TIME Television

Here’s How to Watch Trevor Noah’s Comedy Special African American

Trevor Noah
Comedy Central Trevor Noah

The stand-up show hints at what Noah might be like as the new host of The Daily Show

Fans of The Daily Show are curious about Trevor Noah, who Comedy Central has announced as the new host of their flagship news show. He’s not as well-known as many of the contenders who had been considered frontrunners in the race for the job, though he has made three appearances on The Daily Show so far. But his 2013 special African American, streaming on Netflix, offers a much more detailed look at his personality and sense of humor.

The stand-up performance, which runs over an hour, focuses on his identity as a mixed-race South African and his journey to America, where — as it turned out — race was even more complicated than in the land of apartheid. He jokes about being mistaken for Latin-American, watching depressing UNICEF ads about Africa (“Where’s that, Cleveland?”) and the Oprah Winfrey Leadership Academy for Girls in South Africa (when one kid gets a beating, he says, “because it’s Oprah’s school, everybody’s getting one! You’re getting a beating! You’re getting a beating!”).

Noah’s performance in the special is more high-energy than his past Daily Show appearances, and fans might be charmed not only by his South African cadences but his talent for other accents as well. And in a late-night landscape that’s overwhelmingly white, Noah’s fresh takes on race, bolstered by his outsider’s perspective on America, make him an especially exciting choice for The Daily Show.

Watch the show on Netflix.

TIME Television

Don’t Expect Streaming to Make Your TV Bill Cheaper

HBO In cable as in HBO's Game of Thrones, the old dynasties are under attack, but that doesn't mean your wallet will be liberated.

But it could just make TV, and the experience of watching it, better.

For years, cable TV companies had a powerful sales pitch: What the hell else you gonna do? You wanted ESPN, CNN, Disney Channel, you paid the price.

Now, the cable box in your living room is suddenly under assault. Sony and Dish Network’s Sling have recently launched their own TV bundles, available over broadband. Apple reportedly plans one in the fall. In addition to Netflix, Hulu, Amazon and CBS All Access, HBO is finally about to offer its service online without a cable subscription, just in time for the premiere of Game of Thrones.

Consumers, fittingly, have greeted this news like the slaves of Meereen greeted Daenerys Targaryen. Mother of Dragons, Breaker of Chains, Cutter of Cords! But in my print column in TIME this week, I suggest you not get too excited–at least if you’re hoping that the streaming revolution will mean you’ll be able to watch everything you want for less money.

For starters, you’ll still need broadband, likely from the same company who now sells you cable, and there’s no reason that bill won’t skyrocket. (Today, you often get it at a cheap introductory rate, possibly because you bundle it with cable.) The most popular offerings (sports, prestige drama) won’t be nearly as cheap as you might assume if you strip them away from the cable bundle. And none of the parties involved–telecoms, media giants, tech corporations–are sitting in their boardrooms dreaming up ways to get as little money from you as possible. (My full column is for TIME subscribers, because we too are trying to make money in the content business.)

That said, there are other reasons to be excited about streaming TV besides money. One, which I’ll write about more in the future, is that changing the way TV is delivered has the potential to change, and hopefully improve, the kind of TV you see. It already has, to an extent. The best TV show of 2014, Transparent, wasn’t on “TV” but on Amazon Prime. And the Netflix Effect on TV has had repercussions far beyond Netflix itself. It’s very likely, for instance, that a big part of the reason The X-Files is getting a second life on Fox is that it had a second life on Netflix, becoming relevant (and thus valuable) to a new generation of viewers.

But I’m also curious to see how streaming services change, and I hope improve, the experience of watching TV. Take something as simple as how you find a channel. The practice of numbering channels is a holdover from the rabbit-ears broadcast days of TV, yet it continues with cable, where you scroll through a grid of hundreds of channels through a cumbersome, lag-prone interface. (I watch TV for a living, and even for me it’s harder to find a channel I rarely watch on my cable system than it is to get driving directions to a city I’ve never been to.)

Compared with that, the interface for finding “channels” when I use Apple TV, or Roku, or even my kids’ PS4 is at least a process that feels like it belongs in the 21st century, with channel names and icons and more usable search functions. As I write in my column, I don’t expect Apple, busy rolling out a smart watch that tops out at $17,000, to make TV a bargain. But I do think it could make it elegant, intelligible and useful. If they, or someone else, can give me a genuinely better interface with my TV, at least I might not resent so much the way they interface with my wallet.

As I say, I’m sure I’ll be writing more about this in the coming months. But I’m curious to hear from you in the meantime, in the comments or on Twitter: leaving aside the size of your cable bill, what are the things about your experience of TV that you’d most like streaming TV to fix?

TIME Television

Here’s What’s Coming to Netflix in April

Netflix Marvel's Daredevil

The Netflix original Daredevil TV show and The Babadook will be available next month

Here are the movies and TV shows that are new to Netflix next month—and what you should watch before it leaves the streaming service.

Netflix Originals

Marvel’s Daredevil (April 10)

All Hail King Julien, Season 1 (April 3)

Derek: Special (April 3)

Chris D’Elia: Incorrigible (April 17)


The Babadook (April 14)

Hot Fuzz (April 16)

Crank (April 9)

National Treasure (April 27)

Noah (April 18)

They Came Together (April 17)

The Quiet Ones (April 3)

TV Shows

Sons of Anarchy, Season 7 (April 25)

Halt and Catch Fire, Season 1 (April 8)

Last Chance to Watch before April 1



The Karate Kid


Friday the 13th

Mystic Pizza

Get Shorty

Gentleman Prefer Blondes

Sense and Sensibility

Read next: Sony’s New TV Streaming Service Is Way Easier to Use Than Your Cable Box

Listen to the most important stories of the day.

TIME Television

Review: On Netflix’s Bloodline, a Family That Preys Together

Kyle Chandler (John Rayburn) and Ben Mendelsohn (Danny Rayburn) in the Netflix Original Series BLOODLINE. Photo Credit: Saeed Adyani © 2014 Netflix, Inc. All Rights Reserved.
Saeed Adyani/Netflix Chandler and Mendelsohn in Bloodline.

Excellent performances abound, but this family-noir thriller in the sunny Keys may leave you chilly.

In TV, your crime dramas and your family dramas tend to be two separate genres. (The Sopranos was arguably an exception, but there crime was the family business.) It’s a strange division, given how many victims know the perpetrators, how many crimes bubble up from family rivalries and resentments. Blood may be thicker than water, but it spills just as easy.

Netflix’s Bloodline (first season premieres March 20) is a drama of crime and kin, on an intimate scale. It begins with a family reunion party, and it will all end badly, as the show’s “We did a bad thing” promos have made clear. But first it must bring together the Rayburn clan, whose patriarch and matriarch Robert and Sally (Sam Shepard and Sissy Spacek), run an inn in the Florida Keys. Three of their adult kids live nearby: John (Kyle Chandler), Kevin (Norbert Leo Butz) and Meg (Linda Cardellini). And then there’s Danny (Ben Mendelsohn), the prodigal eldest who has a bad history with drinking and with the law, riding into town on a cheap bus ticket.

There’s trouble here in Margaritaville; the rim of its glass is salted with tears. Danny’s return dredges up a lifetime of resentments and recriminations–which makes it that much more surprising when he announces that, this time, he wants to stay and work at the inn. Sally is delighted; Robert is dubious; and the three non-prodigals are uneasy about his motives. What Danny wants (money? redemption? love? revenge?), as well as the history those suspicions stem from, come slowly into focus in this grim, family-style thriller.

Bloodline comes from the producers of Damages, Todd and Glenn Kessler and Daniel Zelman. In structure and brooding style, it plays like a humid island cousin to that icy New York thriller: it’s like Damages Vice. (The show does use the sea, sand and swamp to gorgeous visual effect.) Like its forebear, it keeps flashing forward to violent events, then doubling back to a present-day story that keeps twisting on itself. (In this, and in its doting on simmering family resentments in a resort paradise, it’s also a little like The Affair without the affair.)

Bloodline is less about what happens or whodunit, so much as what drove them to it and who, if anyone, is the villain. Maybe everyone is, a little bit. As with Damages, there’s a gimlet-eyed skepticism of human nature here, which makes it tough to connect with any of the Rayburns, at least early on. (Netflix gave critics the first three episodes.) Its gaze is steady and cold; this may be Florida, but someone has cranked up the AC.

The biggest weakness of Bloodline is that the characters are types, straight down the line: the hardass dad, the soft-hearted mom, the peacemaker, the black sheep. And the scripts don’t do much to round them out. Where many premiere episodes suffer “pilotitis,” struggling to cram exposition into an hour, this one so repeatedly hammers home the same character traits and dynamics that it feels like it could have been edited to 30 minutes. Miss the first time someone said John feels compelled to take care of everyone? Dad repeats it while giving a toast. Didn’t notice that the explosive Kevin is a hothead? Chandler’s voiceover kicks off episode 2, “My brother Kevin is the hothead of the family.”

They’re well-played types at least. Mendelsohn is revelatory as Danny, a leathered piece of flotsam who plays as half criminal menace, half dejected boy. He keeps us off-balance exactly the way Bloodline wants to, unsure of who is more sinner and more sinned against. And he has a strong foil in Chandler (Friday Night Lights), who ably de-Coach-Taylor-izes himself, suggesting that John’s years as the family’s dutiful golden boy have hardened something in him.

The rest of the family, and a slew of local friends and bad seeds, take longer to come into focus–we don’t yet have much of a bead on Meg, for instance. But the cast does communicate a sense of history, that as long in the tooth as the Rayburns are getting, they’re still a mom and dad and kids, every decades-old hurt stinging fresh.

I give Bloodline credit for trying something different—a simmering family noir rather than an over-the-top soap—and I expect it will especially appeal to fans of the Kesslers’ and Zelman’s work on Damages. But if the Rayburns don’t evolve from the simple types they seem to be when we first visit the inn, I may check out early.

Read next: Kyle Chandler Isn’t Ready to Ditch Coach Taylor Just Yet

Listen to the most important stories of the day.

TIME Television

Americans Are Watching More Streaming Video and Less Live TV

More than 40% of U.S. homes use a streaming service

American families are increasingly turning to subscription-based video-on-demand or streaming services like Netflix to watch their favorite TV shows, a new report from Nielsen says.

The report shows that more than 40% of American homes used a streaming service as of November 2014 and 13% of U.S. homes had multiple streaming services. Overall, American adults spent four hours and 51 minutes watching live TV each day in 2014, which is down from the five hours and four minutes they watched during the same period in 2013.

Among the 40% of households that used streaming services, 36% used Netflix, 13% used Amazon Prime and 6.5% used Hulu Plus.

American households that used streaming services were also likely to be more plugged in overall with above average use of HD services, Smart TVs, DVRs, video game consoles and multiple PCs and tablets, the report shows.

“The landscape has created new competitors—akin to a modern-day gold rush—for traditional video and audio, with the emergence of a relatively small number of digital leaders, all of whom are looking not just to compete, but to stake a claim and prosper in that space,” concludes report author Dounia Turrill, senior vice president of insights at Nielsen.

TIME Television

Meet Your New Favorite Superhero in the Marvel’s Daredevil Trailer

The show comes to Netflix April 10

Fresh off the release of Unbreakable Kimmy Schmidt, Netflix is promoting its next big original series, Marvel’s Daredevil, with a full trailer. The 13-episode show tells the story of Matt Murdock (played by Charlie Cox), a blind New York lawyer with super senses, who spends his days fighting crime on the books and his nights using his forces to stop criminals in the Hell’s Kitchen neighborhood.

The Marvel deal will lead to three more original Netflix series (A.K.A. Jessica Jones, Iron Fist and Luke Cage) that will then culminate in a combined series with all four plot lines (The Defenders). Marvel’s Daredevil starts streaming April 10.

TIME Television

Jane Krakowski Explains the Absurd Humor of Unbreakable Kimmy Schmidt

Eric Liebowitz—Netflix Jane Krakowski in a scene from Netflix’s Unbreakable Kimmy Schmidt.

The actress says her character on her new show is very different from Jenna Maroney. As Tina Fey once explained to her: "At her core, Jenna was a horrible person, and Jacqueline is not"

Fans of 30 Rock knew Jane Krakowski as Jenna Maroney, the attention-hungry actress whose hijinks made trouble for Liz Lemon. Now she’s back as another neurotic blonde New Yorker in a new show created by Tina Fey and Robert Carlock, Unbreakable Kimmy Schmidt. But this time — and luckily for binge-watchers — the zany comedy is running on Netflix instead of NBC, where it was originally conceived.

The show follows Kimmy Schmidt (Ellie Kemper), one of several “mole women” held in a bunker for years after being kidnapped by a cult leader who claimed the outside world had ended in apocalypse. Now, she’s trying to make it on the mean streets of New York, working as a nanny for the wealthy Jacqueline Vorhees (Krakowski). The socialite may bear a certain resemblance to Jenna Maroney, but Krakowski says at their core, they’re vastly different women. TIME caught up with the actress just before 13 episodes of season 1 began streaming on Netflix on March 6.

TIME: How is it being back working with Tina Fey and Robert Carlock?

Jane Krakowski: It’s great. When we first started the season, it was a bit like getting the band back to together—I would say 95% of the crew and the creative team are all the same from 30 Rock, so it was a bit of a homecoming for me, and it was a lovely way to start a new character feeling very safe and secure in the hands of all of the people I was working with.

Is it different now without Tina in front of the camera with you?

She’s so present with us every day that it feels like we’re getting the same creative collaboration, so not so much in that way—just that she looks a lot more comfortable because she’s wearing relaxed pants.

Were you disappointed when NBC dropped the show, or happy to test the waters at Netflix?

We all found out sort of after the fact that the deal was done, and as I think has been written about, it happened very quickly, in like two or three days. So when I got a call from Tina I was like, “Oh great, we’re finding out what day we’re going to be on the network, on NBC,” and then it was like, “What?” So it was a great surprise to us, and Netflix has just been amazing. I have a longstanding friendship and love for NBC for all the years that I spent there, and obviously the show is still owned by NBC so we’re still with them in many respects, but it was great for us to get the opportunity to air on Netflix and get a season 2 right away.

You tell your friends, “Now we’re on Netflix,” and people will be so excited, like, “Really? That’s so cool! Awesome!” But of course generationally, my parents were like, “So how do we watch it now? It’s not gonna be on TV?” They don’t understand how to make it work.

I look forward to the creative freedom that we will get from going to Netflix next year. It’ll be interesting to see where the writers’ minds take us, and — of course — just to get those precious eight more minutes that we are allotted on Netflix. Because when Kimmy was made, we didn’t find out until the last episode was almost halfway through filming [that we’d be switching to Netflix], so all of these episodes were made under the assumption that we were airing on NBC. I do believe that they’ve gone back in and put back in some jokes that either we lost for time or for network sensibilities, but nothing was re-shot knowing that we were going over to Netflix.

One of the great things about Netflix is that you can binge-watch. Are you a binge-watcher?

I am! I like the freedom that you can watch it whenever you can watch it. As the mother of a three-year-old, I watch my shows at very unconventional times, so it’s good to have that freedom to watch whenever you want, wherever you want.

Is there anything you’re watching now that you love?

Not now because it’s done—I’ve already binged it—but The Affair—I’m obsessed. It’s one of my favorite shows, and I’m waiting with bated breath to get the next season. Maybe I’m late to the binge-watching, but you finish it so fast and you have to wait so long with anticipation! That’s the only drawback to it.

I think what will be interesting with a show like Kimmy is the characters develop and open up quite a lot from the beginning of these 13 episodes, but I think it’s great for people to see where the show grows to. There’s a line that they wrote for Kimmy where my stepdaughter is trying to figure out who Kimmy Schmidt really is, and she says, “I Googled you, Kimmy Schmidt,” and Kimmy, who doesn’t know what Google is, says, “Really? I didn’t feel it.” I feel that’s a little bit like what tomorrow will feel like with streaming, you know? “We’re streaming it.” “Really? Because I didn’t feel it!” What is it going to feel like? It’s a new experience for me as an actress to be on a show that will be live-streaming as of Friday.

Some critics have compared the part of Jacqueline Voorhes to Jenna Maroney. How do you think they’re different?

I’ve always approached them very differently, and it was certainly conscious on Tina and Robert Carlock’s agenda to make them as different as possible. At first I was taken aback when people were saying that, because I find the characters so different at their core and in their heart, and I think also because I shot all 13 episodes and I know where this character grows. But in the first few episodes, I see why people would feel that way, especially in the beginning, before you learn more about her. But as I say, I’ve never approached them the same. There’s a vulnerability to Jacqueline that Jenna never had an ounce of on 30 Rock, so I find that they come from very different places.

Tina said to me—which was good to learn after 30 Rock had finished filming—was that at her core, Jenna was a horrible person and Jacqueline is not. It was good for me to learn that in hindsight after all of the seasons of 30 Rock! But I do think the characters are very different. The sense of humor is written by the same creators and the comedy has the same tone and pace as 30 Rock, and since I’m associated with both, I think people will naturally put that together.

Did they write the part with you in mind?

That I don’t know. Initially, I do believe, this part was going to be a smaller, quick guest role that Tina did have me in mind for. It wasn’t a part of the pilot, and then I went off and did a different pilot, and then they wanted to make this character more prominent in the show and did put her back in the pilot. And at that time, my pilot did not get picked up on Fox, and that same day, Tina wrote me and said, “Would you like to come over and be on this show?” And I said yes immediately, without even knowing what the character was. “If you need me to work in craft service, I’ll be there! I can’t cook, but I’ll come!”

Jenna and Jacqueline are both foils to the heroine in their respective shows. Do you think in this show that Jacqueline and Kimmy are following similar trajectories?

I think all the characters have an underlying story of their own “bunker” so to speak: Jacqueline in the gilded cage that she created for herself, and then realized that that’s not where happiness lies; Kimmy’s obvious world of being captive for so many years and then freed. Coming from such different worlds, they influence each other and help each other.

Most of your scenes are with Ellie Kemper, and you’re both such high-energy actresses. What is it like to shoot together?

I love Ellie. We had never met or worked together before, and I just adore her. She is sunshine to me. She’s incredibly professional, she’s so smart and it’s great to work with her. One of the things I find funny is I actually don’t know the other characters on the show because I do mostly film in my [character’s] fancy Upper East Side apartment. I have worked with Tituss [Burgess] before and I adore him, but when our characters finally meet, as well as Carol Kane’s character, down the road in the season, it’s quite funny, because I’m like, “What happened on your side? What are your stories about? Where do you guys shoot?” It was fun to ultimately all meet up together by the end of the season. I have the great pleasure of sharing one of my favorite story lines written for me with Carol Kane, the great Carol Kane, and it was a great joy to film. I never thought those two characters would meet up, and so when we do, it was pure joy from my standpoint of getting to work with the Carol Kane.

30 Rock was really good at pushing the boundaries on jokes about race and identity. Your character on Kimmy has a plot line about her background — I don’t want to spoil it — but is that fun material for you? Do you ever worry that viewers might be offended?

I love [the plotline] because I didn’t see it coming. I do feel that Tina and Robert have given me the opportunity to play things that I would never get to play outside of their world—as Jenna and as Jacqueline. I greatly appreciate that. They create such a distinct world in their shows. One of the things they are so skilled at is knowing the boundaries that their show can go to. A brilliant example is their humor at the Golden Globes: Those jokes are so funny and so spot-on, but you also go, “Wow, they just said that!”

A lot of times on Kimmy and on 30 Rock, when we’re doing the read-through, we’ll be like, “Wow, are we allowed to do this?” But then when it’s filmed in the world that they have created, it is within the boundaries of the show. I particularly love my storyline, because it tells so much about my character — about how far she wanted to come from who she is, to get to who she became. That, at its core, is a deep-struggling character to play. I love that, and it all comes from the humor of their writing, but that’s a complicated person who is running so far from her roots—so to speak.

The Golden Globes and the Emmys have been pretty good to Netflix. Are you hoping this might finally be your chance to win for Best Supporting Actress?

Not even! We’re just hoping to have a successful streaming event!

TIME Exercise/Fitness

6 Ways a TV Binge Affects Your Body

Getty Images

And how to fight each one

When a major show releases an entire season at once—we’re looking at you, House of Cards—it’s hard to resist devouring it all over a single weekend. And you probably won’t be alone: According to a 2014 poll by research firm Miner & Co Studio, 70% of U.S. television watchers self-identified as binge-viewers.

But before you settle in, let’s talk about what a TV binge can do to your body. You know that a habit of sitting for prolonged periods has been linked to everything from obesity to early death, but you may wonder: What harm can one or two lazy days really do?

Well, let’s just say there are some good reasons to try to split up your TV or movie binge.

“Even one long television session can certainly cause some immediate side effects,” says John P. Higgins, MD, associate professor of cardiology at The University of Texas Health Science Center at Houston and a certified personal trainer. “And the more you do it, the more you’ll be at risk for longer-term problems.”

Here are all the ways your body is affected while you binge-watch, plus how to fight each one.

Your appetite

Watching television often goes hand in hand with mindless overeating and unhealthy snacking, Dr. Higgins says, and watching episode after episode can make that worse. “You probably don’t want to stop for an hour to cook yourself a healthy meal, so you order pizza or fast food, or you snack on junk food the whole time.” And if you think that one bad-for-you dinner can’t hurt, think again: A 2012 study from the University of Montreal found that a single meal high in saturated fat can can damage arteries and restrict blood flow in the body. Furthermore, watching high-paced, action-oriented programs also triggers more distracted eating than less stimulating news or talk shows, according to a 2014 study by Cornell University.

Simply seeing characters eat on TV may make you consume more calories, Dr. Higgins adds, just as watching them drink alcohol may trigger you to crave a cocktail, or seeing them smoke (ahem, Frank and Claire) may tempt smokers to light up.

Fight it: Prep healthy food in advance
Make a healthy meal before you indulge in one (or more) episodes, and have pre-portioned healthy snacks (think popcorn or almonds) at the ready.

Read more: 20 Snacks That Burn Fat

Your muscles

It’s unlikely that you’ll gain five pounds or sabotage your fitness goals in one sitting, but spending all day on your butt can have more immediate consequences, including stiffness, back pain, and muscle cramps.

Fight it: Watch on the go
Download the Netflix app, so you can watch from your phone or tablet on the treadmill, stationary bike, or—Frank’s personal favorite—the rowing machine. At the very least, you should take a stand and stretch break between each episode.

Read more: 15-Minute Workout: Get Total-Body Toned

Your mood

A recent study by University of Texas at Austin researchers found that binge-watching is linked with feelings of depression and loneliness. People often try to lose themselves in TV to distract themselves from their negative feelings, the authors say, but often they’re unable to stop—even when they know they are neglecting work and relationships. Spending a whole weekend watching TV may also cause feelings regret and guilt, says psychiatrist Grant Brenner, MD, adjunct assistant clinical professor at Mount Sinai Hospital in New York City, but those are usually temporary.

For viewers with pre-existing mental health conditions, however, a binge session may have bigger consequences. “Perhaps they’re in a vulnerable state and the material triggers a negative reaction—such as activating trauma or amplifying irrational beliefs of some sort,” Dr. Brenner says.

Speaking of trauma, House of Cards has some dark subject matter. “Being exposed to any sufficiently intense or resonant emotionally-laden experience can potentially affect a person’s disposition and outlook,” Dr. Brenner adds, at least for a few days.

Fight it: Watch with friends
You need to talk to someone about Frank and Claire, and why that thing that was so crazy was just. So. Crazy!

Read more: 12 Worst Habits For Your Mental Health

Your sleep

And not just the sleep you lose by watching straight through the night (you probably already know you shouldn’t do that); it’s possible that your shut-eye schedule in the days after your binge session could be affected as well, Dr. Higgins says. “If you watch in a dark room with a lack of sunlight it can screw up your circadian rhythm and disrupt sleep-wake cycles.” On top of that, research suggests that the blue light emitted from televisions, computers, and smartphones can impair the production of melatonin, a hormone that helps promote sleep. (Not to mention, it can cause headaches and eye strain.)

Fight it: Avoid a binge that’s too close to bedtime
You need at least an hour away from the blue light to appropriately wind down. Also: watching on a screen that’s close to your face may have the biggest impact, so be sure you really “sit back” and relax.

Read more: 10 Sleep Compatibility Problems, Solved

Your circulation

Staying in one position for too long can contribute to deep vein thrombosis and the formation of potentially fatal blood clots, even in otherwise active individuals. “I’ve seen young healthy people who have been lying around all day surfing the web or watching movies get blood clots,” Dr. Higgins says. “When you’re watching TV, you may be moving your hands a bit but usually your feet are just lying there.”

Fight it: Get up at least every 30 minutes
“It’s another important reason to get up every 30 minutes or so, even if it’s just to stand and pump the calves and keep the blood flowing,” Dr. Higgins says.

Read more: How to Prevent a Blood Clot

Your metabolism

Studies show that spending long periods of time in a chair or on a couch do slow metabolism and cause the body to store more fat, which can lead to a slow, steady weight gain. Plus, you’ve heard it before, but it’s worth repeating: prolonged sitting has been linked to certain cancers, diabetes, disability, and heart disease—and the more time people spend watching TV, the more likely they are to die prematurely. In many cases, these associations hold true even if you’re getting the recommended amount of exercise during the day.

Fight it: Don’t make it a habit
Thankfully, it’s not every week that Netflix releases an addicting show.

Read more: 6 Ways to Sit Less Every Day

The bottom line

There are ways to make the occasional marathon TV session healthier. “If you decide you’re going to watch five episodes in one day rather than one episodes every night of the week—and you use that hour each night to work out when wouldn’t otherwise—you can treat a weekend binge as a reward,” Dr. Higgins says.

Brenner agrees. “For a lot of folks, binge-watching might be a form of relaxing ‘stay-cation,’ especially if it is viewed as a valuable recreational experience and not as an excessive indulgence,” he says. “As with most things, moderation is the key to avoiding problems.”

Read more: 5 Ways To Make Your Netflix Binge A Little Healthier

This article originally appeared on Health.com.

TIME movies

True Detective Director’s Next Movie to Premiere on Netflix

Pascal Le Segretain—Getty Images

Beasts of No Nation stars Idris Elba

Netflix has a high-profile movie on its hands. The streaming service announced it will release Beasts of No Nation directed by True Detective’s Cary Fukunaga and starring Idris Elba. The movie, based on the novel by Uzodinma Iweala about a child soldier, will premiere in select theaters and on Netflix worldwide on the same day in 2015.

Beasts of No Nation is a powerful film that unfolds beautifully in the hands of director Cary Fukunaga with Idris Elba delivering a career-defining performance,” Chief Content Officer Ted Sarandos said in a statement. “We are so proud to bring a film of this caliber exclusively to Netflix members around the world at the same time as it appears in select theaters.”

Deadline, which broke the news Monday night that Netflix was closing in on the movie yesterday evening, reported that the deal was close to $12 million. According to Deadline, the movie will have “a vigorous push in Oscar season.” A theatrical release is required for Oscar consideration.

Netflix also recently announced it acquired Jadotville, a war thriller starring Jamie Dornan.

This article originally appeared on EW.com.

TIME Television

Review: Unbreakable Kimmy Schmidt Is Must-Stream Comedy


NBC's loss is Netflix's gain, as Ellie Kemper delights in Tina Fey's oddball cult-survivor comedy.

When they prepare the In Memoriam reel for the next Emmy Awards, let’s hope the academy sets aside some space for NBC’s Thursday comedy block, God rest its soul.

It was born in 1981, when the network aired the first in a set of comedy lineups that would include Cheers, The Cosby Show, Seinfeld, Friends, The Office, and many more legends. It died of old age and neglect on Jan. 22, 2015, with the little-noticed expirations of Bad Judge and A to Z. (Parks and Recreation outlived its cohort slightly, exiled to Tuesday.) It is survived by the night’s current occupants, espionage dramas Allegiance and The Blacklist, and The Slap, the upscale-parenting-drama miniseries that is a comedy only unintentionally.

NBC that euthanized its trademark block, but it is not solely guilty. The Must-See-TV brand indicted a kind of sitcom that at its best was both sophisticated and popular. But as cable grew and the outlets for comedy multiplied, individual audiences shrank. The finale of the urbane, witty Cheers drew over 80 million viewers, the finale of the urbane, witty 30 Rock, not quite 5 million.

CBS still succeeds with retro comedies (The Odd Couple), ABC with family sitcoms (black-ish), Fox with youthcoms (New Girl) and animated shows (Bob’s Burgers). But the kind of challenging, idiosyncratic comedy NBC was known for has other outlets now: HBO’s Veep and Silicon Valley, say, can be filthily hilarious without the slightest nod toward keeping their characters relatable.

Adult Swim, Comedy Central, FX and FXX–all these homes for comedy have sliced-and-diced the audience into ever-more specific niches, which has been great for comedy but not so great for a network like NBC, which requires millions of weekly viewers to keep a show afloat. Today, NBC doesn’t seem sure what its comedy identity is, but it’s ceding “quirky” to others.

Netflix, for instance. Unbreakable Kimmy Schmidt (season one premieres March 6) might have aired on NBC’s Thursday in another era–like last spring, when the network first picked up the comedy, about an escapee from an doomsday cult making a new life in New York City. (Between this and Last Man on Earth, the apocalypse has emerged as 2015’s hottest comedy trend.)

It had a Must-See Thursday pedigree, with 30 Rock‘s Tina Fey and Robert Carlock as co-creators. It had a Must-See Thursday star, Ellie Kemper of The Office. But by the time 2015 rolled around, there was no Must-See Thursday to schedule it on. So NBC, whose parent company produces Kimmy, made an unusual decision: it essentially pre-cancelled the show and sold it to the streaming service.

The deal was a sad statement about the potential for comedy at the new NBC. (Earlier last year, the network canceled the inventive Community, which will stream its sixth season on Yahoo starting March 17.) But it was probably the best thing possible for Kimmy, which is delightful but strange even by the standards of 30 Rock, and could have easily, quickly died on network TV. Netflix commited to two full seasons of the show before the first even aired.

The pilot opens in an underground bunker, where Kimmy (Kemper) is decorating a Christmas tree. She’s celebrated the holiday with the same three women since the ’90s, when she was 14 and kidnapped by an Indiana cult leader who claimed to be saving them from a nuclear apocalypse. After a SWAT team raids the bunker, the “Mole Women” are whisked to Manhattan for a Today show interview (a relic of cross-promo-obsessed NBC), after which Kimmy finds herself on the street, trying to figure out what to do with her life. She stumbles across a roommate share with broke actor Titus (30 Rock‘s Tituss Burgess) and eccentric landlady Lilian (sitcom legend Carol Kane). Alien in every way, still 14 at heart, Kimmy sets out to explore the terrae incognitae of the big city, the 2010s, and adulthood.

Kemper and Kimmy make one of TV’s most natural matches of actor and character since someone decided to make Lou Ferrigno the Hulk. She’s a terrific physical comic, able to combine naivete with a sense of cunning, and she’s contagiously joyous–it’s as if Lucille Ball had a baby with a rainbow. Kimmy knows almost nothing about today’s world, which means she doesn’t know enough to be jaded about it. When she spies a costume in the corner of Titus’ apartment–his day job is handing out arcade flyers wearing a copyright-violating Iron Man costume–she squeals with amazement: “Is that a real robot? Do people have robots now?” We may be watching a sitcom, but she’s living a sci-fi story.

Fey doesn’t appear in the series, but Kimmy occupies a lower-rent corner of the same cartoon-NYC universe as her last NBC show. The show’s zaniness, broad characters and rapid-fire jokes are pure 30 Rock, as is its overall aesthetic. (It even has similar jaunty incidental music, composed by Fey’s husband Jeff Richmond, who also wrote 30 Rock‘s.) When Kimmy finds a job as an under-the-table nanny, her vacuous one-percenter boss, Jacqueline Vorhees, is played by Jane Krakowski, who for all intents and purposes is doing Jenna Maroney 2.0 right down to the plastic-surgery connoisseurship. (“Feet are the new butts, Kimmy!”)

Kimmy’s a sunnier presence than Liz Lemon, but Unbreakable Kimmy Schmidt also has a darker core. Kimmy’s bunker experience is played for laughs (she “made a pet cat out of dryer lint”) but it was also abuse by a misogynistic cult leader who convinced the women their “dumbness” brought on the world’s end–all but Kimmy, who couldn’t be broken. The show’s feminism is even more pronounced than 30 Rock‘s; even Mrs. Vorhees has become who she is out of low self-esteem and desperation to hang on to her always absent, philandering husband.

On its own, the show’s concept might have just been a throwaway 30 Rock subplot; what sustains it is how it applies the concept of unbreakability beyond Kimmy. Each character is a survivor, including Titus, who comes across sashaying and stereotypical at first, but is also grappling with growing older as a struggling actor and a single gay man in New York. (“Am I a bear now?” he wonders after failing to seduce a younger man. “Or a daddy? Or a Huxtable?”)

Like Fey’s other work, Kimmy is intersectional; it’s connecting and contrasting the experience of outsiders, black and white, straight woman and gay man, sister-wife and trophy wife. And like 30 Rock, it draws comedy from the myriad ways an expensive, competitive city like New York beats people down. Think of the scene in 30 Rock‘s “Cleveland,” in which Liz, imagining growing old in Manhattan, watches a handsome elderly woman who strides down the street declaring, “There is nothing like New York in the spring!”–then gets pushed into a pile of garbage.

Kimmy is shot from a more distinctly garbage-eye point of view, yet it’s more optimistic. Whether she’s trying to connect with the spoiled Vorhees kids or to earn a GED in a school that has “a cardboard cutout of Michael Jordan teaching gym,” Kimmy is undaunted: if she can do 15 years in a bunker, she’s got this.

It will be interesting to see how Unbreakable Kimmy Schmidt will do on Netflix, which has focused mostly on binge-friendly serial dramas. It doesn’t quite have a model yet for comedy, which may lend itself more to grazing than bingeing.

If Kimmy would have been too odd for NBC, it’s oddly conventional for Netflix. When the streaming service revived Arrested Development, it was as a complex, non-linear narrative. Kimmy is structured like a typical network sitcom–more or less 22 minutes an episode, no swearing–with one notable difference. After the pilot, the end of most episodes introduces the plot of the following episode, the better to get viewers to click “Play Next.” (This, curiously, even though NBC produced the first season before ditching the show.)

For the six installments sent for review, anyway, it worked on me. In the end, I can’t blame NBC for not taking a chance on a show it probably did not have a place for. But I’m glad that Kimmy the show, like Kimmy the character, found itself in 2015, where Netflix could pull an odd misfit out of the bunker of network-TV limbo and bring it, blinking, into the light of day.

Read next: Watch the New Trailer for Unbreakable Kimmy Schmidt

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