We use vendors that may also process your information to help provide our services. If the “Handmaid's Tale” series finale is going to include a series-defining monologue, then Cherry Jones may as well be the one to deliver it. Having just heard her daughter, June (Elisabeth Moss), is planning to go back out into the field and continue fighting Gilead, Holly (Jones) is upset. More recently, the opposite anxiety besets Holly. She has to watch as June is captured and strung up to be hanged, all while caring for June's youngest daughter (also named Holly). Related Stories Charlie Takes on a Pint-Sized and Potent Villain in ‘Poker Face' Episode 6 Clip — Watch Jason Isaacs Regrets Stirring Gossip About ‘The White Lotus' Shoot: ‘I'd Like to Return to My Normal Life' It ends happily enough — June once again survives, and her rescue even sets off a string of events that frees Boston from Gilead's grip — but one ending is just another beginning. Holly takes a bus from Alaska to Boston to reunite with her family, and almost as soon as she gets there, June is planning to take off again. Hannah, her first child, is being moved to Washington D.C. Thousands of other boys and girls are still being brainwashed by Gilead. Holly understands, but understanding doesn't make what she has to say any easier. She has to encourage her daughter to keep fighting, and in doing so, she has to explain to the audience why they've spent six seasons and eight years with this story, even if it doesn't end with a beaten, broken Gilead — even if it doesn't really end at all. “June, you should write a book,” Holly says. This is the story for people who may never find their babies. The people who will never, ever give up trying. There's plenty to admire about creator (and finale writer) Bruce Miller's chosen approach to ending “The Handmaid's Tale.” Keeping June on the front lines, fighting a battle without an obvious end, befits both the character (who's come to know war as a way of life) and the audience (who witness a new constitutional crisis every week and may need the encouragement to fight back). The finale also provides a framework that honors Margaret Atwood's groundbreaking novel and gives June ample time to stroll through Boston, remembering what was and what could've been. I'll leave it to others to decide which tear-jerking scene feels the most forced — Emily (Alexis Bledel) suddenly showing up in Boston, or all the handmaids singing karaoke in June's fantasy version of a life without Gilead — and whether the plentiful (if poorly choreographed) violence in the previous episode provided adequate contrast to the finale's pensive tranquility. But despite Jones' elegant delivery of a speech that screams, “This is what the show is about!,” isn't it a bit strange that June's already writing a book about a story that isn't over? Not only did the most climactic moments happen in the penultimate episode (when Commanders Lawrence and Wharton are killed, along with Nick), but most of the surviving character arcs are left naggingly open-ended. I almost laughed when June tells Serena (Yvonne Strahovski), “I forgive you,” a sentiment as on-the-nose as it is unnecessary (and not helped by Moss' direction, which overemphasizes the line by zooming in on June as she delivers it). “The Handmaid's Tale” has bent over backward to get June and Serena to this point, where they're no longer enemies but something akin to sisters on opposite sides of the patriarchy's oppression. But considering Serena still laments being banished from Gilead in the same conversation where June forgives her for years of tyrannical abuse, it's hard to accept their tidy little resolution. (Serena's last scene, where she embraces motherhood despite being stripped of past privileges, adds little to her arc either.) Luke (O-T Fagbenle) gets even less, which would be fine if his kicker did more than kick the can down the road. Luke's closing conversation with June is not-quite-a-break-up, not-quite-a-reunion, but it does make clear that he's as all-in on the fight as she is, while propping up the show's happy ending. “It wasn't all horrors, right?,” he says. I mean, some things worked out: Look at Aunt Lydia (Ann Dowd)! Giving Janine (Madeline Brewer) back to the Americans, along with her daughter is a kindness, to be sure — but how does Lydia wield enough influence to make sure her handmaids don't have to “walk in stride with the wicked” anymore? So many indefinite endings almost make it seem like this isn't the end of “The Handmaid's Tale.” (Even the episode's biggest victory — taking back Boston — is quickly undercut by June rattling off all the cities and states still waiting to be wrested from Gilead.) Instead, Episode 10 just feels like a stopping point before our story picks back up under a new name. Hulu is turning Atwood's 2019 sequel to her 1985 original novel into a series of its own (sort of), with Bruce Miller showrunning and at least Aunt Lydia set to return. Miller has been open about what he could and could not do in “The Handmaid's Tale” in order to preserve the story of “The Testaments.” Obviously, Aunt Lydia was on the no-kill list, but so were June's kids, Hannah and Holly, which created a considerable speed-bump. Constructing the final season (or at least the last few episodes) around June saving Hannah would have made for a much more logical and consequential conclusion, but even without that card in the deck, the final hand didn't have to leave out so many others. That it did only mutes the emotional impact (which Miller and Moss try to make up for with all those walks down memory lane), while denying the audience enough closure to say goodbye. “The Handmaid's Tale” has always been a story of mothers and daughters. June sits in the same window perch as she is in the first shot, this time wearing her own clothes and speaking into a recorder for the book Holly demands she write for her children. She remembers her time as a Handmaid with the Waterfords. At least with this ending, one thing is clear: We know who June is, and so does she. Even if her story continues (they're already talking about her return for “The Testaments”), June's time as Offred is over. 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We use vendors that may also process your information to help provide our services. villain (known as The Entity) launching a nuclear holocaust, Ethan Hunt (Cruise) must get the kill switch from around the neck of Gabriel (Esai Morales), who has escaped on a classic Stearman biplane. It's a sequence that Cruise, writer/director Christopher McQuarrie, stunt coordinator Wade Eastwood, and their team spent four-and-a-half months in South Africa working on. Related Stories Cannes 2025 Films Sold So Far: Bi Gan's Jury Prize Winner ‘Resurrection' Acquired by Janus Films Lost at a Film Festival? You're Doing It Right | In Development Vol. While on this week's episode of IndieWire's Filmmaker Toolkit podcast, McQuarrie talked about how even before then, he had worked with animators to design the entire sequence in pre-viz. McQuarrie offered one example of how what he assumed was a simple bit of action had to be reinvented. “In the pre-viz, that lasted a few seconds, it was very quick. “[Tom] said, ‘You can't do anything quickly on the wing of that plane. I'm getting hit with wind at 140 miles an hour.' Just raising his hand took time; everything was an enormous physical effort,” said McQuarrie. I think the best thing for you to do is just get on the wing and see what it's like. Cruise gave the director a tutorial, with McQuarrie in harness with two safety lines connected to a strut outside the cockpit. “You have to climb out of the cockpit, keeping in mind that the minute you come out from behind the canopy, you're in another world; it's like going to a different planet,” said McQuarrie of walking onto the plane's wing. There's air, but the molecules are hitting you so quickly, and there's such intense turbulence on the planes, you're not getting as much oxygen as you normally would. You're having to rethink your entire physical being.” “I had a really acute understanding of what it was Tom was going through when he was out there on the wing, and it affected the way that I directed him,” he said. The writer/director explained that the challenge most action directors face is having to mask that it is a stunt performer, not the principal actor, but with Cruise, he's learned to embrace a different set of challenges and opportunities. “Making a ‘Mission: Impossible' movie is completely opposite, the challenge is showing that it's always the actor [because] you have this resource, you have Tom Cruise, and he is willing to get on the wing of the plane and do all of that action,” said McQuarrie. That's the challenge of making a Tom Cruise movie.” The climatic plane sequence would have to be redesigned a number of times as McQuarrie and team learned and adapted to different limitations, including the dramatic effect of subtle fluctuations in weather. If the temperature dropped just a few degrees on the ground, it would be significantly colder on the wing at altitude, and they had to avoid Cruise suffering hypothermia. “The challenge on this movie is that the margins were so, so narrow, [and] these are not terribly fast aircraft. If there was any sort of downdraft, there was no way for the pilot to increase the power and pull out,” said McQuarrie. “So you had to be very, very, very careful about the weather conditions when you flew, because of the temperature would create thermals, which would create downdrafts, which meant you either couldn't fly that low, or if you were flying that low and hit a downdraft, it was game over.” For his part, McQuarrie said that just by the very nature of his and Cruise's goal of constantly outdoing what they had done before, each new “Mission: Impossible” movie was the most challenging and dangerous. You cannot allow yourself to feel stress. You can't allow yourself to feel anxiety. “Everything that we do is to approach it in a gradient. To hear Christopher McQuarrie's full interview, subscribe to the Filmmaker Toolkit podcast on Apple, Spotify, or your favorite podcast platform. We use vendors that may also process your information to help provide our services.

EXCLUSIVE: Martin Scorsese, Leonardo DiCaprio, Chad A. Verdi, LBI Entertainment's Christopher Donelly and Gareth West have teamed to produce Carthage Must Be Destroyed, an action to be directed by Ocean's Eleven scribe Ted Griffin. In the action thriller, a stranger happens upon a rust-belt city in decline, ruled by its criminal underworld. Verdi Productions and Ketchup Entertainment are financing, and casting is underway for an October production start in Rhode Island. Lisa Frechette and Sera Verdi are also exec producing. Verdi Productions president Chad A. Verdi called the film “a dynamic project” and they all sparked to “bring Ted's outstanding screenplay to the big screen. It's a pleasure to be collaborating with Marty, Leo, Jen, Gareth and Chris, and our extraordinary producing team will elevate this project to new heights.” Griffin is repped by LBI Entertainment and Goodman Genow. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

In several TikToks posted on Monday, fans wrote that they felt “lied to” after being shown pre-recorded videos of the couple's performances onscreen during the event. During the telecast, Blake Shelton took the stage first to perform “Stay Country or Die Tryin,” and later “returned” to introduce his wife, Gwen Stefani. She performed a medley of her hits “The Sweet Escape” and “Hollaback Girl” along with a recent single, “Swallow My Tears.” Another fan shared a video of Shelton's performance being displayed onscreen while a different band, seemingly for Lainey Wilson, set up onstage. “When Blake Shelton is ‘performing' at the AMA Awards but there is no Shelton in sight,” the attendee wrote. Although some fans might have been hoping to see all of the night's performers live, it's not uncommon for televised awards shows to feature pre-taped segments or performances. @Gwen Stefani performance was pre recorded as well 😩🫠 #amaawards #blakeshelton #gwenstefani #jlo ‘The Last of Us' Season 2 Ends With Confusion and a Phony Cliffhanger Trump Adviser Admits Republican Tax Bill Makes Huge Cuts to Medicaid Stefani may not have been there in person for the show, but she seemed to be live-tweeting during several of the performances. @bensonboone that was incredible!” she wrote during the show. “We love u @GloriaEstefan, one of the sweetest humans I've had the honor to meet,” she said during Estefan's performance. Rolling Stone is a part of Penske Media Corporation.

They've brought overdue attention to the myriad, yet long-ignored contributions of Black musicians to country's origins, stressing the way record company owners overlooked Black artists for recording sessions, or slapped bogus genre terms on the songs they did record (“race records”) to differentiate them from the similar tunes recorded by white artists. With all this knowledge far more well-known now than it ever has been, it was not surprising to see Shaboozey react skeptically to a piece of presenter copy at last night's American Music Awards regurgitating the old myths that country music was originally by and for white people. Moroney's presenter copy had her say that the Carter Family “basically invented country music.” This garnered a not-at-all subtle side-eye glance and a curt laugh from Shaboozey before he continued with the names of this year's nominees. “When you uncover the true history of country music, you find a story so powerful that it cannot be erased,” he said, adding: “The real history of country music is about people coming together despite their differences, and embracing and celebrating the things that make us alike.” A rep for the American Music Awards declined to comment. While the Carter Family are indeed country pioneers, they are also a perfect case study in the way country history has been whitewashed. Often joining Carter on these song scouting trips was a Black guitarist named Lesley Riddle, who not only helped Carter write down and memorize the songs, but introduced him to Black musical traditions (like church music and the blues) that further influenced what became known as country music. While the Carter Family have long been considered country music royalty, it was only in the Sixties that Riddle began to get his due, and in recent years that his story has become more widely known. Riddle is just one of many Black artists to play a pivotal role in country's history, with Shaboozey also encouraging fans to seek out other key figures like Steve Tarter, Harry Gay, and DeFord Bailey. … Behind every founding father and mother of Country music stands a Black musician playing Black roots music, strategically hidden in the mix.” Dom Flemons, the revered musician and historian, commented on Palmer's post, encouraging people to seek out a video he made with the organization Black in Appalachia all about Riddle's contributions to the Carter Family and country history. “The Carter [Family] and [record producer] Ralph Peer deserve the credit for their work to establish country music as a genre,” Flemons wrote. ‘The Last of Us' Season 2 Ends With Confusion and a Phony Cliffhanger Trump Adviser Admits Republican Tax Bill Makes Huge Cuts to Medicaid (The American Music Awards is produced by Dick Clark Productions, which is owned by Rolling Stone's parent company Penske Media Corporation in partnership with the holding company Eldridge.) ET after a rep for the American Music Awards declined to comment. Rolling Stone is a part of Penske Media Corporation.

Subscribe for full access to The Hollywood Reporter Disney's live-action redo of Lilo & Stitch and Tom Cruise's final Mission: Impossible movie, from Paramount and Skydance, fueled the biggest Memorial Day weekend of all time as attendance skyrocketed across all demos. On Memorial Day itself, Lilo earned a near-record $37 million. 'Lilo & Stitch' Blows Up Memorial Day Box Office With $183M Bow, 'Mission: Impossible' Nabs Series-Best $77.5M 'Avengers: Doomsday' and 'Avengers: Secret Wars' Delay Release Dates From May to December The previous best Memorial Day in terms of overall revenue belonged to the $306 million in ticket sales collected in 2013 when Fast & Furious 6 zoomed to $117 million, followed by The Hangover Part III with $50 million. This year also marked the best showing for two Memorial Day titles going up against each other. The female-fueled Lilo was always expected to beat the latest male-driven M:I title, but no one imagined it would hit these heights and, in an ironic twist, see Lilo & Stitch supplant Cruise's Top Gun: Maverick ($160 million) to rank as the biggest Memorial Day opener of all time, not adjusted for inflation. That's not the only irony: Cruise-starrer Minority Report barely beat the original animated Lilo & Stitch when they opened opposite each other in June 2002. In North America, Lilo also zoomed to the second-biggest gross of all time for any four-day holiday weekend behind the $242 million opening of Marvel and Disney's Black Panther ($242 million) and the third biggest debut ever for a Disney live-action title, both domestically and globally, behind Beauty and the Beast and crown-holder The Lion King, not adjusted for inflation. Thank members of the Gen Z generation and younger Millenials. Stitch isn't just drawing interest from families; to the contrary, 60 percent of ticket buyers were non-parents and kids, far higher than the norm. Interest exploded among teenage girls and younger women adults who grew up on the first movie and resulting TV show about a Hawaiian girl with a fraught family life who adopts an adorable, albeit trouble-making, dog-like alien. Box office pundits say the nostalgic factor ran red-hot, just as it did among millennials and Gen Z'ers for Disney's live-action Aladdin, which made $1.1 billion in global ticket sales after getting non-families. It is also playing to a notably diverse audience. Final Reckoning — which had a lock on Imax screens — more than made up for the lackluster $54.7 million five-day bow of Dead Reckoning, as well as supplanting the $61.2 million three-day launch of Fallout to set a new franchise opening record. Cruise's film, directed by his go-to partner Christopher McQuarrie, boasts a current Rotten Tomatoes score of 80 percent and earned an A- CinemaScore. “Mission accomplished,” says Paramount domestic chief of distribution Chris Aronson. A major challenge in terms of Final Reckoning‘s financial success is its $400 million net budget before marketing — making it one of the most expensive films ever made — although Paramount insiders note that each new installment increases the value of the entire library, including a spike in home entertainment sales and rentals of previous titles. Lilo & Stitch cost a modest net $100 million to make. Overseas, Lilo & Stitch likewise went up against Final Reckoning nearly everywhere, although the M:I movie began rolling out in a handful of major markets last weekend via previews. Sign up for THR news straight to your inbox every day

Morgan Wallen's “What I Want,” featuring Tate McRae, blasts in at No. 1 on the Billboard 200 with 2025's biggest week by equivalent album units – is Wallen's fourth Hot 100 leader and McRae's first. In March, McRae notched her first Billboard 200 No. 1 with So Close to What; she's the first artist this year to lead both lists for the first time. Wallen previously topped the Hot 100 with “Love Somebody,” also on I'm the Problem, for a week upon its debut in November; as featured on Post Malone's “I Had Some Help,” which bowed at No. 1 in May 2024 and led for six weeks; and with “Last Night,” for 16 weeks beginning in March 2023, before wrapping as the chart's top hit that year. Wallen boasts six songs in all in the latest Hot 100's top 10, with “I Got Better” also debuting, at No. 7, and “Superman” flying 16-8 in its second week on the chart. He has now charted nine top 10s from I'm the Problem; only Taylor Swift's The Tortured Poets Department and Midnights (10 top 10s each) have yielded more, with Drake's Certified Lover Boy also having generated nine. Meanwhile, Wallen claims the top three spots on the Hot 100, with “What I Want” followed by “Just in Case” at No. 3 – as he becomes the first artist that primarily records country music to have monopolized the top three in a single week over the chart's 66-year history. Browse the full rundown of this week's top 10 below. The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published. “What I Want,” on Mercury/Big Loud/Republic (with Wallen and McRae two of its six writers), becomes the 1,180th No. It tallied 31.2 million official streams, 3.9 million radio airplay audience impressions and 2,000 sold in the United States in its first week of release (May 16-22). 1 on Streaming Songs, where it's Wallen's fifth leader and McRae's first. “What I Want” concurrently debuts as Wallen's 11th No. 1, and record-extending eighth to open at the summit, on the multimetric Hot Country Songs chart. McRae leads in her first visit to the genre ranking. Glen Campbell, John Denver, Dolly Parton, Kenny Rogers and Taylor Swift follow with two each. Billboard's Paul Grein recently chronicled every Hot 100 No. 1 by a Canadian artist, with McRae becoming the 29th such act to rule. She's the seventh woman, joining Celine Dion (four No. 1s), Nelly Furtado (three), Carly Rae Jepsen, Avril Lavigne, Alannah Myles and Anne Murray (also one each). Wallen boasts six songs in the Hot 100's top 10. 1, he follows with “Just in Case,” up from No. 4 peak; “I'm the Problem” (6-3, after reaching No. 2); “I Got Better” (a debut at No. With three new top 10s, he ups his count to 18 in his career – the most for any artist that has primarily recorded country music. Wallen is the first core country artist to infuse the Hot 100's top 10 with at least six songs simultaneously; Taylor Swift (a record 10 in both 2024 and 2022, following her mid-2010s segue from country to pop), Drake, Kendrick Lamar and 21 Savage have also achieved the feat. Only five other acts have tallied such triples: The Beatles, for five weeks in 1964; Swift (three, 2022-24); Drake (three, 2021-23); Lamar (two, 2024-25); and Ariana Grande (one, 2019). Meanwhile, “What I Want” is Wallen's first song released with a woman artist. Collaborations by men and women have topped the Hot 100 for all but three weeks this year, as “What I Want” follows Kendrick Lamar and SZA's “Luther” (13 weeks at No. The current streak of 14 weeks on top, as “What I Want” dethrones “Luther,” marks the longest by collaborating male and female acts since a record 25-week run in 2016 via Drake's “One Dance,” featuring WizKid and Kyla (nine), Sia's “Cheap Thrills,” featuring Sean Paul (four), and The Chainsmokers' “Closer,” featuring Halsey (12). Elsewhere in the Hot 100's top 10, Alex Warren's “Ordinary” dips to No. Kendrick Lamar and SZA's “Luther” falls to No. 1 on both the multimetric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts – tying Lamar's “Not Like Us” (in 2024-25) for the longest command on Hot R&B/Hip-Hop Songs (dating to October 1958, when it became the genre's singular songs ranking). Lady Gaga and Bruno Mars' “Die With a Smile” slips 3-6 following five nonconsecutive weeks atop the Hot 100 beginning in January. Plus, Shaboozey's “A Bar Song (Tipsy)” slides 4-9 on the Hot 100, following its record-tying 19 weeks at No. Get weekly rundowns straight to your inbox A daily briefing on what matters in the music industry Send us a tip using our anonymous form. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. Billboard is a part of Penske Media Corporation.

When the winning team of “Rock the Block” season 6 was revealed on May 26, 2025, during HGTV's big finale, there was a massive celebration in the sky — with 300 illuminated drones spelling out clues to who had won. But on the ground, in the Utah cul-de-sac where they'd spent six weeks transforming a new home into a “refined rustic” oasis, the winning team — HGTV veterans Alison Victoria and Michel Smith Boyd — were never seen embracing or celebrating with each other. At the start of the two-hour finale, Victoria, who was competing on “Rock the Block” for her third time, and Boyd, who won season four with designer Anthony Elle, were all smiles and seemed to be in agreement over their exterior design plans. On an HGTV post about the finale, one fan commented, “Did anyone else notice the ICE between Alison and Michel??? “I picked them to win 6weeks ago,” someone else wrote. Also I read between the lines and could see there was friction so thank you for being the true professional and star that you are. Another fan later weighed in, “Is it me🤔 Michel & Allison don't seem to like each other… they by chance won and didn't even interact with each other. Allison hugged the same ppl over and over and never once hugged her teammate, also even when standing at the beginning and end of the show when Ty is giving instructions etc they seem very stand offish. Viewers also expressed concern on EntertainmentNow's HGTV Facebook page, including one who wrote that Victoria “never acknowledged Michel” and “didn't want to collaborate with him,” while someone else replied, “I didn't see him acknowledge her either.” A post shared by MICHEL SMITH BOYD (@michelboyd) But time to spill the tea, what's up with you and Alison?” Boyd simply replied, “😂☕” They were given $250,000 for their design transformations, plus an additional $50,000 to use on their backyards, bringing each house to a base value of $1,050,000. After three independent appraisers went through each home, Victoria and Boyd's was deemed to have the highest final value — $1,400,000. When their names appeared in the sky, Boyd and Alison both looked shocked. They turned briefly to each other, mouths agape, but then turned to their competitors on either side. As host Ty Pennington asked how the win felt, Victoria could be seen in a tight embrace with Tristyn as Boyd — suddenly the first-ever two-time “Rock the Block” champ — responded, “This is amazing. When Pennington noticed that Victoria was in tears, he pointed out that she is “never emotional.” She told him, “We worked so hard and this is, you know, third time's the charm, I guess. In a post-win interview with HGTV.com, Victoria said that her jaw-dropped response was genuine and that it was the hardest of the three “Rock the Block” shows she'd competed on. And in my mind, I was wondering if the win would go to Chelsea and Cole because their house was so child-friendly and we're in Utah where there are big families. But I knew in my heart we should have won.

Subscribe for full access to The Hollywood Reporter Subscribe for full access to The Hollywood Reporter A war hero who worked with Otis Redding and The Furys, he appeared in four Clint Eastwood movies and portrayed lots of cops during his career. James McEachin, who wrote and produced songs for Otis Redding before turning to acting to portray cops on his own NBC Mystery Movie series and in 18 of the popular Perry Mason telefilms, has died. McEachin died Jan. 11 and was interred last month at Los Angeles National Cemetery. The familiar character actor also appeared in four films opposite Clint Eastwood: Coogan's Bluff (1968), Play Misty for Me (1971) — as the deejay Sweet Al Monte — Every Which Way But Loose (1978) and Sudden Impact (1983). Marcel Ophuls, 'Sorrow and the Pity' Documentarian, Dies at 97 A onetime contract player at Universal, McEachin starred as family man Harry Tenafly, a Los Angeles cop turned private detective, in Tenafly, created by Richard Levinson and William Link of Columbo and Mannix fame. One of the rotating, once-a-month NBC Mystery Movie shows that in 1973-74 included Dan Dailey's Faraday & Company and The Snoop Sisters, starring Helen Hayes and Mildred Natwick, Tenafly was the rare TV series back then to star a Black actor, but it lasted just five episodes. Later, McEachin played Lt. Ed Brock on the NBC Perry Mason telefilms that starred Raymond Burr (and, after his 1993 death, Hal Holbrook) from 1986-95. And he portrayed another police lieutenant, Frank Daniels, on the first season (1986-87) of NBC's Matlock, starring Andy Griffith. “When I saw those signs saying ‘Uncle Sam Wants You,' I swear I thought that bony index finger of his was pointing right at me,” McEachin told the Los Angeles Daily News in November 2021. McEachin spent more than two years in Japan as part of his first three-year term, then re-enlisted for another three years. As a member of the 2nd Infantry Division, he was wounded in an ambush and left for dead before being rescued. (He was awarded both the Purple Heart and Silver Star in 2005.) Known as Jimmy Mack, he became a songwriter, composer, record producer, talent manager and label owner who worked with the doo-wop group The Furys (“Zing! “I couldn't have been,” he said, “even though there are people who say to this day, ‘He's just trying to hide from it.' McEachin was walking along Melrose Avenue one day when someone asked him if he wanted to be in a movie. “I didn't know you had to memorize dialogue,” he said. However, before the decade was done, McEachin had signed with Universal and appeared in films including Uptight (1968), If He Hollers, Let Him Go! After showing up on Insight, The Rockford Files, Police Story, Emergency!, Columbo, T.J. Hooker, St. Elsewhere, Murder, She Wrote and Hill Street Blues, McEachin signed up for his first Perry Mason movie, 1986's The Case of the Notorious Nun. In 2002, McEachin played a liberal Supreme Court justice on First Monday, a short-lived CBS drama from Donald P. Bellisario that starred James Garner and Joe Mantegna. McEachin was appointed a U.S. Army Reserve Ambassador in 2005 to spend time speaking with soldiers and veterans. He portrayed Old Soldier, a character who “pries open tough issues left in the wake of battle, boldly confronting challenges that are facing those serving in our military today while reconciling the spirit of one who has killed in war.” Sign up for THR news straight to your inbox every day Send us a tip using our anonymous form.

EXCLUSIVE: Netflix‘s Little House on the Prairie reboot has cast more key roles. Jocko Sims (New Amsterdam), Warren Christie (The Watchful Eye), Wren Zhawenim Gotts (Echo), Meegwun Fairbrother (Avatar, The Sticky) and Alyssa Wapanatâhk (Peter Pan & Wendy) are set as series regulars and Xander Cole (People of the West) as recurring on the series, based on Laura Ingalls Wilder's classic semi-autobiographical novels. Sims and Christie will play characters from the books while Gotts, Fairbrother, Wapanatâhk and Cole will play newly created characters, members of the same extended Osage family. 'Little House On The Prairie' Reboot Rounds Out Ingalls Family By Casting Charles, Caroline & Mary 'Little House On The Prairie' Netflix Reboot Finds Its Laura Ingalls In 'Lessons Of Chemistry's Alice Halsey Christie will play John Edwards, a Civil War veteran from Tennessee. Fairbrother will play Mitchell, a tender-hearted man who lives in Kansas with his family, where he became a successful farmer and built the most impressive homestead in the county. Wapanatâhk will play Mitchell's wife, White Sun, who is opinionated, beautiful, and has a sharp sense of humor. At times she sees the world through a more cynical lens than her husband. Gotts will play Mitchell and White Sun's daughter, Good Eagle, who is wildly imaginative and is known as a storyteller in her family. Cole will play Little Puma, White Sun's younger brother. Described as part hopeful family drama, part epic survival tale, and part origin story of the American West, the new Little House On the Prairie comes from showrunner Rebecca Sonnenshine and CBS Studios. Sonnenshine executive produces alongside Joy Gorman Wettels for Joy Coalition, Trip Friendly for Friendly Family Productions, Dana Fox and Susanna Fogel. Sarah Adina Smith will direct the first episode. Sims is known for his starring role on NBC's hit medical drama, New Amsterdam as Dr. Floyd Reynolds. He recurs on NBC's murder mystery dramedy, Grosse Pointe Garden Society. Sims is repped by IAG, Benedetti Entertainment and Skrzyniarz & Mallean. He's repped by Innovative Artists Entertainment, Play Management and Jackoway Austen Tyerman. Zhawenim Gotts is a member of the federally recognized Sokoagon Chippewa tribe and travels the country sharing her Native American dancing, singing and language. She played Young Bonnie in the Marvel series Echo. Zhawenim Gotts is repped by Osbrink Talent Agency. Other credits include CBC's drama Burden of Truth and Netflix's Avatar: The Last Airbender. Fairbrother is repped by The Characters Talent Agency and More/Medavoy Management. Canadian Wapanatâhk, who hails from the Bigstone Cree First Nation, is known for playing Tiger Lily in Disney's Peter Pan & Wendy. She just wrapped shooting the indie Cottonmouth opposite Ron Perlman. Wapanatâhk is repped by Peak Talent Management, Atlas Artists and Yorn Levine Barnes. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

Pitchfork and Them are happy to announce that Night Out is returning for Pride Month. The event takes place on Thursday, June 26, at Knockdown Center, in Queens, New York. Doors for Night Out open at 7 p.m. Eastern Daylight Time. Performing at Night Out are hyperpop artist Underscores, left-field Minnesota rapper Dua Saleh, British rapper and producer Skaiwater, and DJs from the New York drag collective Bushwig. Tickets are available here. Pitchfork and Them's first Night Out event took place in 2023. The show featured Tinashe, Lido Pimienta, Zebra Katz, and others. Check out “Live Photos From Pitchfork and Them Present Night Out, a Pride Celebration and Concert.” Pitchfork may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.

The family has used social media as a way to pay tribute to the man who touched their lives in numerous ways. “Looking back at pics I noticed he was always looking at me funny, prolly trying to figure out, ‘How did this boy turn out like this?' I remember in 8th grade bringing my boombox in the living room and doing a break dance routine for him as he sat on his recliner,” Willie wrote. “He just looked strangely at me and said, ‘Well, I've never seen anything quite like that!' The moment was repeated decades later, when Willie shared that toward the end of his father's life, he did another dance for him. “In a much weaker voice, he simply said, ‘Will, you got moves I didn't know you had.' Not sure why I was always dancing in front of Phil. Willie also reflected on the things that his dad taught him. “Most importantly, he taught me the value of sharing my faith with others. He read it in one sitting and said, ‘That's the best explanation of the Good News I have ever read…and you were so nice about it!' That made me laugh because sometimes he would forget about the nice part.” Willie's post also highlighted the last words that his father said to him, telling him, “You're my brother.” Willie continued, “It made total sense to me. He always told me we were coworkers in the Kingdom of God. Maybe that's why I always just called him Phil. Not sure if he is up in Heaven now doing his own dance moves for our Father.” “Not sure how people deal with loss without the Lord. We may be wrong about all this….but I doubt it! Sleep well Dad, can't wait to see you.” Fans reacted to the post with condolences and mentions of how “Duck Dynasty” had positively impacted their lives. It was previously announced that Phil had Alzheimer's Disease. It's definitely progressing,” Willie told Us Weekly on May 20. It's just part of life — and mom has her good days.” The Robertsons will make their reality TV comeback with “Duck Dynasty: The Revival,” set to air on June 1 at 9 p.m.