According to Deadline, FX has finally set the main cast for its upcoming comedy pilot titled Snowflakes, which hails from Big Mouth creator Nick Kroll. Up-and-coming actors Lucy Freyer, Malik Elassal, Owen Thiele, Amita Rao and Jack Innanen have been tapped for leading roles in the ensemble comedy pilot.

What to expect in the Snowflakes pilot?

“Described as a twenty-something ensemble comedy, Snowflakes follows a group of codependent housemates — Billie (Freyer), Samir (Elassal), Anton (Thiele), Issa (Rao) and Paul Baker (Innanen) — trying to be good people, despite being neither ‘good’ nor ‘people’ yet,” reads the initial logline.

The series is written and executive produced by Ben Kronengold and Rebecca Shaw, who were former writers for The Tonight Show. The pilot will be directed by Jonathan Krisel, with Kroll and Alicia Van Couvering executive producing as part of their production company Good at Business banner’s first-look deal with FX Productions. It will also be executive produced by Krisel and Karey Dornetto.

Disney's animated movie Frozen almost saw one of its most popular songs not make the final cut. Loosely adapted from the fairytale by Hans Christian Andersen, Frozen tells the story of sisters, Anna and Elsa, Princesses of Arendelle, who are separated by their parents when Elsa loses control of her ice powers; when Elsa accidentally reveals her powers at her coronation and turns summer into winter, Anna must find her sister and put things right. Frozen was released to critical and commercial acclaim, becoming one of the highest-grossing films in history, grossing more than $1.2 billion worldwide, and receiving praise for its characters and screenplay.

Demon Slayer's openings are catchy, impossible to forget, and set the tone of the anime episodes perfectly. The anime's iconic first opening song has just received well-deserved recognition in the form of a truly monumental and prestigious award.

Fans were not particularly impressed when Ubisoft revealed the Gold and Ultimate Editions of Star Wars Outlaws last week. The company received more pushback when fans learned the Jabba the Hutt DLC is exclusive to the Season Pass. However, Ubisoft responded with a statement clarifying Jabba’s role in the game.

Ubisoft Clarifies Star Wars Outlaws’ Jabba the Hutt DLC

The exclusive Jabbas’ Gambit DLC sees Star Wars Outlaws protagonist Kay Vess’ heist preparations interrupted by a message from Jabba the Hutt. She learns that droid crew member ND-5 owes Jabba a favor, and the crime boss is calling it. Kay must complete a special mission to get the robotic commando out from under the Hutt Cartel’s thumb.

Given his importance to Star Wars canon and presence in Outlaw’s promotional materials, fans were unhappy when it looked like Ubisoft locked Jabba’s content behind the Season Pass. However, this is not the case, though the truth probably won’t satisfy everyone.

“To clarify,” a Ubisoft spokesperson told IGN, “Jabba the Hutt and the Hutt Cartel are one of the main syndicates in Star Wars Outlaws and will be part of the experience for everyone who purchases the game, regardless of edition. The ‘Jabba’s Gambit’ mission is an optional, additional mission with the Hutt Cartel along Kay and Nix’s journey across the Outer Rim. This mission will be available to those who purchase the season pass or an edition of the game which includes the season pass.”

While this is better than locking off Jabba entirely, it still isn’t ideal. Star Wars Outlaws is not the first game to feature Season Pass-exclusive content, but these tend to be relatively minor add-ons rather than full-sized DLC, and it’s unclear how exactly substantial Jabbas’ Gambit is.

Alex Garland’s dystopian Civil War, about America torn asunder by a president run amok and brutal acts of war committed on ordinary citizens, sparked plenty of speculation — and assumptions — heading into its debut in theaters over the April 12-14 weekend.

Would it be a win in blue states but a losing battle in red states? Would it galvanize those Trumpians eager to view the sort of imagery witnessed during the Jan. 6 attack on the U.S. Capital? Or would liberals assume it would be a balm for their point of view, and see them turn out in full force? After all, Hollywood isn’t known for being a bastion of Republicans. Ditto for indie studio A24, which produced the film.

In a surprise twist, Civil War played exactly down the middle as both sides put aside their differences and sat together in cinemas across the country to see for themselves what all the buzz was about. Precisely 50 percent of ticket buyers identified as conservative and the other 50 percent as liberal, according to final exit polling data from the weekend. A24 is notoriously media-averse, but a source close to the project shared the post-weekend findings with THR.

Rival studio execs readily confirm that Civil War played well in blue states and in red states. “Both sides were interested. A24 did a good job of not leaning in either way politically,” says a distribution chief at another studio.

Garland’s film opened to a notably better-than-expected $25.7 million, a record for A24. The $50 million movie is the indie studio’s biggest swing to date. In keeping with its penchant for using film to spark conversation, it never intended to make a movie that glorified one political party or another — to the point that some liberals were upset.

“Civil War is an abrasive and uncomfortable film, not because it fully subscribes to any particular ideology, but because it doesn’t — and we hate not having clearly defined sides to root for or against or media that doesn’t perfectly align with our worldview so we can walk out of the theater confidently knowing we’re a good person,” wrote columnist Richard Newby for The Hollywood Reporter.

In the Los Angeles, New York and Denver areas, Civil War skewed liberal or was an even 50-50 split, according to the detailed polling data. And it over-indexed notably in Los Angeles and San Francisco, according to PostTrak polling.

Markets where the majority of the audience skewed moderate or conservative included Phoenix, Kansas City, Mo. and Dallas.

Civil War over-indexed in a number of high-grossing smaller markets that lean conservative, including Sacramento, Calif., El Paso, Texas, Oklahoma City, Albuquerque, N.M., Waco, Texas, Brownsville, Texas, and Colorado Springs, Colo. In terms of liberal-leaning markets, Civil War over-indexed in Portland, Ore.

And, interestingly, the data shows that 70 percent of ticket buyers in Denver, Kansas City and Phoenix were military “adjacent,” meaning they had a family member or friend in the military. Another notable tidbit: the oldest audience by far was in Kansas City, a conservative-leaning market where 55 percent of ticket buyers were 35 and older.

Civil War’s subject matter was the top draw, with more of the audience citing the political dystopian storyline as the reason for showing up than either its action or an interest in indie films, although by a relatively narrow margin (each grouping made up around 1/3 of the audience, but subject matter was the highest).

The action component helped the film play well across all major markets, while cinephiles turned out in force in indie strongholds including L.A. and New York City.

Overall, 57 of the audience was between ages 18 and 34, which is the sweet spot for A24, known for films such as Hereditary, The Iron Claw and the X horror trilogy. Civil War skewed heavily male, or 63 percent, in keeping with the typical breakdown for an action movie.

Civil War follows a wartime photojournalist (Kirsten Dunst) and her colleagues as they make their way across a hostile United States of America that has been torn between the forces of the United States and the secessionists known as The Western Front, comprising California and Texas. The Western Front is fighting the authoritarian rule of a three-term president (Nick Offerman) who has disbanded the FBI.

Civil War‘s first trailer turned heads with the revelation that California and Texas were allies, despite their real-life political differences. Those who know how A24 operates say the studio probably considers the film’s B- CinemaScore a badge of honor because it wants its films to be divisive. Certainly, it seems to have sparked plenty of conversation.

“It played well everywhere,” says a rival studio executive as he ticked off the top-grossing markets, led by Los Angeles, New York, Dallas, San Francisco, Chicago, Houston, Washington DC, Toronto, Denver and Phoenix.

The Real Housewives of Atlanta Season 15 is the latest season of the popular reality show and continues to feature the luxurious lifestyle, business ventures, and personal lives of the housewives. This season promises more dramatic and emotional moments that are sure to glue your eyes to the screen like always.

Here’s how you can watch and stream The Real Housewives of Atlanta Season 15 via streaming services such as Peacock.

Is The Real Housewives of Atlanta Season 15 available to watch via streaming?

Yes, The Real Housewives of Atlanta Season 15 is available to watch via streaming on Peacock.

Season 15 of the show began airing on May 7, 2023, and ran for a total of 18 episodes. It is the third installment of the television sensation The Real Housewives franchise, and this season is back with more of that Southern charm and glamour. Join the housewives as they plan more parties, showcase their lavish homes and lifestyles, and give us a glimpse into their personal lives and careers.

The series stars Shereé Whitfield, Kandi Burruss, Kenya Moore, Drew Sidora, Marlo Hampton, Sanya Richards-Ross, Kim Zolciak, Lisa Wu, DeShawn Snow, and many more.

Watch The Real Housewives of Atlanta Season 15 streaming via Peacock

The Real Housewives of Atlanta Season 15 is available to watch on Peacock. The streaming service houses an amazing library filled with lots of television icons such as Modern Family, Brooklyn Nine-Nine, Parks and Recreation, Downton Abbey, and many more.

You can watch via Peacock by following these steps:

1. Go to PeacockTV.com
2. Click ‘Get Started’
3. Choose your payment plan
   • $5.99 per month or $59.99 per year (premium)
   • $11.99 per month or $119.99 per year (premium plus
4. Create your account
5. Enter your payment details

Peacock’s Premium account provides access to over 80,000+ hours of TV, movies, and sports, including current NBC and Bravo Shows, along with 50 always-on channels. Premium Plus is the same plan but with no ads (save for limited exclusions), along with allowing users to download select titles and watch them offline and providing access to your local NBC channel live 24/7.

The Real Housewives of Atlanta’s synopsis is as follows:

“Bravo’s cameras turn to the Southern states as the network presents this inside look at the Real Housewives of Atlanta. These women handle the personal dramas that affect their affluent lifestyles with a signature Southern brand of “style” and “grace.””

NOTE: The streaming services listed above are subject to change. The information provided was correct at the time of writing.

Katie Couric said that her first maternity leave from NBC’s Today show in 1991 was met with an “incredibly sexist attitude” from co-anchor Bryant Gumbel.

“He got mad at me because I was doing something on maternity leave,” Couric recalled with some laughter on Sunday’s Club Random podcast with Bill Maher. “And he was giving me endless shit for taking like a month or two off. I was having my first baby.”

Couric recalled Gumbel telling her, “Why don’t you just drop it in the field and come back to work right away or something?” She acknowledged “he was goofing on me” but still said his comments were “emblematic of sort of an incredibly sexist attitude.”

Couric’s recollection of the incidents was prompted earlier in the episode when Maher brought up Gumbel, referring to him as a “guy’s guy” and saying the two are “friends.”

“He’s a guy’s guy, you got that right,” Couric responded. “He was prickly, but, what a talent. He’s such a seamless broadcaster, eloquent. When that countdown would happen — five, four, three, two, one — he would just hit it perfect.” She added: “Complicated guy, though, I think — really talented guy, incredibly smart.”

Representatives for Today did not immediately respond to a request for comment.

Gumbel first began work on Today in 1982; Couric joined him in 1991, and they co-anchored together until Gumbel’s departure in 1997. Couric stayed until 2006. On Sunday, Maher noted that Matt Lauer was also part of the Today team at the same time as Couric and Gumbel’s overlap.

“Obviously, there was a tradition of an old boys’ network,” Maher said. Lauer was fired in 2017 amid multiple allegations of sexual misconduct.

“It was a very different environment, very different,” Couric added. “Lots of fraternization, a polite way of saying inner-office schtupping.”

In response, Maher said, “Women had to put up with more. They just did. I mean, you know, not to get all fuzzy and Lifetime Channel about it, but people like you and Barbara Walters — or just like women comedians of a certain age — you have to really tip your hat to them because it was harder.”

Couric agreed with the podcast host, adding, “I don’t want to use the word microaggressions, but if you think of the true definition of the word, it was replete with microaggressions.”

Hitting 10 years as host of NBC’s Late Night, Seth Meyers has learned many lessons along the way. The biggest among them? The ability to be “as nimble as possible,” according to the late night host.

He has learned not to “marry yourself to an idea before the show actually tapes,” Meyers told The Hollywood Reporter during a special PaleyFest event Monday night. The host joined pal and the evening’s moderator Andy Samberg at the Dolby Theatre for a conversation looking back at the beginning of his Late Night journey and the highlights along the way.

After a video introduction of the popular Late Night segment “Day Drinking with Seth,” Meyers and Samberg took the stage, jumping right into conversation. Samberg asked Meyers to look back at the beginning of the show in 2014 and the process he went through to land the gig.

Meyers told the crowd that Saturday Night Live, and later the “Weekend Update” segment of SNL, had been his dream, noting that he felt “perfectly content” after becoming the host of “Weekend Update.”

“I don’t think I had any exit strategy,” Meyers told the crowd about his plans post-SNL. Later, the pair also discussed hiring the host’s writing staff and the origin of fan-favorite segment “Jokes Seth Can’t Tell,” which features writers Amber Ruffin and Jenny Hagel. “The longer we’ve done it, the more they’ve taken control away from me,” Meyers joked. “It’s basically a coup.”

Meyers and Samberg also took a moment to discuss their new podcast — The Lonely Island and Seth Meyers Podcast, which is hosted by the pair along with The Lonely Island members Akiva Schaffer and Jorma Taccone. The podcast looks back at popular SNL digital shorts throughout the years.

Samberg said that he and the other members of The Lonely Island had been discussing the idea of doing a podcast when Meyers called to ask if they’d be interested in the project. “I was like, ‘Oh, that’s the thing we were already talking about, but now we can do it with you, and it’ll be more fun, and we’ll have a better in on it,’” Samberg told THR.

Meyers also noted that the podcast has been a great opportunity for the four hosts to spend time together amid their busy schedules. “The four of us would not be hanging out like this — because all we’re really doing is hanging out — and we wouldn’t have done it without the podcast,” Meyers said. “It’s been lovely.”

You may not think of Buddhist philosophy and Huey Lewis as the same time very often, but it works for him when considering The Heart of Rock and Roll, the jukebox musical inspired by the song catalog of his band, the News.

“Y’know, Zen Buddhists say you need something to love, something to hope for and something to do — so for me, thank God for this show,” Lewis tells Billboard from New York City. The musician has been residing in the Big Apple to help prepare the musical comedy — which was first staged during 2018 in San Diego — for its April 22 opening at Broadway‘s James Earl Jones Theatre.

“This is, like, bonus time for me,” he continues. “It wasn’t something I’ve ever aspired to. I never thought about having a Broadway show. But it’s been a real kind of gift for me and a blessing for me because I don’t have anything else. It’s given me a creative outlet since I lost my hearing.”

Lewis revealed his hearing struggles back in 2018, after he was diagnosed with Meniere’s disease, an inner-ear disorder that’s rendered him unable to sing with the band, scuttling any hopes of live performances for a group that was a dependable annual fixture on the touring circuit. And, Lewis reports, things have not been getting any better. “My hearing’s collapsing,” he laments, although he’s still fighting via a variety of therapies and a recent ocular implant.

The News dug into its vaults for a new album, Weather, in 2020, but his creative focus has been The Heart of Rock and Roll, which has been in previews since March 29. A love story and comedy in which the lead character, Bobby (portrayed by Corey Cott), grapples with his continuing rock n’ roll dreams within a comfortable corporate life, was written by Jonathan A. Abrams from a story he crafted with Tyler Mitchell of Imagine Entertainment. Brian Usifer arranged the songs for the stage.

“He sort of reimagined all the songs in kind of a wonderful way,” Lewis explains. “Rearranging them is more what he did, although more than that because he sort of zigs where the song zags and stays away from our version of things. It’s very interesting, and it’s gratifying to see the songs live this other life. You’re kind of happy for the songs, really.”

Some of the lyrics have been changed — with permission and buy-ins, Lewis says — “to push the story forward.” But he was conscious of maintaining a balance between the songs’ stage life and their original versions.

“It’s a balancing act; you don’t want to lose the credibility of the songs,” Lewis says. “That’s one of the problems these jukebox musicals have. In the old days, you write for a musical, and then those songs became popular when Sinatra or Dean Martin or somebody covered them. Nowadays, they’re wrapping whole shows around popular songs. But one of the reasons that’s happening is you need recognizability to open these shows, ’cause it’s so competitive.”

The idea for The Heart of Rock and Roll came up during a conversation with Mitchell’s in-laws, who are Lewis’ neighbors in both Montana and Ross, Calif. “They had me over for dinner for my birthday, and Tyler was there as well, and we started talking about Mamma Mia, ’cause I love Mamma Mia,” Lewis recalls. “And [Mitchell’s father-in-law] said to him, ‘You should do a musical on Huey’s music.’ I didn’t know about this at the time, but Tyler was a huge fan. He knows our music really well. He knows the lyrics better than I do! So he and Jonathan Abrams printed out all of our lyrics and put ’em on the wall and they immersed themselves, and this story emerged. They came to me with their very first draft, and it was very good.

“Of course, that was seven years and nine drafts ago,” he adds. “It’s only gotten better.”

Lewis says the show has changed “significantly” since its 2018 stagings at the Old Globe Theatre in San Diego. “There are probably four new songs, some different scenes,” he notes. The story is set in the ’80s, which Lewis says allows it to “poke fun at Sony Walkmans and cassettes, a bunch of material there.” And while it’s not biographical in any way, there are elements of the book that related to Lewis’ own life.

“It’s actually got a lot of parallels, even though the story is not about me at all, or my band,” Lewis says. “Bobby’s 28, the same age I was when I formed Huey Lewis and the News. We’d been playing in bars for 12 years, and I had [the band] Clover that didn’t work out. So [the News] was my last shot, probably, at the ripe old age of 28, 29.”

Lewis drew on that to write the musical’s sole original song, “Be Somebody,” with Usifer and News bandmate Johnny Colla.

“Barry [Edelstein], the director in San Diego, said it’s customary in a musical to have the lead character sing a song early in the show, which articulates all of his or her aspirations, hopes, goals, etc.,” Lewis says. “Bobby’s got a day job, so I understood the anxiety he felt. So we wrote a song in which I kind of channeled that stuff a bit. I sang the melody, verse chords and words into my iPhone. Johnny tweaked the chorus, demoed it up, and Brian wrote the bridge chords.

“It’s fun to write for characters,” Lewis adds. “It’s liberating. You don’t have to write something that’s true to yourself. You can write for the character, and that fosters creativity.”