TIME Television

Ursula, Maleficent and Cruella de Vil Come to Once Upon a Time

Hong Kong, CHINA: Staff stand next to a portrait of Disney character Cruella De Vil during a Halloween celebration press preview in Hong Kong, 29 September 2006. The event was held as part of Halloween costume mini-parade which will be a daily treat during Disney's month-long Halloween celebrations. AFP PHOTO / Samantha SIN (Photo credit should read SAMANTHA SIN/AFP/Getty Images)
Samantha Sin—AFP/Getty Images

Meet the "trio of terror"

Disney villain favorites Ursula, Maleficent and Cruella de Vil are uniting in what producers are calling a “trio of terror” on the ABC series Once Upon a Time.

Executive producers Adam Horowitz and Edward Kitsis told Entertainment Weekly about their farewell to Frozen‘s characters and why they were introducing a new, more vintage cast of characters.

“Honestly, the process isn’t about going through the Disney catalog and flipping through the pages,” Horowitz said.

Read more at EW.com.

TIME Television

This Unaired SNL Sketch Perfectly Spoofs All Those Pointless VH1 Countdowns

The hilarious digital short ranks the '100 Greatest Guys'

For some reason, Saturday Night Live decided not to air this ridiculously spot-on VH1 spoof, just like they decided not to air a topical sketch about Ferguson from last week.

This digital short, called “100 Greatest Guys,” perfectly captures the tone of all those VH1 countdowns — you know, the ones that somehow suck you in for hours even though you totally know you should turn off the TV and go read a book or something. It’s obviously not as topical or timely as the Ferguson sketch, but it’s still confusing why SNL decided to cut it, because it’s so spot-on.

TIME Television

In the Golden Globe Nominations, Some TV Virgins Experience Their First Time

This is your annual reminder that unless you were eligible for a Golden Globe in television, you should not care overmuch about the Golden Globes in television. It’s a fun awards show representing the tastes of a small body of foreign journalists covering Hollywood, is unlikely to save any show from cancellation or boost its ratings–and unlike with movies and the Oscars, it bears little relation to the Emmys, except maybe to predict which new comedy might lose to Modern Family next year. (Here’s the full list of nominations, in film and TV.)

But people like to care about things, and if you’re going to anyway, one regular pleasure of the Globes is its receptiveness to new names. (In that way, it’s almost the anti-Emmys.) It may even acknowledge new shows to a fault; I like Brooklyn Nine-Nine, but don’t think it was the top TV comedy last fall after half a season. But that means the Globes can be a good marker of shows and stars that are building buzz.

All of which is to say: yay, Gina Rodriguez and Jane the Virgin! The season’s best new broadcast show and its most appealing new star were recognized in both the best comedy and comedy-actress categories. Yay, Jeffrey Tambor and Transparent, which also made the comedy lists! And the Globes also opened the books for Silicon Valley, which made my top 10 TV series list for 2014, so I can’t complain.

On the drama side, the Globes recognized Viola Davis in newcomer How to Get Away With Murder–though that’s less of a surprise as the Globes always enjoys a movie star. (Hence Liev Schreiber, yet again, for Ray freakin’ Donovan.) In general, there were fewer surprises and debuts on the actor and drama sides–though there was quite an impressive freshman showing for The Affair. (The foreign press, it would seem, is very fond of l’amour fou, or tomato chutney.)

If there’s one interesting overall conflict to watch out for at the Globes, it will be the head-to-head showdown between Fargo and True Detective, both of which the Globes placed in the miniseries category. (So give them points over the Emmys for consistency.) The Globes air Jan. 11 on NBC. Stock up your liquor cabinet, enjoy hosts Tina Fey and Amy Poehler, and above all, enjoy the low, low stakes.

TIME Television

J.K. Rowling’s Crime Dramas to Be Adapted by BBC

J.K. Rowling at the Southbank Centre in London in 2012.
J.K. Rowling at the Southbank Centre in London in 2012. Lefteris Pitarakis—AP

Author of the Harry Potter series is working with the BBC to adapt her latest novels to the TV screen

The BBC has announced that the Cormoran Strike novels, written by J.K. Rowling under the pseudonym Robert Galbraith, will become a BBC One television series.

The series will start with the first book in the series, The Cuckoo’s Calling, which was published in 2013 and has Strike investigating the suspicious death of a famous supermodel.

“It’s a wonderful coup for BBC Television to be bringing J.K. Rowling’s latest books to the screen. With the rich character of Cormoran Strike at their heart, these dramas will be event television across the world,” Danny Cohen, Director of BBC Television, said in a statement on Tuesday.

This post originally appeared on Entertainment Weekly

TIME Television

A ‘Sherlock’ and ‘Doctor Who’ Theme Park May Actually Happen


Official word is still out, but BBC has reached a deal with a property developer

Gird thyselves, fellow nerds – a Sherlock and Doctor Who theme park is an actual thing that is actually happening.


BBC Worldwide has signed a £2 billion deal with London Resort Company Holdings, reports The Guardian.

The property developer will host popular BBC shows in the upcoming London Paramount Entertainment Resort, which intends to “combine the glamour of Hollywood with the best of British culture.”

There is not yet a confirmation, as such, of any of the properties set to hit the theme park, but it’s a given that the BBC’s most popular shows – such as Sherlock, Doctor Who and Top Gear – will make the cut.

Now that the deal has been struck, the BBC will work with London Resort Company Holdings to narrow down which pieces of their intellectual property will be made into “rides, interactive simulators and experiences.”

LRCH has also reached a deal with Paramount Pictures to feature some of their most iconic films – think Mission: Impossible, Star Trek, and The Godfather.

The project is still in its early stages – no word yet on a Space Mountain-esque ride in a TARDIS – but we can expect to start planning our trips across the pond to the Swanscombe Peninsula as soon as Easter 2020.

Meanwhile, we’ll be dreaming of a fully immersive Sherlock experience which somehow involves touching Benedict Cumberbatch‘s face.

This article originally appeared on People.com

Read next: Benedict Cumberbatch Confirmed to Play Doctor Strange

TIME Television

Fargo Season 2 to Star Kirsten Dunst and Jesse Plemons

'Inside Llewyn Davis' Premiere - The 66th Annual Cannes Film Festival
Kirsten Dunst attends the Premiere of 'Inside Llewyn Davis' at The 66th Annual Cannes Film Festival on May 19, 2013 in Cannes, France. George Pimentel—WireImage/Getty Images

Dunst will play Peggy Blomquist

Fargo has filled two big roles for season 2. Kirsten Dunst (Spider-Manfranchise, Melancholia) and Jesse Plemons (Breaking Bad, Friday Night Lights) have landed series regular roles in FX’s Emmy-winning crime thriller.

In addition, FX announced the second season won’t premiere until next fall and will once again consist of 10 episodes.

Dunst will play Peggy Blomquist, “a small town beautician with big city dreams who is trying to figure out who she really is and what she really wants as she struggles with traditional societal expectations. She shares her home with her husband Ed (Plemons), a butcher’s assistant, who wants to be supportive of his wife’s self-discovery, even if he doesn’t quite understand it.”

Fargo surprised skeptics with a thoughtful and witty crime story that arguably managed to improve upon the Oscar-winning 1996 Coen brothers film that served as its inspiration. The show was nominated for 18 Emmy Awards and won the prize for outstanding miniseries.

Like HBO’s crime anthology True Detective, a show that’s often perceived as Fargo‘s rival, season 2 will tell a completely different story with a new cast. Unlike True Detective, however, Fargo‘s setting is expected to be somewhat similar and the crimes will have a direct connection to the first season.

Season 2 is essentially a prequel and is set in 1979 in Sioux Falls, S.D., and Luverne, Minn. The story will focus on a young Lou Solverson (not yet cast) who recently returned from the Vietnam War. Solverson was played by Keith Carradine in the first season, and he repeated teased to a harrowing case he experienced while working as a state police officer in Sioux Falls.

“He thought he left the war behind, but he came back and here it is, it’s domestic,” showrunner Noah Hawley told EW in July. “We will meet Molly’s mother, who was not a character in season 1 … and we’ll learn what happened to her. There were a lot of clues left in the first season and we’ll do our best to hit those.”

Other major open roles include Solverson’s wife, Betsy, their 4-year-old daughter, Molly, and fellow officer, Ben Schmidt.

Here’s Hawley giving more season 2 details.

This article originally appeared on Entertainment Weekly

Read next: TV Critics’ Poll Names Fargo Best Show of 2014

TIME Television

David Letterman Announces Final Late Show Date

David Letterman announces his retirement for 2015, on the April 3 2014. Jeffrey R. Staab/CBS

The veteran's run will end on May 20

David Letterman will end his run as host of The Late Show on Wednesday, May 20, CBS announced Wednesday. Letterman has hosted the CBS show for 22 years, and his 32 years total at the job make him the longest-tenured late night talk show host on TV.

“David Letterman has given to all of us a remarkable legacy of achievement and creative brilliance that will never be forgotten,” CBS Corp President and CEO Leslie Moonves said in today’s announcement. “It’s going to be tough to say goodbye, but I know we will all cherish the shows leading up to Dave’s final broadcast in May.”

Letterman’s announcement about his retirement on April 3 came as a surprise to both audiences and the network. Stephen Colbert, who hosts the popular Comedy Central show The Colbert Report, is set to replace Letterman. Colbert hosted the soon-to-be host of the Late Late Show, James Cordon, on The Colbert Report Tuesday night and President Obama on Monday. No word yet on when Colbert’s first Late Show will be.

TIME Television

Sons of Anarchy: The Long Goodbye


The series died as it lived, as an emotional, excessive--and sometimes seemingly endless--classic-rock jam.

Spoilers for the series finale of Sons of Anarchy follow:

Did you know how Sons of Anarchy was going to end? If you’ve watched the show for any length of time, I bet you did. Maybe you didn’t know that Jax would arrange his exit from the club and from Charming, that he would die and that he would give himself up to death by crashing into a truck riven by Michael Chiklis’ Milo, a nod to Chiklis’ The Shield, which SoA creator Kurt Sutter once worked on. (See Melissa Locker’s recap for more details.)

But you knew it would end with a montage.

The montage would be long (around seven and a half minutes, scored to the original “Come Join the Murder” by house band The Forest Rangers). It would be mournful. It would intercut the series’ final actions with resolutions and goodbyes to cops and club members and family members, zipped up body bags and California landscapes, a presidential motorcade of police vehicles and a heavenly/hellish murder of crows flying an aerial salute to Jax before he raised his arms in a crucifixion pose and drifted into the path of Milo. (Who yelled, correctly, “Jesus!”)

If it was not a great ending, it was a fitting ending for Sons of Anarchy, which, for better and worse, was always an extended classic-rock song of a show. It was unedited and undisciplined, a colossal anthem taking up a whole vinyl album side, with cowbell and extended drum solos and a dozen guitarists lined up on stage to get a turn to riff over the coda. If it felt an emotion, it primal-screamed it. It threw in intrigues and complications like a jam band throwing in bridges and time changes. At its best it was “Sweet Child o’ Mine”; at its worst, “In-a-Gadda-Da-Vida.”

This was the reason I drifted out of the show’s lane over the last few seasons, though I was a fan early on. There was a strong story at the core of it: J.T.’s legacy, Jax’s conflicts with Gemma and Clay and the question of whether Jax could change the club and himself. But as the show sustained itself over seven seasons, that became buried under a vast amount of gang wars and investigations and bloody machinations with the Irish and the neo-Nazis and black and brown and yellow and for all I know purple.

As the show got more and more popular, the complications only multiplied. It became clear that Sons of Anarchy the show was not going to give up its violent entanglements any more than Jax was going to get SAMCRO the club to do so: too many people were too invested in keeping the mayhem going. And at the same time, the show took an approach to storytelling that was emblemized by those montages and its growing episode run times. It left everything in: to SoA, everything was important, but that undercut the sense that anything was particularly important.

For all that, there were moments in the last few episodes that still hit me, as a longtime viewer. Katey Sagal’s final moments in the garden as Gemma were genuinely affecting as she accepted, even invited, her fate. In the finale Jax’s recognition that his only hope for his kids was that they grow up hating him was a simple, powerful admission. Both characters’ ends returned to the show’s tragic theme: these people knew they couldn’t really change their fates or their selves. But it was also diluted by the long, long walk of goodbyes and tying up loose ends.

Sutter, of course, was not interested in making a show for people who wanted less, and I assume he made the maximalist finale he wanted. There was enough talent and thoughtful provocation in SoA‘s best moments that I’ll watch with interest what he does next. But I’m hoping it’s a little more punk rock.

TIME Television

Watch Taylor Swift, Ed Sheeran, Ariana Grande and Hozier Perform at the Victoria’s Secret Fashion Show

2014 Victoria's Secret Fashion Show - Runway
Taylor Swift, Ariana Grande and Ed Sheeran pose with the models at the annual Victoria's Secret fashion show at Earls Court on December 2, 2014 in London, England. Karwai Tang—WireImage/Getty Images

Hard as it is to steal the spotlight from the models, this year’s show was all about the music

For an event that features 47 models clad in lingerie that costs more than most people’s net worth, you might expect the post-show chatter to focus on bras and the women who sported them. But the highlight of last night’s Victoria’s Secret Fashion Show was undoubtedly the music — with Ariana Grande, Ed Sheeran, Hozier and Taylor Swift supplying the energy for the annual spectacle. Filmed a week ago in London, the show got some buzz during rehearsals when Ariana Grande got hit in the face by an angel wing and made Ed Sheeran balk at an off-color joke. But the team pulled it together for a soundtrack that had even the models lip-syncing as they flaunted their duds (and let’s be honest, the curves barely hidden by those duds).

Taylor Swift opened the show with “Blank Space,” the menacing quality of which stood in contrast to the pink pom-poms adorning the models’ stilettos. This section of the show was the innocent baby pink lace and bows segment, but Swift’s singing gave it undertones of strength and power. It’s unclear how much of the vocal track is live versus pre-recorded — but either way, the spectacle was polished and Swiftian as ever.

Ed Sheeran followed Swift, creating a more intimate ambiance with his ballad “Thinking Out Loud.” It was important for the music to get quiet here so the crowd could focus on the $4 million in precious gems waltzing down the runway on Adriana Lima and Alessandra Ambrosio. Those gems demanded attention, and they weren’t about to let Sheeran steal it. Pairing the belly dance-inspired lingerie with Sheeran’s sensitive crooning gave the impression that buying a woman bedazzled underwear is the most loving gesture a person could hope to perform. Sheeran, for his part, gave the kind of heart-on-his-sleeve performance that shows why he was the most downloaded artist on Spotify this year.

Ariana Grande was definitely singing live in her four-song medley, which included “Love Me Harder,” “Bang Bang,” “Break Free” and “Problem.” She was the only performer to get back-up dancers — mostly men whose full-coverage jumpsuits wouldn’t distract from the models — and the more active nature of her performance was fitting given that the models were sporting items from the Pink collection (which is presumably what you would wear if you were planning to exercise). Grande’s performance was spirited and energetic, and the fact that she sang the whole thing live far outweighed the moments when she lost her breath.

When Hozier sang “Amen, amen, amen” during his performance of “Take Me to the Church,” he captured the sentiment that for many, this show is a religious experience. Though the song had more than 87 million plays on Spotify this year, the Irish musician probably has the least name recognition of the performers. It was certainly the most dramatic of the evening’s numbers, and it served — perhaps unintentionally — as a reminder of the way our culture worships beautiful women.

In what was surely meant to double as a marketing ploy, Taylor Swift closed the night with her song “Style.” Singing “we never go out of style” as the models strutted down the runway, Swift left viewers with the message that this lingerie company is here to stay. With a net income of $5 billion and studies that show it to be the most popular brand in the world, Victoria’s Secret continues to be at the top of its game. Much like a certain country-singer-turned-pop-star.

The only question that remains unanswered is why Sheeran and Hozier decided not to perform — as Swift and Grande did — in lingerie.

TIME Television

Watch Conan O’Brien Take a Tango Lesson From JB Smoove

As Andy Richter looks on

If you’re going to get an on-air tango lesson, you could do a lot worse for a teacher than a guy named JB Smoove.

And Smoove, who costars in Chris Rock’s new film, Take Five, didn’t disappoint pupil Conan O’Brien Tuesday night, when he appeared on Conan for the impromptu tutorial.

Watching the two 6-foot-plus men dip each each extremely low as co-host Andy Richter looks on is, well … honestly, it’s actually hard to look away, like watching tropical birds perform their mating dance.

Smoove recently told The New York Times that he actually got started in the entertainment industry as a hip-hop dancer, and mentioned to Conan that he’d be fine with competing on Dancing with the Stars. Whether or not that happens – and if it does, whether O’Brien will show up as his partner – remains to be seen.

Watch the full segment from the show below.

This article originally appeared on PEOPLE.com

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