-cropped, richly robed woman who could be — and once was — mistaken for a bishop with a zest that is awesome … I don’t know precisely how Miss Carroll is able to do it, but she manages — without any effort at all — to make us share Gertrude Stein’s attitude toward herself.”

The actress received a Drama Desk Award for her portrayal of the author; she beat out fellow nominees Moore, Susan Sarandon, Phyllis Frelich and Blythe Danner for the honor.

Carroll was married to Lee Karsian from 1955 until their divorce in 1976, and they had three children: Tara, an actress; daughter Kerry, a casting director; and son Sean (he died on the same date as his mom 13 years ago).

Survivors also include a granddaughter, Evan.

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Nichelle Nichols Dead: Uhura in Original 'Star Trek' Series Was 89 - Variety

Nichelle Nichols, who portrayed communications officer Uhura on the original “Star Trek” series, died Saturday night in Silver City, N.M. She was 89 years old.

Nichols’ death was confirmed by Gilbert Bell, her talent manager and business partner of 15 years.

Nichols shared one of the first interracial kisses in television history on “Star Trek.” That moment, with her co-star William Shatner, was a courageous move on the part of her, “Star Trek” creator Gene Roddenberry and NBC considering the climate at the time, but the episode “Plato’s Stepchildren,” which aired in 1968, was written to give all involved an out: Uhura and Captain Kirk did not choose to kiss but were instead made to do so involuntarily by aliens with the ability to control the movements of humans. Nevertheless, it was a landmark moment.

There had been a couple of interracial kisses on American television before. A year earlier on “Movin’ With Nancy,” Sammy Davis Jr. kissed Nancy Sinatra on the cheek in what appeared to be a spontaneous gesture but was in fact carefully planned. The Uhura-Kirk kiss was likely the first televised white/African American lip-to-lip kiss.

But Uhura, whose name comes from a Swahili word meaning “freedom,” was essential beyond the interracial kiss: A capable officer who could man other stations on the bridge when the need arose, she was one of the first African American women to be featured in a non-menial role on television.

Nichols played Lt. Uhura on the original series, voiced her on “Star Trek: The Animated Series” and played Uhura in the first six “Star Trek” films. Uhura was promoted to lieutenant commander in “Star Trek: The Motion Picture” and to full commander in “Star Trek II: The Wrath of Khan.”

Nichols mulled leaving “Star Trek” after the first season to pursue a career on Broadway, but the Rev. Martin Luther King Jr., who was a fan of the series and understood the importance of her character in opening doors for other African Americans on television, personally persuaded her to stay on the show, she told astrophysicist Neil deGrasse Tyson in an interview for the Archive of American Television.

Whoopi Goldberg, who later played Guinan on “Star Trek: The Next Generation,” has described Uhura as a role model, recalling that she was astounded and excited to see a black woman character on television who was not a maid.

Nichols and Shatner remembered the shooting of the famous kiss very differently. In “Star Trek Memories,” Shatner said NBC insisted that the actors’ lips never actually touch (though they appear to). But in Nichols’ 1994 autobiography “Beyond Uhura,” the actress insisted that the kiss was in fact real. Nervous about audience reaction, the network insisted that alternate takes be shot with and without a kiss, but Nichols and Shatner deliberately flubbed every one of the latter so NBC would be forced to air what appeared to be a kiss (whether their lips actually touched or not).

Both the “Star Trek” and “Movin’ With Nancy” moments drew some negative reactions, though Nichols recalled that the fan mail was overwhelmingly positive and supportive.

NASA later employed Nichols in an effort to encourage women and African Americans to become astronauts. NASA Astronaut Group 8, selected in 1978, included the first women and ethnic minorities to be recruited, including three who were Black. Dr. Mae Jemison, the first Black woman to fly aboard the Space Shuttle, cited “Star Trek” as an influence in her decision to join the space agency.

Nichols remained a supporter of the space program for decades.

In 1991, Nichols became the first African American woman to have her handprints immortalized at the TCL Chinese Theatre. The ceremony also included other members of the original “Star Trek” cast.

Born Grace Nichols in Robbins, Ill. on Dec. 28, 1932, Nichols began her show business career at age 16 singing with Duke Ellington in a ballet she created for one of his compositions. Later, she sang with his band.

She studied in Chicago, New York and Los Angeles. Her break came with an appearance in Oscar Brown’s high-profile but ill-fated 1961 musical “Kicks and Co.,” in which she played campus queen Hazel Sharpe, who’s tempted by the devil and Orgy Magazine to become “Orgy Maiden of the Month.” The play closed after its brief Chicago tryout, but Nichols attracted the attention of Playboy publisher Hugh Hefner, who booked her at his Chicago Playboy Club.

Nichols also appeared in the role of Carmen for a Chicago stock company production of “Carmen Jones” and performed in a New York production of “Porgy and Bess,” making her feature debut in an uncredited role as a dancer in an adaptation of that work in 1959. (Later she would display her singing talents on occasion on “Star Trek.”)

While working in Chicago, Nichols was twice nominated for that city’s theatrical Sarah Siddons Award for best actress. The first came for “Kicks and Co.,” while the second was for her performance in Jean Genet’s “The Blacks.”

She had small roles in the films “Made in Paris,” “Mr. Buddwing” and the Sandra Dee vehicle “Doctor, You’ve Got to Be Kidding!” before she was cast on “Star Trek.”

During the early ’60s, before “Star Trek,” Nichols had an affair with Gene Roddenberry that lasted several years, according to her autobiography. The affair ended when Roddenberry realized he was in love with Majel Hudec, whom he married. When Roddenberry’s health was failing decades later, Nichols co-wrote a song for him, entitled “Gene,” that she sang at his funeral.

In January 1967, Nichols was featured on the cover of Ebony magazine, which published two feature articles on her within five years.

In the early ’70s, the actress made a few guest appearances on TV and appeared in the 1974 Blaxploitation film “Truck Turner” starring Isaac Hayes. She appeared in a supporting role in a 1983 TV adaptation of “Antony and Cleopatra” that also featured her “Star Trek” co-star Walter Koenig. She starred with Maxwell Caulfield and Talia Balsam in the 1986 horror sci-fi feature “The Supernaturals.”

Later, Nichols began to do voice work, lending her talent to the animated series “Gargoyles” and “Spider-Man.” She also voiced herself on “Futurama.”

The actress played the mother of Cuba Gooding Jr.’s lead character in 2002’s “Snow Dogs” and Miss Mable in the 2005 Ice Cube comedy “Are We There Yet?”

In 2007, Nichols recurred on the second season of the NBC drama “Heroes” as Nana Dawson, matriarch of a New Orleans family devastated by Hurricane Katrina who cares for her orphaned grandchildren and great-nephew, Micah Sanders (series regular Noah Gray-Cabey). The following year she appeared in the films “Tru Loved” and “The Torturer.”

Nichols suffered a stroke in 2015 and was diagnosed with dementia in 2018, touching off a conservatorship dispute between her manager Bell and her son as well as a friend.

Nichols was married and divorced twice. She is survived by her son, Kyle Johnson.

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Ne-Yo’s wife, Crystal Renay, accuses him of cheating: ‘8 years of lies and deception’ - Page Six

Looks like Ne-Yo’s wife is about to become “Miss Independent.”

Crystal Renay shared an impassioned statement via Instagram on Saturday, in which she accused her husband of cheating on her with “numerous” other women over the course of their nearly decade-long relationship.

“8 years of lies and deception. 8 years of unknowingly sharing my life and husband with numerous of women who sell their bodies to him unprotected… every last one of them!” her statement began.

“To say I’m heartbroken and disgusted is a understatement. To ask me to stay and accept it is absolutely insane. The mentality of a narcissist. I will no longer lie to the public or pretend that this is something it isn’t,” she continued.

Renay, 36, added that she would be focusing on herself moving forward, writing, “I choose me, I choose my happiness and health and my respect.

“I gained 3 beautiful children out of this but nothing else but wasted years and heartache,” the model added of the three kids she shares with the 42-year-old singer — sons Shaffer Chimere, 6, and Roman Alexander-Raj, 4, as well as 13-month-old daughter Isabella Rose.

Crystal Renay shared this impassioned statement via Instagram on Saturday.

Instagram/i@tscrystalsmith

She concluded on a conciliatory note that nonetheless conveyed an air of finality: “If someone can’t love you the way you deserve then it’s up to you to love yourself. With no hate in my heart I wish him nothing but the best.”

A spate of celebs and influencers proclaimed their allegiance to Renay in the comments section, offering both condolences and words of support.

“Stand in your truth boo🤍 now it’s just time for the next chapter in your story. Sending you all the good vibes,” wrote social media personality Landon Romano.

“So sorry,” wrote model and dancer Bria Myles, adding five melancholic crying emojis.

Crystal Renay wed Ne-Yo for the first time in 2016.

Getty Images for GCAPP

By Sunday afternoon, Ne-Yo responded to Renay’s post via Twitter.

“For the sake of our children, my family and I will work through our challenges behind closed doors,” he explained.

“Personal matters are not meant to be addressed and dissected in public forums. I simply ask that you please respect me and my family’s privacy at this time.”

Renay first started dating Ne-Yo sometime after the two met in 2015 to discuss potentially collaborating on the musician’s upcoming album, according to People.

“My family and I will work through our challenges behind closed doors,” Ne-Yo tweeted.

Disneyland Resorts via Getty Ima

The R&B star’s ex-fiancée, Monyetta Shaw, 42, — with whom he shares Madilyn Grace, 11, and Mason Evan, 10 — claimed in a 2016 New York Post op-ed that she learned of his involvement with Renay in 2014, one year after he’d broken up with Shaw over the phone.

In any case, the “One in a Million” crooner successfully proposed to Renay in 2015, and the two wed a little under a year later — at which time she was nearly nine months pregnant with their first child.

The couple briefly split in 2020 before remarrying in 2022, throwing a lavish ceremony in Las Vegas to celebrate their reunion.

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Sylvester Stallone Slams New ‘Creed’ Spin-Off ‘Drago,’ Says Film Was Developed Behind His Back - IndieWire

Many fans were surprised this week to learn that MGM is developing a new “Creed” spin-off titled “Drago” about Dolph Lundgren’s Ivan Drago and his son, played by Florian Munteanu. That group includes Sylvester Stallone, who is not participating in the film and claims he had no knowledge of it.

Stallone took to Instagram on Saturday night to voice his surprise and disgust about the film, which he says has been assembled behind his back by his longtime nemesis Irwin Winkler and his sons. He reserved some praise for Lundgren, but also feels personally betrayed by the fact that his former co-star didn’t inform him about the project.

“Another Heartbreaker…” Stallone wrote. “Just found this out…ONCE AGAIN , this PATHETIC 94 year old PRODUCER and HIS MORONIC USELESS VULTURE CHILDREN, Charles And David , are once again picking clean THE BONES of another wonderful character I created without even telling me … I APOLOGIZE to the FANS , I never wanted ROCKY characters to be exploited by these parasites… By the way, I have nothing but respect for Dolph but I wish HE had told me what was going on behind my back.… Keep your REAL friends close.”

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This is far from the first time Stallone has aired his grievances about Irwin Winkler. The actor has long held a grudge about the fact that he does not own any of the rights to the “Rocky” characters despite creating the entire franchise. Stallone’s contract for the first “Rocky” film paid him a set fee for writing and starring in the movie, as well as a percentage of the box office gross, but no ownership over the intellectual property. This has led to a strained working relationship with the Winkler family over the years, as Stallone was forced to keep working with them if he wanted to continue portraying the iconic character despite frequent creative and business disagreements.

In 2019, Stallone recalled his unsuccessful attempts at asking the Winklers for equity in the franchise: “When I finally confronted them, I said, ‘Does it bother you guys that I’ve written every word, I’ve choreographed it, I’ve been loyal to you, I’ve promoted it, directed it and I don’t have 1% that I could leave for my children?’ And the quote was, ‘You got paid.’ And that was the end of the conversation.”

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Sylvester Stallone Doubles Down on ‘Rocky’ Ownership Complaints Over ‘Drago’ Spinoff - Hollywood Reporter

Sylvester Stallone has more to say about the Rocky franchise in light of MGM developing a film spinoff centering on Ivan Drago.

Stallone — who wrote the screenplay for 1976’s Oscar-winning Rocky, in which he starred as boxer Rocky Balboa — took to Instagram on Saturday to criticize the planned film Drago that is being written by Robert Lawton, as first reported this week by The Wrap. Although Stallone did not directly name anyone in his latest post, his mention of a “94-year-old producer” is an apparent reference to Irwin Winkler, who is 91 and has a producing credit on all of the films in the Rocky franchise, in addition to the subsequent Creed spinoff films.

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“Another Heartbreaker… Just found this out…ONCE AGAIN , PATHETIC 94 year old PRODUCER and HIS SELFISH USELESS CHILDREN are once again picking what is left OFF THE BONES of another wonderful character!!!” Stallone wrote about Drago. “Seriously, how do you weasels look in mirror???”

The star continued, “I am sorry to the FANS , I APOLOGIZE to the FANS I never wanted ROCKY to be exploited FOR THIS GREED .. # no shame #sad day #Parasite.”

Drago is set to revisit Ivan Drago, portrayed by Dolph Lundgren in 1985’s Rocky IV and later in 2018’s Creed II. Lundgren had previously teased a potential spinoff film in a November 2021 interview with The Hollywood Reporter.

Stallone’s message follows his Instagram post from July 16 that criticized Winkler by name, referring to him as “the remarkably untalented and parasitical Producer of Rocky and Creed.” The post also criticized Irwin’s son David Winkler, who is credited as a producer on the Creed films, including the 2015 first film that starred Michael B. Jordan and earned Stallone an Oscar nomination for best supporting actor for reprising his role as Balboa.

In a follow-up post on July 17, Stallone wrote that he was upset over an ownership dispute related to the franchise. “I really would like [to] have at least a little WHAT’s LEFT of my RIGHTS back, before passing it on to ONLY YOUR CHILDREN – I believe That would be a FAIR gesture,” wrote Stallone, directing his vitriol at Irwin.

Both of those earlier posts have since been deleted.

Irwin Winkler and Robert Chartoff are credited as the sole producers on the first five Rocky films. The 2006 franchise-reviving Rocky Balboa credits six producers, including David Winkler and Irwin’s other son, Charles Winkler.

The Creed films center on Michael B. Jordan as the son of the late Apollo Creed, portrayed in the Rocky films by Carl Weathers. Stallone and Irwin Winkler are both credited as producers on the Creed movies, as are David and Charles, in addition to others. Chartoff was a producer on the first Creed before his 2015 death.

Last month, Stallone told Metro that he had “bowed out” of appearing in Creed III due to the story changing directions but that he supported the film. Creed III, hitting theaters March 3, 2023, counts Jordan as both director and star.

The character of Rocky Balboa originated with Stallone’s Rocky script in 1976, and his deal stipulated that he would play the title role. Stallone told Variety in 2019 that he had “zero ownership of Rocky” and that he was “furious” about this.

“Our commitment to him was that he could star in it,” Winkler recalled to The Hollywood Reporter in 1983 about making the first Rocky with Chartoff. “We convinced United Artists to give us the money to make it. They would only give us a limited amount of money, and they said that we had to put up our houses as collateral. We really mortgaged ourselves to make sure that we brought it in on time, and we did.”

Representatives for Irwin Winkler and Stallone did not immediately respond to a request for comment.

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Aaron Sorkin's 'To Kill a Mockingbird' Abruptly Cancels Return to Broadway, Blaming Producer Scott Rudin - Variety

“To Kill A Mockingbird,” Aaron Sorkin’s stage adaptation of Harper Lee’s beloved coming-of-age novel, will not return to Broadway as previously announced.

A spokesperson for the production declined to comment on the cancellation to Variety. News of the hasty cancelation was first reported by entertainment news outlet Showbiz 411.

The stage play, which opened on Broadway in 2018, played its final performance at the Shubert Theatre on Jan. 16. At the time, it was reported that the show would reopen in June at the Belasco Theater. The date was later moved to Nov. 2, with the planned venue changing to the Music Box Theater. Now, the play will shut down entirely, according to a report by the New York Times.

In an email obtained by the Times sent Thursday night to the cast and crew of the show, playwright Sorkin and director Bartlett Sher blamed the decision on the show’s original lead producer Scott Rudin. Sorkin and Sher reportedly wrote in the email that Rudin, who backed away from an active role on the show last year after allegations of his abusive behavior toward staff broke, “reinserted himself as producer and for reasons which are, frankly, incomprehensible to us both, he stopped the play from reopening.”

The Times also obtained an email that Rudin sent Sorkin and Sher on Friday, in which the producer credited his decision to concerns regarding the show’s profitability should it reopen later this year.

“The reason I opted not to bring back ‘TKAM’ has to do with my lack of confidence in the climate for plays next winter,” Rudin said in the email. “I do not believe that a remount of ‘Mockingbird’ would have been competitive in the marketplace.”

When “To Kill A Mockingbird” premiered in 2018, it was an immediate financial hit, grossing an average $2 million in ticket sales a week and recouping its investment in 19 weeks. It also received largely positive reviews and was nominated for nine awards at the 2019 Tonys, with Celia Keenan-Bolger winning for her role as Scout Finch. It did end up at the center of controversy after Rudin’s lawyers shut down dozens of community and non-profit productions of a different adaptation of the novel by playwright Christopher Sergel that premiered in 1991, which the producer eventually apologized for.

When the play resumed performances last October, after the Broadway shutdown in March 2020, original star Jeff Daniels returned to the role of Atticus Finch, and the show continued to sell well. However, after Daniels left Jan. 2 in the middle of a downswing for Broadway sales amid the pandemic, grosses for the show went down significantly.

A production of the play opened on London’s West End this March, starring Rafe Spall and Gwyneth Keyworth as Atticus and Scout. In addition, a National U.S tour began in Boston this April. Both productions will remain open as the Broadway production shutters.

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Shakira could face 8-year prison sentence if convicted in trial for alleged tax fraud in Spain - KABC-TV

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Prosecutors in Spain said they would ask a court to sentence Colombian pop star Shakira to eight years and two months in prison, if she is convicted.

MADRID -- Prosecutors in Spain said Friday they would ask a court to sentence Colombian pop star Shakira to eight years and two months in prison, if she is convicted in her expected trial for alleged tax fraud.

Shakira, whose full name is Shakira Isabel Mebarak Ripoll, is charged with failing to pay the Spanish government 14.5 million euros ($15 million) in taxes between 2012 and 2014. The prosecutors said they would also seek a fine of 24 million euros ($24 million).

The indictment details six charges against Shakira. The singer this week rejected a settlement deal offered by prosecutors, opting to go to trial instead. A trial date has yet to be set.

Her publicists in London said in a statement Friday that Shakira "has always cooperated and abided by the law, demonstrating impeccable conduct as an individual and a taxpayer." The publicists accused the Spanish Tax Agency of violating her rights.

Shakira's Spanish public relations team said earlier this week that the artist has deposited the amount she is said to owe, including 3 million euros in interest.

Prosecutors in Barcelona have alleged the Grammy winner spent more than half of each year between 2012 and 2014 in Spain and should have paid taxes in the country.

Shakira recently ended an 11-year-long relationship with FC Barcelona star Gerard Piqué, with whom she has two children. The family used to live in Barcelona.

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Ben Affleck Returning for ‘Aquaman and the Lost Kingdom’ - Hollywood Reporter

Arthur Curry and Bruce Wayne are reteaming, with Jason Momoa revealing that Justice League costar Ben Affleck will appear in Aquaman and the Lost Kingdom.

Momoa revealed the news on Instagram on Thursday, after fans on a Warner Bros. bus tour apparently caught wind that Affleck was there filming with him.

Affleck previously announced his retirement as Batman in 2019, and has been open about personal and professional strife that came with the role. So, it came as a surprise two years ago when it was revealed Affleck was suiting up once more for The Flash, the Ezra Miller starring film due out June 23, 2023 and that will also feature Michael Keaton as Batman.

It was assumed that would be Affleck’s final time in the role, but now he is poised to return earlier with Lost Kingdom arriving March 17, 2023.

Affleck played Batman in Batman v. Superman: Dawn of Justice, Suicide Squad and Justice League. At one point, he was to direct and star in The Batman before stepping back.

“I showed somebody the Batman script,” Affleck told The New York Times in 2020. “They said, ‘I think the script is good. I also think you’ll drink yourself to death if you go through what you just went through again.'”

The Batman ultimately went on to star Robert Pattinson and was directed by Matt Reeves. Aquaman and the Lost Kingdom, meanwhile, hails from filmmaker James Wan.

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In Move to Save Golden Globes, HFPA to Become For-Profit Org, Add More Voting Members - Variety

Eldridge Industries is taking over the Golden Globe Awards, which will be turned into a private entity separate from the Hollywood Foreign Press Association’s charitable and philanthropic programs, which will be managed as a non-profit entity.

The HFPA membership voted to approve the transfer of ownership to Eldridge, which is run by Todd Boehly, who has served as the org’s interim CEO since last year. The HFPA put itself on the auction block in May, and Boehly had been looking to buy the organization since then. This spring, the group formed a special committee within the nonprofit organization to determine potential outside strategic interest in its organization and assets.

“This is a historic moment for the HFPA and the Golden Globes,” said HFPA president Helen Hoehne. “We have taken a decisive step forward to transform ourselves and adapt to this increasingly competitive economic landscape for both award shows and the journalism marketplace. Our special committee and team of legal and financial advisors did an incredible amount of work in reviewing, analyzing, and comparing the options presented to us. We are excited to move forward with a mandate to ensure we continue our support for increasing diversity in all areas and maintaining our life-changing charitable and philanthropic efforts.”

According to the HFPA, Eldridge will create a new private company, which would acquire all rights for the Golden Globes intellectual property “and be empowered to oversee the professionalization and modernization of the Golden Globe Awards. The transition will include the development of staff and an executive team to lead the new organization.”

As part of the transition, the group will add additional Golden Globes voters “to increase the size and diversity of the available voters for the annual awards,” the group said. But it also calls into question what a for-profit entity will look like, and whether that will further cause concerns over the org’s already frequently lambasted conduct. There’s also the question of Boehly now both owning the Globes and, through Eldridge, MRC Live and Alternative — the company formerly known as Dick Clark Prods., which produces the Globes. (Boehly is also reportedly aiming to acquire MRC Live and Alternative outright, according to Puck. Such a move may further surface conflict-of-interest questions.) The HFPA said in its press release that it would have no further statements or address the news beyond what was announced today.

Also according to the HFPA, “Boehly was not part of the review, recommendation, or approval process. In recent months, the HFPA’s financial advisor, Houlihan Lokey, yielded several submitted proposals from a number of companies and investment groups. Each proposal was reviewed and analyzed by the HFPA’s Special Committee, alongside its legal advisor, Morgan, Lewis & Bockius LLP.”

The special committee was composed of the three outside independent members of the HFPA’s board: Sharlette Hambrick, Jeff Harris and Dr. Joanna Massey.

“This review process was comprehensive, deliberate and thoughtful to ensure fairness and accuracy,” Hoehne said. “Per our bylaws, the decision ultimately rested with our membership, who voted on the proposal. As we look forward to celebrating our 80th anniversary event in January 2023, we are incredibly excited about this new era for our Association.”

The HFPA’s move comes after more than a year of turmoil for the nearly 80-year-old press organization that has thrived over the past 25 years on lucrative fees from NBCUniversal and other partners for the Golden Globe Awards.

There’s still no confirmation as to whether the Globes will return to NBC in 2023, but the new ownership structure is likely a step forward in potentially making that happen. As Variety reported in June, the HFPA had met with major studios in networks in the spring and early summer to lay out the list of changes the org had made over the past year and a half. The HFPA touted the addition of 21 new members (nearly half of whom were women, and most of whom where people of color), as well as DEI training, a new chief diversity officer, new independent advisors and consultants, an NAACP partnership, new gift, travel and conflict of interest policies and other bylaws, among other reforms.

The HFPA has been in reform mode since spring 2021, when the Los Angeles Times detailed new allegations of questionable financial practices inside the small, insular organization, as well as paltry record of diversity and representation (including an entire lack of Black members). The group responded by releasing a framework for reform that included measures to increase the number of people of color in its ranks. The org had already instituted new restrictions on gifts that the members could receive and payments for work on their committees.

Nonetheless, those charges of questionable practices and a lack of diverse membership led NBC to announce that it would not air the Golden Globes in 2022.

In May 2021, HFPA announced a timeline that would overhaul the organization by creating “five pillars of change: accountability, membership, inclusion, good governance/ethics, and transparency.”

This January, without NBC as broadcast partner, the HFPA moved forward with the 2022 Golden Globes — in a private ceremony at the Beverly Hilton, without any nominees in attendance. The 2022 ceremony put an emphasis on the Golden Globes’ philanthropic partners and efforts instead.

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Box Office: ‘DC League of Super-Pets’ to Overtake ‘Nope’ With $25 Million-Plus Debut - Variety

After a slower July at the movies, it’s “DC League of Super-Pets” to the rescue.

The Warner Bros. animated superhero comedy may not be closing out the month with a bang, but it will at least manage to lead domestic box office charts. Over the weekend, “DC League of Super-Pets” is aiming for $25 million to $30 million when it opens in 4,300 North American theaters, which should be enough to dethrone Jordan Peele’s “Nope” as the No. 1 movie in the country. Peele’s UFO thriller, which opened last weekend to $41 million, is expected to decline by roughly 60% with $15 to $16 million in its sophomore outing.

Movies aimed at family audiences have been a mixed bag at the pandemic-era box office, with Universal’s “Minions: The Rise of Gru” scoring a mighty $300 million domestically to date and Paramount’s “Paws of Fury” flailing with $14 million domestically. In terms of brand awareness, “DC League of Super-Pets” falls in between those films; it’s not a sequel to a mega-popular franchise like “Minions” but it’s based on DC lore so it’s not entirely new to audiences. The movie cost $90 million to produce, so it’ll need to resonate with young kids (and comic-book lovers) to become profitable.

Directed by Jared Stern, “DC League of Super-Pets” features the voices of Dwayne Johnson, Kevin Hart and Kate McKinnon as the four-legged friends of Justice League members. The film has garnered positive reviews, with Variety’s Owen Gleiberman writing “The plot is…a plot. Busy and frantic and diagrammed. But there are just enough wild-card moments along the way, like those involving a baby-voiced kitten who coughs up hairball grenades.”

In far fewer theaters, Focus Features is rolling out “Vengeance,” a true-crime inspired black comedy from “The Office” alum B.J. Novak. Since the R-rated film is playing in fewer than 1,000 locations, it’s aiming for low single digits — around $2 million — in its box office debut.

Novak, who also wrote the screenplay, portrays a New York City-based journalist and podcaster who travels to Texas to investigate the death of a girl he was only casually dating. Boyd Holbrook, Dove Cameron, Issa Rae and Ashton Kutcher round out the cast.

Reviews for “Vengeance” have been mostly complimentary, with critics praising the fish-out-of-water humor. Gleiberman called the film a “terrific directorial debut,” adding “‘Vengeance’ is an irresistible original — a heady, jaunty, witty-as-they-come tall tale that’s just grounded enough in the real world to carry you along.”

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Teen Mom: Andrew Glennon Speaks Out After Amber Portwood Loses Custody - E! NEWS

Andrew Glennon has shared his thoughts after a decision was made in his custody battle with Amber Portwood.

"We endured the nightmare," he exclusively told E! News. "Now we get to live the dream."

An Indiana judge awarded Andrew primary physical and sole legal custody of his and Amber's 4-year-old son James, per court documents obtained by The Sun. The judge also granted Andrew's request to relocate James to California. However, Andrew is ordered to "seek out and consider the mother's opinion before making any major decisions relating to the child's medical treatment, education and religion."

As for Amber, the Teen Mom star has been granted overnights with James that will be exercised every month, per the outlet. Her allotted time with the 4-year-old will alternate between the states of California and Indiana.

Following the judge's decision, Amber, who is also mom to 13-year-old Leah with ex Gary Shirley, shared in a statement that she has "worked so hard to better myself and improve my relationships with my children."

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Alundra Blayze tells Toxic Attraction they have to earn the titles: WWE NXT, July 26, 2022 - WWE

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WWE NXT 2.0 Results: Winners, Grades, Reaction and Highlights from July 26 - Bleacher Report

0 of 8

Credit: WWE.com

Zoey Stark is back! The former NXT women's tag team champion was put on the shelf by Toxic Attraction and returned to take a new shot at the group. She is the new No. 1 contender for the NXT Women's Championship, held by Mandy Rose.

The July 26 edition of WWE NXT 2.0 opened with Stark speaking on her recovery and vision for her future.

The D'Angelo Family took a major shot at Diamond Mine, laying out The Creed Brothers while Roderick Strong and Damon Kemp fought. Tony D'Angelo gladly accepted an eight-man tag team match challenge to showcase his group's dominance.

Xyon Quinn has gladly ruined Apollo Crews' NXT return, costing him a match against Giovanni Vinci. Crews wanted revenge in a bout. Vinci would also compete on the night, facing Andre Chase.

Wes Lee looked to get his own revenge, fighting Grayson Waller while building momentum for a rematch against Trick Williams. Indi Hartwell hoped to turn around recent bad luck against Arianna Grace.


Tuesday's show had a chance to surprise many by highlighting much of the best talent in NXT 2.0 in and outside the ring.

1 of 8

Zoey Stark showed her appreciation to the fans for accepting her back after her injury.

Cora Jade interrupted on the stage followed by Toxic Attraction from the ramp. Stark challenged Mandy Rose to a title match, but instead Gigi Dolin agreed to fight her later.

Jade's involvement was unnecessary in this segment beyond keeping her on television. We may get Stark vs. Jade down the line, but the focus of the night was Stark calling out the women who injured her.

While Stark is not the most polished mic worker, she is passionate, which goes a long way. She told the story of her injury and road to recovery before explaining why she needed to dethrone the NXT women's champion. She sold the match for any time in the near future.

Grade

B

Notable Moments

• Stark advised that she was given a timetable of longer than one year to return from surgery. She returned after eight months.
• She called out Jade for throwing away the NXT women's tag team championship, putting over how much that title meant to her.
• McKenzie Mitchell interviewed The Schism during which Joe Gacy promised he could be Cameron Grimes' new father figure.
  

2 of 8

Grayson Waller dominated the action against Wes Lee. When Lee finally found his opening, Trick Williams cheap-shot him from the crowd, setting up Waller for a return rolling cutter that sealed the win for the loudmouth.

Beyond the cheap finish, this was a really good back-and-forth contest. Waller continues to show off a varied and smooth move set, while Lee has always performed at a high level. These two are professionals on a brand that desperately needs them.

Lee vs. Trick is not the most exciting feud, but it has helped solidify the latter as more than just a lackey to Carmelo Hayes. It could well be the first step in separating the two.

Waller picked up another win that could lead him to challenging for the NXT Championship.

Result

Waller def. Lee by pinfall.

Grade

B+

Notable Moments

• Before walking out, Waller put himself over as better than Lee and everyone watching.
• Lee tried to turn around the action but jumped right onto the shoulders of Waller, who lifted him into an impact powerbomb.
• Waller knocked Lee clean off the top rope to the floor where Trick punched him in the back, nearly causing a count-out.

3 of 8

Xyon Quinn tried to keep firm control of the match, but once Apollo Crews got a foothold, he never let up. He planted Quinn with a single-arm powerbomb for the win.

While this match got time, it wasn't overly exciting. Despite weeks of buildup, it never once felt like Quinn had a chance. The finish was flat, not landing hard enough to feel like a proper end to the contest.

Both men are talented, but their ability to tell a story in the ring was in question here. Crews has the experience and talent to do more, while Quinn has shown serious potential that NXT 2.0 is not all that interested in unlocking.

Result

Crews def. Quinn by pinfall.

Grade

D+

Notable Moments

• Quinn planted Crews with a spinning fireman's carry slam and then went for his running forearm but took an enzuigiri that turned the momentum of the match.
• Wendy Choo woke up from a dream of her Battle Royal loss and promised to make Tiffany Stratton's life worse.
  
• Kiana James presented a PowerPoint presentation on Nikkita Lyons being the main problem in the NXT women's division.
  

4 of 8

Gigi Dolin barely challenged Zoey Stark. Once the No. 1 contender got going, she planted Dolin with a belly-to-back GTS to win.

Afterward, Cora Jade attacked Stark, but Roxanne Perez returned to send her running.

Despite being out eight months, Stark looked smoother than ever in the ring. The action was short but tight, not wasting a second throughout this surprisingly one-sided affair.

It is a shame this was a complete squash, but the point was to push Stark. She came off as a true top name, wiping out a former tag team champion and rival in minutes.

Perez's return was somewhat anticlimactic. It came off unnecessarily rushed. However, this allowed NXT to quickly announce the future of the NXT Women's Tag Team Championships.


Result

Stark def. Dolin by pinfall.

Grade

C

Notable Moments

• It was announced that Rose would face Stark at NXT Heatwave on August 16. Sarray confronted the NXT women's champion, setting up a match between them next week.
• Perez announced alongside Alundra Blayze that she was relinquishing the NXT Women's Tag Team Championships, and a Fatal 4-Way next week would crown the new titleholders next week.
  
• Solo Sikoa challenged Von Wagner to a Falls Count Anywhere match for next week. Wagner gladly accepted despite Robert Stone's warning.
  

5 of 8

JD McDonagh appeared in the crowd where he gave health tips to the fans. He then greeted everyone at ringside. Finally, he called out Bron Breakker.

The NXT champion challenged McDonagh to a match at NXT Heatwave before headbutting him.

While McDonagh ended the segment sitting on the mat, this was a surprisingly smart segment. He showcased his intelligence by going over the many ways he can break a man with only limited force.

Even when Breakker knocked him down, he laughed in the face of the champion. The size difference between these two barely feels like a factor at this point, as the challenger has explained exactly how he will beat the bigger man.

Grade

B

Notable Moments

• McDonagh threatened to break Vic Joseph's collarbone by applying pressure.
• Breakker busted McDonagh's lip with a headbutt, causing the challenger to laugh.

6 of 8

Andre Chase made Giovanni Vinci pay for his cockiness, nearly taking the win at multiple moments.

Vinci finally put him away with a straitjacket powerbomb. Nathan Frazer stopped Vinci from attacking The Professor afterward.

This was the match of the night and came from an unlikely source. While Vinci is a great wrestler, he also had to bring out a different energy from Chase. This was worked like a main event and made the most of the time it got.

Vinci needed to win here, but he gave more than expected to The Professor. This was proof of the value both men bring to NXT and why they deserve a larger spotlight.

If any match on this show was helped by the new creative regime, it was this one.

Result

Vinci def. Chase by pinfall.

Grade

A

Notable Moments

• Before the match, Frazer found Chase U backstage and asked for the opportunity to represent them as flag bearer.
• Vinci dominated until he decided to break the Chase U flag over his shoulder, setting off Chase, who knocked him clean out of the ring.
• Chase planted Vinci with an atomic drop, spinebuster, a series of boots and a side slam that nearly won it.
• Vinci caught Chase jumping with a delayed vertical suplex then Chase responded with a double underhook powerbomb.
• NXT showed a comic book-style video package for Axiom, celebrating his first win.

7 of 8

Arianna Grace tried to prove herself, but she had no idea how to take the win. Indi Hartwell knocked her out with a big boot to seal the victory instead.

This was a complete squash as expected. Grace is still learning, so there was not much action here that left an impact.

Hartwell got a valuable win. It was an inoffensive segment to hopefully push Indi Wrestling down the right path.

Result

Hartwell def. Grace by pinfall.

Grade

D

Notable Moments

• Backstage, before the show, Grace questioned why Hartwell cheap-shot her in the Battle Royal and promised to get away from her negativity.
• Sanga talked up Valentina Feroz and Yulisa Leon for their tag title shot next week.
• Katana Chance and Kayden Carter got into an argument with Ivy Nile and Tatum Paxley, and Elektra Lopez got involved to fuel the fire, causing a brawl to break out.
• In pre-taped interviews, Lash Legend and Alba Fyre warned one another about what would happen when they fought again.
  

8 of 8

Tony D'Angelo made sure Cruz Del Toro, Joaquin Wilde and Channing "Stacks" Lorenzo isolated the least experienced member Damon Kemp. Finally, he got the hot tag to Julius Creed. He changed the momentum of the match.

Brutus Creed took a High-Low from Wilde and Del Toro, leaving Roderick Strong and Julius to fight the four. Strong accidentally kneed Julius in the face, allowing The Don to win with the Fuggedaboutit.

This was a surprisingly distraction-free clash of talent. The two stables battled to the most logical result. If anything, it felt too short. While The Family is growing more comfortable together, Diamond Mine is falling apart, so there was no reason to mess up that dynamic.

Julius looked good throughout and even before the match. He has been built up as the new leader of the group, which likely means Strong will fight him for control of Diamond Mine soon.

Result

The D'Angelo Family def. Diamond Mine by pinfall.

Grade

B

Notable Moments

• Backstage, D'Angelo reminded his family that they needed to stay focused for the battle with Diamond Mine. Diamond Mine got along as they prepared for the match.
• Del Toro and Wilde wore attire matching D'Angelo and Stacks to show solidarity.
• The contest started slow, but a whole brawl broke out before long, ending with The Don retreating only to get a Brutus Bomb.

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Candace Cameron Bure Shares Bible Verse After JoJo Siwa's 'Rudest Celebrity' Post - Access

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Jeopardy! decides to just let both Ken Jennings and Mayim Bialik stay on as hosts - The A.V. Club

Ken Jennings

Photo: VALERIE MACON/AFP via Getty Images

This may be hard to believe, coming from the game show institution that went through a very long run of trial hosts only to give the job to the show’s producer (at least temporarily), but Jeopardy! seems to have gone for the least surprising and least interesting choice when deciding who should be its permanent post-Alex Trebek host. Would it be Ken Jennings? Would it be Mayim Bialik? The two of them have been trading off for nearly a year, but now Jeopardy! has decided that… they’ll both just keep trading off.

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That’s according to Variety’s sources, which say that both Jennings and Bialik have “entered into long-term deals” to keep splitting the Jeopardy! host job, with Bialik also doing special primetime versions of Jeopardy! and an upcoming version of Celebrity Jeopardy! (for real, not the SNL sketch, which wouldn’t be as much fun these days for, you know, sad reasons). This comes exactly one month after the show’s producers announced that they would have an announcement about who will permanently host Jeopardy! “very, very soon,” which seems like a real stretch of what “very, very soon” means. But what would the producers of Jeopardy! know about sticking to the exact letter of the law? Surely they’re not sticklers for specificity over at Jeopardy! HQ, right?

It doesn’t sound like this has officially been confirmed or announced by the Jeopardy! producers or Sony Pictures Entertainment, but Variety seems confident that it’s just a matter of letting the ink dry. Or whatever they use on those Jeopardy! answer boards, which are probably digital pens and not actual pens. Either way, don’t be surprised if you keep seeing Ken Jennings and Mayim Bialik asking for answers in the form of a question on your TV every afternoon before or after Wheel Of Fortune.

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