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

Listen to the most important stories of the day.

TIME Television

Netflix Sets Date for Orange is the New Black Season 3 Premiere

Taylor Schilling in a scene from Netflix’s “Orange is the New Black” Season 2. Photo credit: JoJo Whilden for Netflix
Jojo Whilden—Netflix Taylor Schilling in a scene from Orange is the New Black

The streaming company also gave a release date for the Wet Hot American Summer sequel

The wait is almost over for Orange is the New Black fans eager to reunite with Piper, Red, Crazy Eyes and Taystee.

Netflix announced Monday the third season of its award-winning comedy drama would premiere on the streaming service June 12. The prison-set show will return about a month before the service premieres the long-awaited sequel to Wet Hot American Summer, on July 17.

Wet Hot American Summer: First Day of Camp will reunite the movie’s original cast for an eight-episode series, all of which will take place on the first day of summer camp.

Can’t stand the wait? Get your teaser clip here.

TIME Television

Here’s What’s Coming to Netflix in March

Kyle Chandler (John Rayburn) and Linda Cardellini (Meg Rayburn) in the Netflix Original Series BLOODLINE. Photo Credit: Saeed Adyani © 2014 Netflix, Inc. All Rights Reserved.
Saeed Adyani—Netflix Kyle Chandler (John Rayburn) and Linda Cardellini (Meg Rayburn) in the Netflix Original Series Bloodline

New originals with Kyle Chandler, Aziz Ansari and Ellie Kemper — as well as some older movies and TV shows

Netflix is premiering several highly-anticipated originals this month, as well as adding some old favorites in March.

Here are the new Netflix originals:

Unbreakable Kimmy Schmidt

Tina Fey and Richard Carlock are reuniting for the comedy starring The Office‘s Ellie Kemper about a girl who leaves her doomsday cult for New York City. The show will follow Kimmy and her new roommate—a talented singer who plays a robot in Times Square—as she acclimates to her new life and begins working as a nanny for wealthy Jacqueline (Jane Krakowski also of 30 Rock).

Aziz Ansari: Live at Madison Square Garden

Comedian and Parks and Recreation vet Aziz Ansari will premiere his second Netflix-exclusive standup special, Aziz Ansari: Live at Madison Square Garden on March 6. Ansari’s first project with Netflix, Buried Alive, is also available on the streaming service.


Kyle Chandler will star in Bloodline, Netflix’s most-anticipated drama since House of Cards. The show follows four adult siblings in the Florida Keys whose secrets resurface when their black sheep brother returns home. Since Friday Night Lights wrapped, Chandler has appeared in supporting roles in Wolf of Wall Street, Zero Dark Thirty, Argo and Super 8. His return to television will premiere on March 20.

Here are the new movies, shows and seasons coming to Netflix:

Archer season 5 (March 7)

Glee season 5 (March 7)

The final season, season 6, will wrap this month on Fox.

Third Rock from the Sun, the complete series (March 15)

A Different World, the complete series (March 15)

Mad Men, part 1 of season 7 (March 22)

(The final installment of the show premieres on April 5 on AMC)

Finding Neverland (March 1)

The Brothers Grimm (March 1)

How to Train Your Dragon 2 (March 11)

And here are the titles you should watch before they disappear on March 1:


Cool Runnings

Dumb and Dumber

Pretty in Pink

Rachel Getting Married


Dexter’s Laboratory

Legends of the Fall


TIME Television

House of Cards Creator Beau Willimon: Love Is ‘Transactional’

David Giesbrecht—Netflix Robin Wright and Kevin Spacey in Season 3 of Netflix's House of Cards

On the show, love is all about power — and don't expect that to change in season three

Frank and Claire Underwood probably won’t grow more sentimental this weekend on the third season of House of Cards, which premieres on Netflix on Feb. 27. Fans know by now that everything on the show is about power — and love, as creator Beau Willimon tells TIME, is no exception.

“I think that love, even the purest love, is also about power and transactional. I don’t look at ‘power’ as a bad word, and I don’t look at ‘transactional’ as a bad word,” he says.”Even the phrase ‘unconditional love’ is almost the terminology of contract law. It’s saying I am making a bargain with you to make myself completely vulnerable and open, to always be there for you. And I expect that in return. That is transactional.”

Willimon’s philosophy on relationships is neatly summed up by Frank (Kevin Spacey) in season one. He quotes Oscar Wilde: “Everything in the world is about sex, except sex. Sex is about power.”

While critics have said characters on the show use sex for leverage or involve power politics in the bedroom, Willimon says that’s how sex often works. “I would argue that if you look at a lot of relationships, those extreme power dynamics exist in them where one of the two people is prostituting themselves,” he says. “And that could be a man or a woman.”



Nickelodeon Thinks You’ll Pay $6 a Month for a Netflix for Preschoolers

Blue's Clues
Nick Jr. Blue's Clues

If you think your toddler needs more screen time—and if you somehow don't already have more than enough child-friendly streaming options—Nickelodeon has the product for you.

This week, Nickelodeon announced that it is launching a new app for the iPhone, iPad, and iPod touch, available at Apple’s App Store starting March 5. The app will be a subscription video service called Noggin—the same name of the cable TV channel that was a predecessor of Nick Jr.—and it will offer as much ad-free viewing of “Blue’s Clues,” “Little Bear,” and other preschooler fare as your little one’s eyeballs can handle, at a price of $5.99 per month.

As Variety noted, “Nickelodeon continues to grapple with ratings declines at its traditional TV network, owing to viewers seeking video content on new kinds of screens.” In a recent week, Nickelodeon’s ratings among kids were down 35% compared to the same period a year ago. So you can’t blame the Viacom-owned network for trying to do something to boost its audience and revenues.

But who is going to pay $5.99 a month this service? Starting at just $2 more monthly, you can be a subscriber to Netflix, which has plenty of content for children of all ages—it’s even been adding reboots of kids’ shows like “Care Bears,” “Magic School Bus,” and “Inspector Gadget”—as well as movies and shows for adults. The vast majority of consumers who are intrigued with streaming already subscribe to one or more service, such as Netflix, Amazon Instant Video (free for Prime members), or Hulu Plus, all of which have sections full of kids’ content. There’s also plenty of free kid-friendly streaming video out there (PBS Kids, for example). Finally, if you have a pay TV subscription that includes Nickelodeon, as most packages do, you can download the Nick Jr. app for free and watch unlimited, ad-free full episodes of “Dora the Explorer,” “Bubble Guppies,” and such.

It’s unclear, then, why all that many families would need to pay another $6 a month for yet more preschooler streaming content.

If there’s a parallel in the industry, it’s CBS All-Access, the subscription streaming option that also charges $5.99 per month—and that many observers assume will fail. At least the CBS product is targeting adults, most obviously folks who are big fans of the network’s shows, such as “The Good Wife” and various versions of “CSI” and “NCIS,” as well as older programs like “Brady Bunch” and “Star Trek.”

CBS All-Access has some hope of attracting grownup subscribers who are picky about what they watch and who like CBS’s programming. But how many preschoolers do you know are picky about what they watch? Most of the kids we know are more than happy to be allowed to watch something—anything—on the iPad while their parents enjoy their meal at the restaurant.

TIME Television

Inspector Gadget Reboot Coming to Netflix

Inspector Gadget on Netflix
DHX Media/Netflix Inspector Gadget is back with an all new series premiering on Netflix

Go go gadget streaming

Parents have a whole new way to get their kids hooked on binge-watching.

Netflix is expanding its slate of children’s programming with its acquisition of the U.S. rights to an Inspector Gadget reboot that has already aired in Europe, USA Today reports. Previously a 1980s cartoon and a 1999 live-action movie with Matthew Broderick, Inspector Gadget‘s latest incarnation features new technology and a new 3-D animated look for the cartoon character. The 26 episodes will debut on the U.S. version of Netflix in March, with premiere dates for other foreign Netflix territories to be announced at a later date.

“We think that kids are going to love the show,” said Erik Barmack, Netflix’s vice president of global independent content, “but it’s also going to get some co-viewing because there is a generation of parents who grew up on the original.”

That’s not all Netflix has planned to reach the young ones — or people who grew up in the ’80s and ’90s. The streaming service also announced that a remake of the British cartoon Danger Mouse, about a crime-fighting secret agent rodent, will premiere in the spring of 2016. Netflix also has revamped versions of The Magic School Bus and Popples in the works.

[USA Today]

TIME movies

Judd Apatow Is Producing Pee-wee’s Big Holiday for Netflix

Pee-Wee's Big Adventure
Peter Sorel—Warner Bros./Getty Images Paul Ruebens as Pee-wee Herman in 2003.

Get ready to stream the goofy guy in the bow tie

Netflix announced in December that it would release a new Judd Apatow-produced Pee-wee Herman movie, and now we know the title: Pee-wee’s Big Holiday.

Paul Reubens, who first introduced the character in 1977, will star in the film, which Netflix says will tell the story of “a fateful meeting with a mysterious stranger” that “inspires Pee-wee Herman to take his first-ever holiday in this epic story of friendship and destiny.”

John Lee, a director for Broad City and Inside Amy Schumer, will helm the movie (his directorial debut for a feature film) and the screenplay was written by Reubens and Paul Rust (Arrested Development, Comedy Bang! Bang!).

It’s been 38 years since Reubens debuted the character in a performance with the Los Angeles improv group The Groundlings, and it’s hard to predict whether his quirky sense of humor will still be a hit — especially after his personal brand was tarnished by several sex scandals. Nevertheless, he’s seen success with theatrical performances in character as Pee-wee Herman in New York and L.A. in recent years, and he’s been invited to play small roles on episodes of shows like 30 Rock and The Blacklist.

Without the pressure of a theatrical release, Netflix may be his best shot at a major comeback — and for the binge-inclined, the service already offers four Pee-wee movies for streaming online.

Your browser, Internet Explorer 8 or below, is out of date. It has known security flaws and may not display all features of this and other websites.

Learn how to update your browser