TIME Television

A Friends Reboot Isn’t Going to Happen, Says Co-Creator Marta Kauffman

Writer Marta Kauffman attends the Women Who Call the Shots Brunch during the 2014 Los Angeles Film Festival at WP24 by Wolfgang Puck Los Angeles on June 14, 2014 in Los Angeles, California.
Amanda Edwards—WireImage Writer Marta Kauffman attends the Women Who Call the Shots Brunch during the 2014 Los Angeles Film Festival at WP24 by Wolfgang Puck Los Angeles on June 14, 2014 in Los Angeles, California.

Fans of the '90s sitcom are dying a little inside

Friends co-creator Marta Kauffman has no qualms about snuffing out the dreams of ’90s nostalgists hoping to see the gang back together again.

“Nope, never gonna happen,” she told the Wrap when asked if the beloved series would ever see a reboot.

“It’s much better that people want it, than that they get it and don’t like it. The fear is, well, it’ll never be what it was,” she said.

And it was, Kauffman says, a show about a “time in your life when your friends are your family,” and “Once you begin to have a family of your own, that is no longer the case, and your priorities shift. So the show is over.”

But fans don’t have to look far to relive the hijinks of Chandler, Joey, Monica, Phoebe, Ross and Rachel — the entire series is available on-demand via Netflix.

Kauffman meanwhile has a new show premiering May 8 on Netflix called Grace and Frankie.

[The Wrap]

TIME Television

Here’s How Popular House of Cards Really Is on Netflix

The show certainly has its share of binge-watchers

Just how big of an attraction is House of Cards for Netflix?

The political drama seemed to attract fewer viewers in its first month on Netflix than both Daredevil and Unbreakable Kimmy Schmidt, according to a report in Variety, based on an analysis by Luth Research of 2,500 Netflix subscribers who tune in on computers, tablets or smartphones. Viewers with TVs, gaming consoles or web-connected sets weren’t included.

The report details that nearly 11% of Netflix subscribers, or 4.4 million people, watched at least one episode of Daredevil in its first 30 days on the platform after its April 10 premiere. That’s more than any other Netflix show, as just more than 7% watched Unbreakable Kimmy Schmidt in the same period, while about 6.5% watched season 3 of House of Cards.

 

But don’t count Cards out just yet: taking into account all three seasons, the firm finds it was Netflix’s most popular series last month.

Just like network and cable television providers, Netflix spends on millions of dollars to produce original programming. But while there’s lots of data about viewership of more traditional television, there wasn’t publicly available data on Netflix viewership—or so we thought.

[Variety]

TIME Television

New Dragon Ball Series Announced for 2015

Goku goes Super Saiyan in Dragon Ball Z: Battle of Gods
20th Century Fox/Everett Goku goes Super Saiyan in Dragon Ball Z: Battle of Gods

It's the first in 18 years

Start practicing your best Kamehameha, because Dragon Ball is returning.

Toei Animation announced today that production has begun on Dragon Ball Super, the first Dragon Ball television series to debut in 18 years. The series will follow the events of the film Dragon Ball Z: Resurrection “F” and is set to debut in Japan sometime this July.

Super will follow up on Goku’s battle with Majin Buu as he “attempts to maintain Earth’s fragile peace,” according to Toei. The series will be overseen by Dragon Ball’s original creator Akira Toriyama and produced by Fuji Television.

Little else is known about the series so far, but it will bring the first new ongoing series in the Dragon Ball world since Dragon Ball GT in the mid 90s. Dragon Ball Kai was first broadcast in 2009, but it was a revised version of Dragon Ball Z.

No details about how Super will make its way to American television have been provided.

This article originally appeared on EW.com.

TIME Television

Kathryn Hahn: Happyish is All About ‘Knowing Myself as a Person’

HAPPYISH
Matthias Clamer—Showtime Kathryn Hahn as Lee in Happyish

The Happyish star explains how motherhood and growing up made her a better actress

The most ubiquitous woman on television now has a leading role to call her own.

Kathryn Hahn made her mark in supporting roles on everything from Girls (that was her as Jessa’s employer in season one) to Parks and Recreation (as a cunning, hyper-competent campaign manager). On the heels of a strong supporting turn as a savvy rabbi on Amazon’s Transparent, Hahn is finally taking the lead in a sharp cable series built around her wit and her spiky chemistry with co-stars, on Showtime’s Happyish.

On Happyish (created by the essayist Shalom Auslander), Hahn plays Lee, a woman whose creativity and zeal for life feels somewhat thwarted by her status as a relatively new parent. Her husband (played by Steve Coogan) feels the pinch of parenthood and diminished ambition in different ways, thanks largely to the young guns crowding him out at his advertising agency. Coogan and Hahn’s chemistry defines the show, which may come to those who’ve followed the show’s protracted production history as a mild surprise: It was originally cast with Philip Seymour Hoffman, who died after filming the pilot episode.

But Hahn stuck with a show that’s become both her coming-out as a female lead and a labor of love. The actress, who’s also appeared in films including We’re the Millers, Step Brothers, and the upcoming Tomorrowland, spoke to TIME about the process of finding herself as a leading actress, how she builds chemistry with co-stars, and how motherhood made her a better actress.

TIME: As a parent, is this role, as mother searching for an elusive sense of contentment, relatable to you?

Kathryn Hahn: It’s absolutely relatable to me—I still pass by a mirror and think Who is that? I feel so young on the inside and being a parent—at least for myself, it made me feel younger, at first. You feel so helpless with so much beyond your control; you read everything and try to shower your kids with love, but there is an element of overwhelmingness to that love and how little one knows. [For Lee,] there’s a part of her that still is absolutely trying to figure out who she is. That’s not even a gender issue. It’s just human experience. It’s hard to turn around and think This is the middle of it.

You’ve always been prolific, but over time, your roles have gotten bigger and bigger. Has this coincided with coming to know yourself better?

Absolutely. It’s not conscious: I can’t say that I planned anything. The work that I’ve done certainly has to do with it, knowing myself and what I can bring to the table. I’d never been asked to do these kind of roles before having kids, which must have something to do with knowing myself as a person. I’ve said this before—I’ve never felt like a movie star. And I’m not. I’m a working actor. I had just kind of done as much as was necessary for these very fun supporting parts, hopefully from a place of truth. They certainly didn’t ask for all of me, and I didn’t have all of me to bring to the table.

Do you think you could have handled roles the size and prominence as your Happyish turn had the opportunity been available to you in your youth?

I would have no idea! I don’t know! My gut is like, Of course! but then I think, I don’t know. I don’t know—I’m a messy work-in-progress as a human, like we all are.

I dont know if I could have. I don’t think I had the self-confidence. I felt, still, somewhat more confident on a stage. Being in front of a camera was somewhere I was not supposed to be. I grew up watching the beautiful people, who were so talented, and I thought… I just never felt like I could stand and be okay with having a camera in my face. I always would start to ham it up. It’s only because I’ve gotten filled with such gratitude for what I’ve been able to do and who I am that I can stand there [in character]. This is me. This is me and this person.

Is it hard to get into, and out of, character when you work as prolifically as you do?

I’m definitely trying to—which is something I never ever had the luxury of even considering—trying to take a second between each one. I would say yes to everything, because I have a gazillion crazy, talented, creative friends, and if they ask me to do a guest spot on their show, I’ll do it. But I’m trying to be more careful. It depends on what it is. I just want to be rested creatively before I start something, which is a luxury I never expected.

After Philip Seymour Hoffman’s death, the show was put on hold for quite some time. Were there moments you considered dropping out?

I loved Shalom Auslander. It’s all because of him. It was an awful time. It was hard to see clearly, because I was so invested in Shalom and we’d been through so much together. My initial reaction was “It’s us. I believe in you, Shalom!” There were moments when I said to myself “What’s happening?” I’m so proud I stuck with it, that I stuck with Shalom. It’s been a life-altering part, and it’s gotten richer in so many ways.

It sounds like Shalom was something of a lodestar in a chaotic process.

[Shalom’s] got an amazing, dark, specific worldview. He’s a peculiar bird, and that’s what makes him so delicious, because he’s so completely himself. He wrote every single episode. He didn’t have a writing staff. This is the first time he’s written something scripted. It was an incredible gamble for all of us, him included. The pressure of working with him and going through this process was the best. I learned about myself because there were no other cooks. Showtime let Shalom be Shalom. That direct line of communication was so awesome and helpful.

Do you worry about taking on a show this risky now that you’re, happily, so established in your career?

I feel like I’m in untested waters. As grateful as I am to be a working stiff, even if I was more well-known, I wouldn’t want to do jobs because I thought they could be safe. I would never want to. That’s the point. I believe in Shalom’s writing. The show had a solid vision and voice. Nothing is neutralizing like getting overloaded to death by a gazillion people, but this is what he set out to do.

How do you create chemistry with all of the many actors you’ve played opposite? It’s hard to believe you’re automatically clicking with everyone you work with.

It takes a ton of time, because the first couple times at bat with anybody, it’s going to be a sniffing-each-other-out period. Sometimes, it can be like, we over-laugh at each other to build each other up, to make a safe space, trying to create that even if it may not be to the benefit of the scene or necessary. Sometimes it’s instant and sometimes it takes a second. That’s just time. I’ve never had an experience where I’ve had no chemistry—for the most part, I’ve been able to work with people I really dig. I hear nightmare stories and I almost wish that had happened to me, just so I’d have the story.

How was it with Coogan, specifically?

He’s so delicious. We became instantly fraternal, which doesn’t sound very sexy, but is perfect for their marriage. He’s so game and so smart. My big hurdle was the intimidation factor: I’d just seen [Coogan’s movie] The Trip. I felt like a ratty-haired mess next to him. By the end, though, I just couldn’t wait to get back into the ring with him.

TIME Television

Watch Robert Downey Jr. Get All Emotional Over Bacon

Mmm, bacon.

Robert Downey Jr., is an emotional chameleon, if he does say so himself — and he does in this clip from The Tonight Show.

The Avengers: Age of Ultron star stopped by the show and proved his acting chops in a round of “Emotional Interview.” In the challenge, the two actors have a conversation while shifting from one emotional extreme to another at the sound of a bell. Fallon and Downey show off their inner “annoyingly philosophical” guys before perfectly becoming two A-list stars desperately fishing for compliments. Then Downey smoothly segues into a man who really, really smells bacon and likes it.

It’s the perfect combination of Inside the Actors Studio and The Manchurian Candidate with some big laughs along the way.

TIME Television

Review: In The Casual Vacancy, All Politics Is Local

Steffan Hill/HBO Lawrie, in her screen debut in The Casual Vacancy.

A few strong performances, but little magic, in an adaption of J.K. Rowling's novel.

It’s quickly obvious that The Casual Vacancy (April 29 and 30), despite being based on a J.K. Rowling novel, has little to do with the world of Harry Potter. But HBO makes plain that this acidic story of English small-town politics is not exactly like the novel, either; in order to cut down Rowling’s 500 pages into three hours of TV, the network says, writer Sarah Phelps “was given free rein to reshape the story,” whittling down some storylines, expanding others. Readers of the original (disclosure: I’m not one of them) should expect to find vacancies themselves.

What makes it to screen here is a grim-minded, class-conscious story of greed and self-interest amid a real-estate gold rush. In town of Pagford–the kind of bucolic hamlet whose green fields are biologically engineered to hide hypocrisy and decay–the local parish council is riven with controversy over a proposal to convert Sweetlove, a community center for the poor, into a swanky spa. Proponents Howard and Shirley Mollison (Michael Gambon and Julie McKenzie) argue the development will benefit the whole town; the council’s progressive wing, led by weary-but-dedicated Barry Fairbrother (Rory Kinnear), sees a move to cash in and segregate the poor.

But Barry suddenly dies, the first sounding of the series’ hammering theme that, in a get-rich era, the worst are full of passionate intensity and the best are S.O.L. His passing leaves a “casual vacancy” for the council’s swing vote on Sweetlove. In the ensuing election, the Mollisons put up their timid son Miles (Rufus Jones) while the anti-development crowd pushes forward nervous headmaster Colin (Simon McBurney), and the two reluctant candidates become the attack cushions in a parochial pillow fight. Meanwhile, Barry’s brutish half-brother Simon (Richard Glover) seeks to use the chaos for his own enrichment.

Director Jonny Campbell sets a suitably English-nostalgic tone for this story of a changing era. (Though Vacancy is set around the present, the ambient soundtrack is full of Thatcher-era New Wave: ABC, Captain Sensible, Kim Wilde.) This version of Vacancy means well, but its well-meaning turns subtle-as-a-bludger, hammering on the death of empathy and charity in a world of venality and new money. The Fair Brother is gone, and Sweet Love is in danger! Worst of all is the misuse of Gambon and McKenzie, left to play cartoon grotesques of posh, piggy villainy.

The strength of The Casual Vacancy comes in the stories spinning around the political one, especially that of Krystal (Abigail Lawrie), the troubled teen daughter of a meth-addicted single mother. It’s Lawrie’s first role ever, but you wouldn’t believe it; she’s arresting, commanding the screen, her face prematurely guarded and pinched but betraying a secret lively mind.

The decision to build out Krystal’s story is one of the best choices of this adaption, giving depth and shading to a story that more often swings from sourness to melodrama. The Casual Vacancy has deeply felt things to say about a society whose human ties have been corroded by greed on the one hand, ineffectuality on the other and a whole lot of apathy in the middle. But the cure for apathy is giving people reasons to care, and that’s where this miniseries, like the local pols at its center, falls short.

TIME Television

John Stamos Calls Out the Olsen Twins on Full House Reboot

Mary-Kate Olsen (L) and Ashley Olsen attend 2015 CFDA Fashion Awards Announcement Party in New York City on March 16, 2015.
Billy Farrell—AP Mary-Kate Olsen (L) and Ashley Olsen attend 2015 CFDA Fashion Awards Announcement Party in New York City on March 16, 2015.

Uncle Jesse calls "bulls--t"

John Stamos is not buying the Olsen twins’ reaction to the upcoming Full House reboot.

Stamos will produce Fuller House, which is headed to Netflix, and he and the team behind it are trying to get more of the original cast on board.

But Mary-Kate and Ashley Olsen, who as toddlers played youngest daughter Michelle Tanner on the show, said in a recent interview they had no clue a revival of the hit ’90s sitcom was in the works. “We just found out about it… I guess we’re going to talk to the creators and see what’s happening… I’m shocked I haven’t heard from John [Stamos],” Mary-Kate told Women’s Wear Daily.

Stamos said on Twitter that’s not the case.

Candace Cameron Bure, who played Michelle’s oldest sister on the show, is set to appear on the Netflix revival.

Read next: How Well Do You Know Full House?

Listen to the most important stories of the day.

TIME Television

Viola Davis Will Play Harriet Tubman in HBO Biopic

Oscar-nominated actress Viola Davis will play Harriet Tubman in an HBO Films and Amblin TV production, EW has confirmed. The untitled project is based on Kate Clifford Larson’s book Bound for the Promised Land, the 2003 biographic novel on the Civil War-era abolitionist and prominent Underground Railroad worker. Deadline first reported the news.

This is the third Underground Railroad-related project in the works: WGN has a 10-episode production titled Underground helmed by Akiva Goldsman, while NBC is working on miniseries Freedom Run, produced by Stevie Wonder.

Kirk Ellis, who penned acclaimed HBO miniseries John Adams, will write the film. Davis will be an executive producer, along with Darryl Frank, Justin Falvey, Doug Ellin, Jim Lefkowitz, Cliff Dorfman, and Julius Tennon.

This article originally appeared on EW.com

TIME Television

Dancing With the Stars Watch: Top 7 Dance Through the Ages

Dance off, pants on

Welcome back to Dancing With the Stars, where each week we are getting ever closer to sending someone home with a Mirror Ball Trophy to squish onto their mantelpiece. While this week was supposed to be topped off with a dramatic double elimination, Derek Hough ruined all our fun by getting injured during rehearsals, breaking his toe and spraining his ankle. Since Sasha Farber is stepping in for him on the dance floor this week, the producers didn’t think it would be fair to potentially cut them. Instead, one couple is leaving, and one couple will earn immunity from elimination.

Not content to just make the couples learn one routine, the producers force the remaining couples to compete in a dance-off to earn extra judges’ points in an effort to increase their overall score. At the end of the night, one couple will be sent home.

Here’s what happened on this week’s Dancing With the Stars:

Riker Lynch and Allison Holker: Before taking to the dance floor for a 1920s-themed quickstep, Riker just happened to mention that Len Goodman had not yet given out a 10 this season. He then delivered a high-speed routine tailor-made to appeal to Len. At the end of the dance, Len was pleased, but it was Bruno Tonioli who called Riker the “twinkletoes of the field of dreams,” which is probably Bruno’s highest PG-rated compliment. While the rest of the judges thought the routine was solid, but not outstanding, Len dutifully delivered his first 10 of the season. 37/40

Chris Soules and Witney Carson: At this point, even Chris is probably shocked to still be in the competition. Is this the furthest that a Bachelor has made it on Dancing With the Stars? After last week’s “breakthrough,” Chris is faced with the challenge of a 1940s foxtrot, where he is playing a sailor on shore leave. Chris continued his upward mobility, and the judges applauded his slow-steady progress, which was presumably inspired by the story of that man who drove to Iowa on a tractor. 31/40

Rumer Willis and Val Chmerkovskiy: Rumer’s dad, a.k.a. Bruce Willis, happened to stop by her rehearsal space and remind voters that he was in Die Hard and could easily ruin your next Christmas party if you don’t vote for his daughter. Well, he didn’t actually say that, but it was heavily implied. For their jive, they went to a hop in a hair salon in the 1950s. The judges liked the routine, but thought Rumer has lost some of her sparkle and want her to have it back. It seems like a case where she set the bar too high too early in the competition. 35/40

Noah Galloway and Sharna Burgess: Amy Purdy, a Dancing With the Stars runner-up and double below-the-knee amputee, stopped by Noah’s dressing room to give him a pep talk and remind him that all of this was doable. (Although Amy did admit that she was “lucky” because she still has her knees, which made dancing easier, which is just further proof of how incredible these two individuals are.) Sharna choreographed a solid 1970s-themed jazz routine complete with eyebrow-raising hip thrusts that had Carrie Ann Inaba on her feet with arms in the air, and Erin Andrews grinning wickedly throughout their postdance interview. 36/40

Robert Herjavec and Kym Johnson: Kym did not have an easy job choreographing a 1980s-themed Argentine tango, but she pulled it off a routine set to a weird, sultry, slowed down version of Cameo’s “Word Up.” Len said the duo was up and down like a game of Chutes and Ladders, and this week, they were up. Carrie Ann enjoyed the routine, but thought Robert still hadn’t mastered the timing and was distracted by Kym’s womanliness or something. 31/40

Nastia Liukin and Sasha Farber: While Derek was sidelined by his injuries, he still managed to insert himself into the dance by busting a move from the seat of the subway car they built on stage while Sasha did the heavy lifting. The routine was a “modern Charleston” set to Andy Grammer’s updated honkytonk song “Honey, I’m Good,” and as Julianne Hough said, they killed it. Carrie Ann came out to give Nastia a hug for her hard work, especially with a new partner. 38/40

Willow Shields and Mark Ballas: Once again, Mark has decided to choreograph for his inner child, choreographing this week’s “futuristic jazz” routine to MGMT’s “Electric Feel” dressed as ninja warriors. The number was dynamic and intricate, or in Bruno speak, it had a “mystic, hypnotic quality.” Carrie Ann gave her entire critique in Japanese, because she can, but probably said that the overarching lesson of this season is that Mark’s ideal partner is a 14-year-old girl. 37/40

Dance Off, Round One, Riker and Allison vs. Willow and Mark: Bruno said it was like trying to choose between “chocolate and vanilla” with their fast-paced salsa routines. While Twitter loved Riker, the judges loved Willow’s moves and they unanimously gave Willow and Mark the win and the extra points.

Dance Off, Round Two, Noah and Sharna vs. Robert and Kym: Both couples delivered solid, if not particularly inspiring cha-cha routines, and when they faced the judges, Tom Bergeron helpfully reminded everyone that if there is a tie, Len, as head judge, gets the deciding vote. Naturally that announcement was followed by a tie between the four judges. Len gave the round to Noah and Sharna.

Dance Off, Round Three, Chris and Witney vs. Rumer and Val: Both couples delivered smooth foxtrots, but despite Chris’ best efforts and breakthroughs, he was outclassed on the dance floor and knew it. No surprise when Rumer and Val won the face off unanimously and added two points to their already high score.

Who Went Home: When the hosts announced that both Robert and Chris were safe, it was clear that something was awry. Sure enough, despite consistently high scores, Willow was sent home. While she’s been very mature on the dance floor, she is only 14 years old and burst into tears at the news. Tom had no choice but to put aside his hosting duties long enough to give Willow a dad hug in her time of need.

TIME Television

Lifetime Is Making an ‘Unauthorized’ Full House TV Movie

It'll go behind the scenes of the sitcom

Craving even more Full House? You got it, dude.

Hot on the heels of Netflix’s reboot, Lifetime is developing a TV movie that goes behind the scenes of the beloved sitcom, according to The Hollywood Reporter.

The Unauthorized Full House Story will reportedly chronicle the cast’s lives off-screen, from good times to bad.

Lifetime must have a penchant for ’90s nostalgia: The network aired The Unauthorized Saved by the Bell Story last fall.

As for Fuller House, Candace Cameron Bure, Andrea Barber, John Stamosand Jodie Sweetin have all signed on – but it remains a mystery whether Mary-Kate and Ashley Olsen will take a break from their fashion careers to play an adult Michelle Tanner

One thing’s for sure: everywhere you look, everywhere you go, there’s another Full House project in the making.

This article originally appeared on People.com

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