Category: Entertainment

  • As Live Shopping Blows Up, It’s a Bidding War for Auction-Fluencers

    As Live Shopping Blows Up, It’s a Bidding War for Auction-Fluencers

    Taylor Lally is a blue-eyed, burly, bespectacled man, with a beard about halfway to the the full Duck Dynasty look. And just past midnight on a Monday evening this summer, he’s hawking candy bars inside a purple-painted room no bigger than 300 square feet, with a disco ball hanging from the ceiling.

    It’s not exactly Willy Wonka and the Chocolate Factory. The thirty-something is an online auction maestro, broadcasting to a few dozen people competing to buy confections with the swipe of a finger. Mini auctions like this one on WhatNot, the liveshopping app, will help Lally cross one million dollars in sales this year, he said.  

    “We’re live for about four hours, but we’re here prepping for maybe four hours before and maybe two to four hours after,” he tells THR. “So we’re putting in like 12- to 16-hour days.”

    Lally began selling sweets on WhatNot last year, offering customers $20 boxes where they could pick individual candy items to buy. He nearly shut down the account because it didn’t yield enough money to justify the time he spent on the platform. But around six months ago, another WhatNot seller reached out with advice: try ultra-fast, single-item auctions. “This kind of totally changed how we do business,” he says. 

    WhatNot and other live shopping retailers are shedding their reputations as purveyors of baseball cards by expanding their digital aisles, benefitting niche auction-fluencers like Lally. In July, WhatNot — which continues to add new verticals like food and golf — raised hundreds of millions of dollars at a $20 billion valuation. Despite WhatNot’s first-mover advantage, a formidable rival has emerged in TikTok Shop, which allows sellers to go live and reach the app’s 100 million-plus user base. 

    Ashley Christenson, a livestreaming consultant, says Gen Zers are increasingly using TikTok to search for products, making it an attractive selling channel for retailers and a lucrative business for the social media giant. “The fact that now they can do that as a live experience is a natural evolution that makes a ton of sense for TikTok,” she says. 

    The evolution of live shopping from infomercial-like marathons to fast-paced micro sales has sparked bidding wars, so to speak, over popular auction-fluencers. TikTok representatives reached out to Lally and met with the creator multiple times, hoping to woo him to their WhatNot competitor. Joining another platform is something Lally will entertain because of WhatNot’s fee structure. “A big deal about WhatNot, which we can’t really get around, is a thirty-cent transaction fee, regardless of what we sell,” Lally says. “So it’s just negotiating those terms with TikTok.” 

    WhatNot’s bidding process — seconds-long auctions with more time added if customers bid — is now standard across other platforms like TikTok Shop. Many sellers start their auctions at $1 as a way to hook prospective bidders. “If you start something that’s $1 but it’s actually worth $50, people aren’t asking themselves, ‘Should I buy it?’ They’re asking themselves, ‘What am I willing to spend on it?’” said Kip Roland, a liveshopping seller and advisor.  

    Josh Luber, a co-founder of the online sneaker seller StockX, believes more retailers are poised to spin up live commerce platforms. But one company, he said, has a massive edge. “Ultimately, all marketplaces live and die on liquidity, and TikTok is going to have the most liquidity from day one,” he said. “It’s a question of can they convert them over to be consumers.”

    TikTok’s massive audience helped Roland reach 40,000 viewers when he decided to sell World Cup jerseys in June. Even though his account has only a smidge more than 13,000 followers, the social media behemoth boosted the auction to other TikTokers. “The algorithm recognized that people were staying for a long time, they were converting to buyers, they were engaging, and so it just pushed it to more and more and more people,” he says.

    For buyers, live shopping is more conducive to impulse buys — a Blu-Ray DVD or Pokémon trading card — than with more thoughtful purchases. But that doesn’t mean every livestream involves low-ticket items. On Super Bowl Sunday, Jimmy Donaldson, a.k.a. Mr. Beast, went live on WhatNot as part of a partnership with the company and gave away items like a Birkin bag and a Lamborghini. “Anytime Jimmy’s paying attention and testing something, it’s worth looking at,” says Christenson.

    Many live shopping creators prefer to narrate auctions behind the camera as opposed to becoming on-air hosts like Mr. Beast. But in a recent survey commissioned by Adobe, 30 percent of live shoppers said their purchasing decisions were driven in part by the identity of the host. Lally is doubling down on adding human faces to the mix by hiring another host for his account to fill more hours of the day. And earlier this year, eBay built a service for camera-shy sellers to hire livestream hosts.

    Despite big growth, it’s still early days for live shopping in the United States. WhatNot says it sold $8 billion worth of goods in 2025, but total e-commerce sales in America topped $1.3 trillion, according to data from the U.S. Census Bureau. Meanwhile, Chinese buyers spend hundreds of billions of dollars annually on live shopping. 

    As more buyers embrace live shopping, Christenson expects more creators to market goods as a way to make additional income. Their social media skills often make them natural salespeople. “They can talk to a chat, and entertain, and make people feel something,” she says. “Whether they’ve got five viewers or 500, they have the potential to sell something while live.”

  • California A.G. Rejects $1.88 Billion Paramount Bond, Says Company Wants a ‘Do-Over’ on Merger Delay

    California A.G. Rejects $1.88 Billion Paramount Bond, Says Company Wants a ‘Do-Over’ on Merger Delay

    The California attorney general’s office fired back against Paramount’s request for a $1.88 billion bond on Monday, saying the company is seeking a “do-over” on its agreement to delay the Warner Bros. merger until an antitrust trial next March.

    In a statement, the A.G.’s office argued that Paramount is a “sophisticated” company that knew it would face regulatory review when it agreed to pay Warner Bros. shareholders a $7 million-per-day ticking fee, and that California should not be made to bear the burden of that decision.

    “Bottom line: Paramount went into this process with eyes wide open,” the office said. “They are lying in a bed of their own making, and once again, trying to blackmail us to get us to back down.”

    California Attorney General Rob Bonta is leading a 12-state coalition to block the merger on the grounds that it will reduce competition in the theatrical and basic cable markets. Last month, Paramount agreed to hold off on closing the deal until after the case is resolved at trial, or until next June, whichever comes first.

    But Paramount was hoping for an earlier trial date — ideally in November. In a motion filed on Monday, the company argued that it will be forced to pay $1.7 billion in ticking fees to Warner Bros. shareholders if the case drags out until June 1, plus another $190 million in financing costs.

    Paramount argues that the states and the Writers Guild of America — which has filed its own antitrust suit — should be required to post a bond to cover its losses arising from the delay in the event that the deal is ultimately approved.

    Judge Araceli Martinez-Olguin initially granted a 14-day restraining order to block the merger in July. In that order, she waived the requirement to post a bond, saying the states had shown they were acting in pursuit of “important public interests.”

    The states, the WGA and Paramount later entered a stipulation to delay the merger — the functional equivalent of a preliminary injunction — which did not include any bond requirement. Now that Martinez-Olguin has set the trial for March 2, Paramount is seeking to amend the agreement to include the $1.88 billion bond. Failing that, Paramount wants to dissolve the deal and allow the merger to close.

    “Paramount and Warner Bros. are two sophisticated companies who willfully decided to include a costly ticking fee as a provision in their merger contract. They knew this merger would undergo regulatory review; they knew it was not a done deal; and they chose to include it anyway,” the A.G.’s office said Monday. “What’s more, Paramount itself stipulated to the timing it is now protesting — they agreed to the dates and did not request a bond as a condition of agreeing not to close until after the trial, and potentially as late as June 2027.  Now, they’re trying to get a do-over.”

    In a statement on Monday, Paramount argued that the 12 states are defying a global consensus that the deal presents no issues of competitive harm and should be approved.

    “We remain confident that plaintiffs’ case is without merit and will defend our pro-competitive transaction in court,” the company said.

  • Donald Trump Attacks CNN’s Kristen Holmes for Asking if He Spoke to North Korean Dictator: ‘You’re a Loud, Boisterous Person. Be Quiet!’

    Donald Trump Attacks CNN’s Kristen Holmes for Asking if He Spoke to North Korean Dictator: ‘You’re a Loud, Boisterous Person. Be Quiet!’

    President Donald Trump grew angry at CNN‘s Kristen Holmes during a press briefing at the White House Monday, after she asked whether he had spoken with North Korean dictator Kim Jong-un.

    “Quiet,” Trump told Holmes, CNN’s senior White House correspondent, after she queried the president about if Jong-un had asked Trump to curtail U.S. military exercises with South Korea. “You’re a loud, boisterous person. You’re faking news!”

    In a social media post Sunday, Trump had said that “Based on my very good relationship with Kim Jong Un, of North Korea, I am not happy with the fact that the United States has, long ago, agreed to participate in Joint Military Exercises with South Korea” and that he would instruct Defense Secretary Pete Hegseth to “substantially reduce the Joint Military Exercises!”

    Holmes tried to follow up on her question to the president, saying, “I was trying to find out if you had been talking to Kim Jong-un, if he had asked you to scale back on those military exercises.” Trump, talking over her, said: “Be quiet! Be quiet! Be quiet! You’re a fake reporter and you report fake news.”

    Meanwhile, the White House lashed out at Holmes because during the same event, she asked Trump for his response to a remark by Georgia Sen. Jon Ossoff about one of Trump’s aides. Earlier in the day at a campaign rally, Ossoff said that Trump “doesn’t want to do the job. He wants to build his ballroom and travel with Natalie on their apparently defenseless flying palace gifted by the Emir of Qatar,” referring to Natalie Harp, the president’s executive assistant. Harp was among the small group of Trump officials who (along with the president) were secretly escorted off the Qatar-donated Air Force One to a smaller military aircraft in Turkey because of a threat from Iran.

    Following the exchange in the Oval Office, the White House’s Rapid Response 47 account on X wrote, “.@KristenhCNN is a disgraceful, humiliating embarrassment to her alleged profession. @POTUS hosts a hero lifeguard in the Oval Office and she uses it as an opportunity to take a cheap shot about one of President Trump’s staffers. These scumbags are the lowest of the low.” The press event Monday at the White House was meant to honor teenage lifeguard Ryder Williams, who rescued a 10-year-old boy at a beach in Santa Cruz, California, last month.

    The White House comms team followed that up with this comment: “.@KristenhCNN: Someday, your children will come across your disgusting and inhumane question. They will be sickened and embarrassed to have a parent be so callous and vindictive. It’s quite troubling.”

    In a statement responding to the White House attacks, CNN said, “Kristen Holmes is one of the most respected and accomplished journalists covering the White House. This afternoon, she did her job and asked the President of the United States a tough, relevant, and newsworthy question on behalf of the American people. Public officials are free to challenge reporting they disagree with, but personal attacks on journalists for asking questions are beneath the office and inconsistent with the principles of a free press. We stand firmly behind Kristen and reject these attacks in the strongest possible terms.”

  • ‘Spy Kids’ Actor Alexa PenaVega Shares Heartbreak After Deaths of Fellow Child Stars Hayden Panettiere, Michelle Trachtenberg and Daveigh Chase: ‘Hug Your People Close Today’

    ‘Spy Kids’ Actor Alexa PenaVega Shares Heartbreak After Deaths of Fellow Child Stars Hayden Panettiere, Michelle Trachtenberg and Daveigh Chase: ‘Hug Your People Close Today’

    Alexa PenaVega’s “heart is heavy” after the death of Hayden Panettiere, most notably because it marks the third passing of a fellow child star in 2026. The “Spy Kids” actor noted in a statement on social media that she rose to fame with and grew up alongside the likes of Panettiere, Michelle Trachtenberg and Daveigh Chase. All three actors died in their 30s between February and August.

    “Hayden, Michelle, Daveigh… my heart is heavy today,” PenaVega wrote. “These aren’t just names from my childhood. They’re girls I grew up alongside, sharing a world that was exciting and also incredibly hard. We were kids navigating something so big, and not everyone had the foundation or support they deserved.”

    “Today, I’m grieving and holding their families close in my prayers and thinking of everyone still fighting battles we can’t see,” she added. “Hug your people close today.”

    PenaVega, Panettiere, Trachtenberg and Chase all came of age together in Hollywood in the 2000s. PenaVega’s breakout turn in 2001’s “Spy Kids” made her a regular at Hollywood premieres, where she was often photographed with her fellow child-turned-teen stars. Chase and PenaVega walked part of Disney’s “Freaky Friday” red carpet together in 2003 (one year after Chase voiced Lilo in the studio’s animated movie “Lilo & Stitch”), while PenaVega attended the premiere of Panettiere’s “Raising Helen” in 2004, among several other Hollywood encounters.

    Panettiere died on Sunday in Greenville, South Carolina, at the age of 36. Her death is currently under investigation, but there were “not any signs of foul play or suspicious circumstances,” according to police. She was beloved for the television series “Heroes” and “Nasvhille,” but she broke out as a Disney child star in “A Bug’s Life” and “Remember the Titans,” among other hit roles.

    Also beginning work as a child actor, Trachtenberg appeared in the ’90s Nickelodeon series “The Adventures of Pete & Pete” before starring in the family film “Harriet the Spy” in 1996 at the age of 10. As a teenager, she featured as Dawn Summers in “Buffy the Vampire Slayer” and later played Georgina Sparks on the teen drama “Gossip Girl.” Trachtenberg died in February at 39 years old due to natural causes, as a result of complications from diabetes mellitus.

    Chase, who voiced Lilo in “Lilo & Stitch” and starred in “The Ring,” died June 16 in Los Angeles at 35. The actor’s cause of death was AIDS, according to the coroner’s office. A secondary cause was listed as “chronic polysubstance use.” Chase’s father, John David Schwallier, told the New York Times that she had been homeless and had struggled with drugs since the age of 13.

  • Ellie Goulding Sues Former Managers Over Ties to Live Nation

    Ellie Goulding Sues Former Managers Over Ties to Live Nation

    Ellie Goulding is suing her former managers at TaP Management over conflict of interest claims, alleging that the company failed to disclose business ties to Live Nation Entertainment.

    In the lawsuit, reviewed by Rolling Stone, Goulding claimed that TaP Management’s founders Ben Mawson and Ed Millett had frequently pushed the singer to work with Live Nation, while never disclosing that the company was a subsidiary of Live Nation. Mawson and Millett founded TaP in 2010, and Live Nation acquired a majority stake in the company in 2015 through parent company HNOE, per the lawsuit, then bought out the rest of TaP in 2019.

    [E]ach of the Defendants had a personal interest or duty in dealings between Ms. Goulding and companies in the Live Nation group, which was in actual or potential conflict with the interests of Ms. Goulding in securing the best commercial terms with whichever promoter, merchandiser, or other counterparty it was most advantageous for her to deal with,” the suit said, per Rolling Stone.

    Variety first reported the news of the suit.

    TaP is one of the more prominent management firms in the music business, representing Lana Del Rey along with the likes of Dermot Kennedy, Erin LeCount and Duffy among others. TaP has also previously managed acts including Dua Lipa and Hailiee Steinfeld.

    Mawson and Millett didn’t respond to request for comment.

    TaP is one of several artist management companies under the Live Nation umbrella, as the world’s largest concert promoter is also one of the biggest artist managers, representing about 360 artists as of 2025, according to the company’s latest 10-K report. (Live Nation itself is not a defendant in the case and didn’t respond to request for comment.)

    Back in June, Goulding signed with WME for touring. The pop star has her upcoming sixth album I Know Too Much set for release in September.

  • ‘Beef’ Isn’t ‘Veep.’ Its Emmy-Nominated Editor Explains Why That Matters

    ‘Beef’ Isn’t ‘Veep.’ Its Emmy-Nominated Editor Explains Why That Matters

    When two-time Emmy-winning editor Laura Zempel was cutting the second season of Netflix’s acclaimed limited anthology series Beef, she found inspiration in everything, from neo-noir cinema to her love of dogs.

    “Michael Mann is a huge influence on this season,” she reveals, specifically citing his Oscar-nominated film The Insider as a marker for how she approached the edit that has now earned her an Emmy nomination. It’s one of 16 nods Beef received this year; season one won eight.

    As with the first season, Beef mixes humor with theatrics, but it’s not a “hard comedy,” says Zempel. “You can’t cut it like Veep. If you try to cut Beef that way, it falls apart because you lose the tension.”

    Beef‘s second season sees Charles Melton and Cailee Spaeny play a young couple working at a lavish country club in Montecito, California. But the newly engaged pair’s worlds implode after they become embroiled in the marital breakdown of their bosses, played by Oscar Isaac and Carey Mulligan.

    A scene that exemplifies Beef‘s characteristic tension involves Isaac’s manager character, Joshua, and Spaeny’s resort worker, Ashley, chatting by a beverage cart. It’s a slower-paced, cat-and-mouse interaction where “the main thing that needs to come across is threat,” says Zempel.

    “You need to feel scared for Ashley because Josh is pushing her so hard. Sonny and Jake are so particular about that,” she adds, referencing showrunner Lee Sung Jin and executive producer Jake Schreier. “Every scene has a perspective character, and they design the scene around them.” It’s something Zempel credits with creating a deeper connection with the audience.

    “The shot sizes reflect that, so we’re closer on the perspective character. We’ll see the other person’s coverage over our perspective character’s shoulder, whereas the reverse on our perspective character will be clean,” she explains. “I’m always keeping in mind whose scene it is and if that changes. The scene starts as Josh’s scene, but once he walks away, it becomes Ashley’s, and the audience has to take in what the hell just happened.”

    One of Zempel’s favorite sequences was the season finale’s fight scene in a Korean spa. It’s a oner, so it couldn’t be cut. As a result, she leaned into the action and the audio. “I am very proud that people don’t realize it was a oner,” she says. “Sonny and Jake’s direction with the sound design was, ‘This is not John Wick.’ These people are bad at fighting so the thuds are funny. The little breaths, the cloth grabs and punches were all deliberate. It’s realistic and clumsy.”

    Although the editor initially cuts without music, Finneas O’Connell’s synthy score, a shift from season one’s “more percussive” soundtrack, had “more jagged edges” and felt “more handmade,” which influenced future passes, Zempel says, adding that it makes the second season feel “refined” and “more mature,” complementing the country club “poshness.”

    Similarly, Zempel’s love of dogs influenced her approach to scenes featuring Burberry, the dachshund owned by Mulligan’s and Isaac’s feuding characters.

    “Jones, who plays Burberry, is the most talented dog actor I have ever seen,” she says with a laugh. “He’s so darn cute in his little sweaters, and a bit of a scene-stealer.

    “Lilly Wild, my co-editor on the hospital episode where Burberry’s left alone in the house, is also a dog person, and so is Sonny,” she continues. “If there is a different rhythm to the dog scenes, it might be because our office is full of dog lovers. We may have given Jones a spotlight.”

    This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.

  • Theo Von Takes Break From Field of Dreams Game to Talk Road Trips, Staying Healthy And Loving Iowa

    Theo Von Takes Break From Field of Dreams Game to Talk Road Trips, Staying Healthy And Loving Iowa

    Theo Von is tearing through a bag of ballpark peanuts with shells scattered across the lap of his khaki cargo pants. At every inning changeover and break, he brushes them off to stand from his seat in section 106 of the Field of Dreams stadium in Dyersville, Iowa and accept every selfie request fielded across nine innings. And there were dozens and dozens.

    Aside from Philadelphia Phillies star Kyle Schwarber, who hit two home runs to help his team defeat the Minnesota Twins 7-1, the biggest star of last Thursday night was undoubtedly Von who made a surprise appearance to catch the MLB matchup amid a multi-state road trip he’s currently on with two pals. In every corner of the stadium — framed by meticulously arranged corn rows and blanketed by quotes from the 1989 film starring Kevin Costner — fans could be heard buzzing about Von’s presence or complimenting his wildly popular podcast, This Past Weekend, which regularly charts in Spotify’s top 10.

    Von embraces the attention. “I love Iowa,” he says. “I’ve been pretty fortunate where people are pretty friendly most of the time. And I like meeting people.” He was eager to talk to fans, and while he rarely does interviews outside of his own podcast or those run by close friends, he made an exception and accepted a request to speak with The Hollywood Reporter that was seamlessly facilitated by a rep for Netflix, which streamed the high-profile MLB game and remains home to two Von stand-up specials, 2016’s No Offense and 2021’s Regular People.

    With a parade of Phillies players in the batter’s box, Von kept one eye on the field while chatting with THR about why he was rooting for the Twins, his desire to get back onstage (and his dream venue in Iowa) and lessons learned from his first major Hollywood effort as a writer, producer and star of the feature film Busboys opposite David Spade.

    Thanks for the time. I was surprised to see you here in the stands. What made you come out for the game?

    My friends and I had planned to do a little bit of camper traveling around the country but we ended up only having about 10 days to do it. Part of the trip was to stop here in Iowa, and this [game] was one of the linchpins of our travel. So we got here, and we’re going to do some scuba diving in Lake Michigan and a few other things.

    What do you think of the game so far?

    This is good. I’ve been here before when it was just a regular field of dreams, I guess, maybe the field of lesser dreams. But this is great, man. I see some of the greats out here. You got Rollie Fingers out here, Andre Dawson, CC Sabathia, Andruw Jones, so many of the heroes I watched growing up. Seeing so many of the greats is wonderful, and people seem to be having a great time. And the game has had a lot of hits already.

    That’s what people want out of a game like this, lots of offense and big plays.

    Schwarber’s got two homers, dude.

    Who are you rooting for?

    I think I’m rooting for the Twins today. Yeah, I like Minnesota. They’ve had a tough go here and there. They got scammed by all those people from Somalia, and then their own government scammed them. So, yeah, I’m going to cheer for them. Plus, I got attacked in Philadelphia a couple years ago. Some guy hit me with a fucking car hubcap or whatever near Temple [University]. So, I’m not cheering for them right now.

    They’ve got to do some work to get back in your good graces?

    Yeah, at least send an apology email. If you get attacked in a city, the city should send you an apology email. What are we even doing?

    Tell me about your history with the Field of Dreams movie. Did you watch it growing up?

    Oh yeah, we watched it growing up, and I watched it on an airplane the other day because I knew we were coming here. I wanted to relight the candle a little bit. It’s a nice story about a father-son that really brings people together. I’ve run into some fathers and sons here at the ballpark today, so that’s been really cool and kind of heartwarming to see.

    It’s pretty heartwarming to see you engage with all of your fans here, too. I kept turning around from my seat to see the lines forming with people who wanted to meet you and take a photo. You’ve said yes to everyone. What’s the experience like for you of coming to a game like this to deal with the crowds of people who want your attention?

    I’ve been pretty fortunate where people are pretty friendly most of the time. And I like meeting people. I mean, one of the things that’s kind of important sometimes is to make sure my own attitude’s good before I leave home. If my attitude’s not good, then I shouldn’t take my attitude in a place where it can be easily affected. But I love Iowa. My mom went to college in Iowa.

    Where?

    She went to a small school, Copiah-Lincoln Community College, called Co-Lin. I just love it here, dude. I love coming here and getting to spend some time meeting people. I met a lot of good people, and sometimes you have a good conversation and you get to be a part of making someone’s day a little bit more chill or a little bit more interesting. You dap it up for a minute and say, “Hey.”

    With the popularity of This Past Weekend, you must not really be able to go anywhere these days without a similar reaction?

    Yeah, I meet a lot of people. Sometimes it’s good and sometimes there’s a part of life that I miss. You miss having the element of surprise sometimes. That’s not really what God has planned or whatever for right now. I’m sure there’ll be a time again where people don’t pay attention to me or whatever, and then I’ll wish it was the other way. So, I don’t wish it away right now. I think I long for a sense of … I don’t know. We all long for a sense of a little bit of Iowa. I think everybody wants a sense of how it feels to spend an afternoon in Iowa. Driving through the state the past two days, we’ve been driving past cornfields through the rain. We went fishing yesterday in some lakes. Everything’s been perfect. Honestly, I want to do a show in the Surf Ballroom [in Clear Lake, Iowa]. That’s one of my goals in the next few years.

    You had a big year on the movie front by writing, producing and starring in the movie Busboys with David Spade. What does that signal about what you want to do in Hollywood, or what did you learn from that experience?

    One thing I learned is that it’s hard to make a movie. It takes a lot of attention over a long period of time from writing to getting it done. I learned how to do it from top to bottom, thanks to David Spade helping me out. It was a good experience. I’m not just taking some time to think about what I want to do next. One thing I do know is that I want to be able to get back onstage. And then I want to focus on taking care of myself and getting myself to a healthier space to see whatever possibilities can come from that. I can be able to honor them and maybe complete them if it’s something I want to do.

    What do you mean by healthier space and how do you do that?

    Just making sure that I’m taking care of myself because it’s a lot of stress. Yeah, I feel good, but just sometimes it takes a mental toll. Sometimes I take on too much and do much touring with not enough breaks. You think you’re Superman sometimes but you find out you’re just a man.

    You mentioned getting back on stage. I would imagine that a time like right now, being on the road and meeting people, is good for material. Just living life.

    I think so. We drive around and just joke around. My friend got the fricking measles, dude. What a fricking loser dude. He has a disease from the 1800s or whatever. I’m definitely not borrowing his clothes anymore. But yeah, we’re just doing our best. There’ll be more to come. I hope that the best is yet to come.

  • CNN Has Prime-Time Anchors Locked In Ahead of Paramount Deal

    CNN Has Prime-Time Anchors Locked In Ahead of Paramount Deal

    Executives at Paramount Skydance have agreed to pay billions to acquire Warner Bros. Discovery, but they may have to do a little more work if they want to put their own stamp on the programming at CNN.

    CNN recently struck a new deal with Abby Phillip, anchor of the raucous 10 p.m. roundtable “NewsNight” that keeps al three of the anchors who host its primetime shows at the news giant for the foreseeable future, according to three people familiar with the matter.

    Anderson Cooper, who anchors the 8 p.m. slot on CNN, renewed terms last year and it’s widely understood that Kaitlan Collins, who leads the “The Source” at 9 p.m. is working under a contract that has a few more years on left on it. Phillip is the last of the troika to renew alliances with the Warner Bros. Discovery news outlet.

    A CNN spokesperson said the network does not comment on contracts with talent.

    CNN was likely dealing with each anchor’s renewal as individual contracts opened, rather than deliberately planning a move to slow down a new owner’s plans.

    Nonetheless, having contracts in place could mean that Paramount will have to do some additional maneuvering if it wants to rework CNN’s programming lineup or rearrange the anchors who fill it. To be sure, a network can easily move an anchor if it wants — CNN forced Don Lemon to move out of his late-night roost on the schedule in 2022 to an ill-conceived morning-show concept after Warner was put under the control of CEO David Zaslav — but the new contracts mean that the anchors have some guarantees about the money they are owed in case changes are made.

    CNN staffers have been on edge as the Paramount deal moved closer to consummation. There is palpable concern that Paramount CEO David Ellison will assign oversight of CNN to Bari Weiss, a digital entrepreneur and opinion writer installed last year as editor in chief of CBS News. Her tenure at the news division has generated significant scrutiny and controversy, and has included the ouster of top producers and correspondents at the long-running newsmagazine “60 Minutes,” viewed for years as one of the jewels of the CBS lineup. There are growing fears within CNN that the Paramount acquisition would spur programming and talent changes that could be seen as being made to placate the Trump administration, rather than holding it to account. Inside CNN, there is a strong concern that Paramount’s executives “don’t know or don’t care” about managing the news giant for profit or for the future, according to one staffer. 

    All three anchors have taken on responsibilities beyond their evening-host duties. Cooper hosts the Sunday deep-dive program “The Whole Story” as well as “All There Is,” a podcast that examines grief. Collins anchors a primetime show while also working as the network’s chief White House correspondent. Phillip also hosts a Saturday-morning program, “Table for Five,” which, like “NewsNight,” is presented in a roundtable format. Phillip recently took up digital duties, hosting the new program “Confessions and Obsessions,” which focuses more on guests’ personal interests than their political leanings.

    Signing Phillip to a new contract also means that CNN will likely rely heavily on the trio as the midterm elections approach. Elections can bring an injection of new viewership to news networks, as the drama around the race for federal office often lures people beyond CNN’s immediate crowd. CNN’s ad revenue is projected to increase about 4% to $510.4 million in 2026, according to Kagan, a market-research unit of S&P Global Intelligence, compared with $489.8 million in 2025.

  • Peacock Launches Test of Membership Rewards Program With Perks Including NBCU and Bravo Merch Discounts, Free Pizzas

    Peacock Launches Test of Membership Rewards Program With Perks Including NBCU and Bravo Merch Discounts, Free Pizzas

    NBCUniversal‘s Peacock launched a limited new membership program in a beta test with a variety of perks — aimed at keeping them from flying the coop as streaming subscribers, as well as driving incremental revenue from marketing pacts.

    The test of Peacock’s membership program is available initially to a limited, “randomly selected” group of Peacock Premium and Premium Plus subscribers, according to NBCU. “Through a mix of NBCUniversal benefits, partner offers and exclusive experiences, the program will recognize and reward Peacock subscribers, deliver added value, and create deeper connections to the fandoms that power NBCUniversal,” the company said.

    NBCU’s test of the Peacock rewards program follows similar efforts by other streamers, including Disney+ Perks, which offers customers an array of different promotional offers and discounts.

    Launched in July 2020, the Peacock streaming service turned its first-ever quarterly profit for Q2 2026. Peacock paid subscribers totaled 48 million as of the end of June, with 2 million net additions during the period.

    As Peacock continues to test and evolve the program, NBCU said, additional rewards are expected to be added over time, including Universal Parks perks and experiences, NBCU content previews and early access to NBCU live events.

    On a recent episode of Variety‘s “Strictly Business” podcast, Matt Strauss, chairman of NBCUniversal Media Group, spoke about the Peacock membership program. “[W]e’re starting to evolve from thinking of this as streaming to entertainment, from subscription to membership,” he said. “Again, we’re always charting out what we see as the next white space. This is where we see, at least for NBCUniversal, the next wave of growth for streaming and the broader business as we’re continuing to build out where we see the big opportunity.”

    During the beta test, Peacock’s membership program will group participants in three tiers based on their tenure as subscribers: Gold (3 months-1 year), Platinum (1-3 years) and Diamond (3+ years), with select rewards tailored to each tier.

    At launch, members in the beta test will have access to the following rewards: 

    • An NBCU Shop 25% discount (for Shop at NBC Studios products)
    • A Bravo Shop discount (dependent on membership tier), with Gold members eligible for 15% off, Platinum members receiving 20% off and Diamond members receiving 25% off
    • A complimentary one-year Instacart+ membership (which auto-renews as a paid membership after 12 months); benefits include no grocery delivery fees on orders of at least $10, a subscription to New York Times Cooking at no additional cost (if activated by May 6, 2027) and free family sharing with up to three people
    • A Pizza Hut digital code that allows them to buy one menu-priced medium pizza and get a second medium pizza of equal or lesser value free (limited-time offer is unlocked after streaming three movies on Peacock)
  • Connie Britton Praises Hayden Panettiere’s ‘Brilliance’ After ‘Nashville’ Co-Star’s Death: ‘I Love You Girl. Sleep Easy Now’

    Connie Britton Praises Hayden Panettiere’s ‘Brilliance’ After ‘Nashville’ Co-Star’s Death: ‘I Love You Girl. Sleep Easy Now’

    Connie Britton has “no words” following the death of her “Nashville” co-star Hayden Panettiere at 36 years old. The duo starred together on five seasons of the ABC country music drama from 2012 to 2016, with Panettiere headlining the series solo during its sixth and final season in 2018. Britton returned as a guest star during the final episodes.

    “This was Hayden. Bursting with brilliance, shining so bright,” Britton posted on social media alongside a slideshow of photos of Panettiere and herself over the years. “I have no words for this sad song. Just heartbreak. I love you girl. Sleep easy now.”

    “Nashville,” created by “Thelma & Louise” Oscar winner Callie Khouri, premiered on ABC in October 2012 with Britton as Rayna Jaymes, a country music superstar, and Panettiere as Juliette Barnes, the rising country superstar who becomes Rayna’s rival. The actors earned critical acclaim for their performances. Britton picked up an Emmy nomination in 2013 for outstanding lead actress in a drama series, while Panettiere scored a Golden Globe nomination the following year for best supporting actress. Panettiere was also nominated for a Critics’ Choice TV Award in 2016.

    Panettiere died on Sunday in Greenville, South Carolina, at the age of 36. Her death is currently under investigation, but there were “not any signs of foul play or suspicious circumstances,” according to police. The cause of Panettiere’s death has not yet been confirmed, but People reported that on the dispatch audio, which the outlet obtained, officials could be heard discussing an “overdose” and “cardiac arrest.” An official cause of death will be given following an autopsy.

    “Nashville” was Panettiere’s second hit television series following the breakout run of NBC’s “Heroes,” which starred in for four seasons.